#130

For all you VCVRack users out there. I made the greatest feedback/noise/disaster machine today in VCV by taking Plaits in Granular Cloud mode (although any of the noise modes should work) trigerring Elements, with the outputs patched into Prism Rainbow, then into Chronoblob and then back to the external inputs on Elements. Then sending the L&R outs of Elements to a mixer (you could throw a big verb in there too if you wanted).

This combination was very controllable and seemingly unpredictable at the same time.

10 Likes
#131

Prism Rainbow is one of my favorite modules that I’ve never managed to use satisfactorily; maybe I’ll give your approach a go. If you want a good way to spread the Prism Rainbow’s poly output across a stereo field, GTG-Rack’s Metro City Bus mixing module serves well.

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#132

I don’t think I’ve ever heard Klaus Wiese mentioned on lines or elsewhere. A new discovery for me, although I’ve known about Popol Vuh for years. His music has a meditative quality and focus. He also has a ton of recordings, some easy to find others not. There’s a bandcamp page that is releasing some remasters and unpublished work. Enjoy!

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#133

Alright. A new release of instrument drones. Function generators, electric guitar, clarinet, trombone, harmonica, zither and church organ.

Enjoy.

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#134

A question for drone music creators: if you’re using multiple layers, how do you pick drone timbres that will be complementary? And how do you mix/eq them? I’m dipping my toe into drone production but I’m finding it very hard to not produce mud.

#135

Yes, lots of mixing/EQing slowly, over time, for me. I’ve been having trouble not making drones or mellow dubby techno, even when I go in saying I’m going to make a “pop” or “dance” track, only because “sculpting” sound has become my favorite part of making music.

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#136

For me if I a using more than a single voice I usually use chord tones and typically will be a different octave.

If you have low or mid frequencies that are competing, modulating volume or filter cutoff of Both frequencies can allow both to shine

1 Like
#137

Making sure the drone layers aren’t too similar—both in pitch and texture. Filtering and EQ are a big help—and a stereo multi-pole filter is great for shifting timbres between channels. If you can get your hands on a fixed filter bank, it’s great for fine control of timbre. Panning sources is a powerful tool, too.

1 Like
#139

nice! Thanks for sharing

#140

first track is awesome!!! can’t wait to hear more!

#141

This started off as a very minimal drone piece, but it ended up somewhere else.

Enjoy.

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#142

Secret sneak preview just for us lines people of a drone/ambient thing I’m working on, inspired by the Creative convolution: share your impulse responses! thread…This is Reaper’s tone generator plugin played live thru convolution reverb with a couple of different samples of concrete blocks scraping used as the impulse. Three recordings just quickly crossfaded together into 1 track, with a bit more conv reverb over the whole rendered track afterwards. Will further mix/edit and do something with it at some point :slight_smile:

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#143

Churn.

Function generators and Supercollider.

Take care.

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#144

Link to a drone-inspired release I did a while back. A lot of my work has elements of drone but this is probably the purest example - I love drones but always feel the need to try to shape them into something more.

1 Like
#145

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#146

Doing a lot of mixes of recordings from the archive these days.

Here is mix 3: “Similar Direction”. unfinished/discarded drone pieces. Enjoy.

MIX 3: “SIMILAR DIRECTION” at MIXCLOUD

#147

released earlier last year on important drone records -

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#148

I know this is a bit of an older thread, but I am obsessed with droney worlds right now and had to throw up some more Organum. I saw one mention above, is anyone else using supercollider for drone sound design + composition? I’m really new to this whole sound, and have been learning my first bit of DSP stuff through SC and have been really inspired by the likes of Kassel Jaeger, O’Rourke (steamroom) etc. If anyone has patches or tips on where to learn more about the more digital side of this sound, I would love to know :slight_smile:

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#149

I’ve learned a lot by reading and studying Daniel M Karlsson code. That piece in particular made a click in my head that allowed me to grasp the pattern libraries, scales and other wonderful things in SC universe. His website has some other content i find joyful.

3 Likes
#150

I made this short drone piece the other day. I think it’s ok but there is a lot of energy in the lower end of the spectrum. This results in some sounds not being as audible (no suprise). Does anyone have any tips for achieving separation of sounds in this regard ? I think perhaps a multiband EQ may help ?

Edit: I went ahead and removed the intro bass line from the second half. It gives the new drone more space and fixes most of the above issues.

4 Likes