![]() ![]() They sound great, but the flexibility of Guitar Rig 5 or the AXE FX II is so much easier to deal with.Ĭan you tell me some of your guitar processing techniques, once they’re in audio format? Do you run them through any FX chains?Ī large percentage of the sounds in Trifonic tracks are often guitar! Guitars are fun to process, because they always maintains some level of “guitar-ness” no matter how much you mangle it. I occasionally use some real amps – I have a Fender Hot-Rod Deluxe and a Mesa Boogie Dual Rectifier. I now record all of my electric guitar sounds through it. Recently, I bought a Fractal Audio AXE FX IIguitar processor. This is how I recorded the acoustic guitars in “ Ninth Wave” and more recently the guitars in The M Machine “Black” remix.įor electric guitars, I mainly record direct into a DI, and use amp simulator plugins like Native Instruments Guitar Rig 5. This allows me to pick up some of the string and finger noise (which I like), but get rid of the boomy low end that can occur when you stick a mic directly in front of the sound hole. I usually record acoustic guitar with a condenser mic, placed several inches away from the 12th fret. What are some of your main ways of recording your acoustic/electric guitars into your DAW? Any tips on creative ways to capture certain sounds? Guitar sounds seem to be one of your trademark sonic signatures. As someone who’s brand of electronic music falls outside the mainstream festival favorites, it’s likely that you’ll find a sea of unconventional production advice, which you’ll be able to apply to you own music endeavors. ![]() If you have any questions, please contact me.After having made his way into my interview section, Trifonic makes a natural continuation of his relationship with Speakhertz by talking to me about his music-making and production. ![]() ZIP archive with the performance software and a PDF document of instructions. Quad/Octophonic version: Click here to download a. Stereo version: Click here to download a. If you will use an iPad to control the stereo version of the work, or if you want to perform the quad/octophonic version of the work, you will need the TouchOSC app, which is available on the App Store, or via the TouchOSC website. The Michael Norris plug-ins are available for free from his website. Max and Max Runtime are available here from Cycling 74. The free SoundMagic Spectral plug-ins by Michael Norris. Two contact microphones and one lavaliere microphone (or other). Max 6.1.6 or later (or the free Max Runtime environment). Intel-based Mac running OS 10.6 or later (impossible to perform the work on Windows or Linux at present, sorry). This work extends the sound world that exists around the enjoyment of a great beer through live granular and spectral audio processing in Max. As a composer, audio engineer, and performer, I love exploring the intersections between music and technology. As a home brewer, I delight in crafting unique, delicious beers. Note that it is not currently possible to use the iPad/TouchOSC control setup to control the 4-/8-channel version of the work.Īfter my family, my three great loves in the world are music technology, experimental music, and high-quality beer. It uses TouchOSC to obtain the XY accelerometer data from an iPhone, and uses that data to control panning/spatial dispersion of the work. The 4-/8-channel version of the work is new. The stereo version of the work can now be controlled using an iPad running TouchOSC. If you downloaded an earlier version of the work, you should replace it with this updated version. Update (November 2014): The performance materials below have been updated. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |