don’t really post any music to this forum but I just finished this remix for Kate Havnevik and built almost all of it by seeing how far I could push the OT, especially for all the glitchy/granular guitar and voice processing . . . . then the comb filter was used to echo all the voice melodies, so i could feed anything through it and get variations on the theme… and of course the monophonic nature of the samples in the OT is what led to the face-punching cut ups in the second half
hope you enjoy. would love to hear your thoughts
Musically speaking, this type of stuff doesn’t do anything for me. The whole beat-stutter-glitch-repeat routine became too gimmicky (for my personal tastes) a long time ago. But I do think it’s cool that you’re finding the outer limits of the OT! Press on!
i totally get what you mean… but for me it’s really a compositional tool rather than a gimmick. (e.g. rather than using random stut-t-t-ter plug-ins, each glitch is painstakingly shaped and positioned:) )… in some ways most musical techniques at one point could be considered a gimmick …( guitar distortion for exmple)
i’m a big fan of refinement rather than novelty, once you find something you like keep working and working on it, getting everything you can out of it regardless of what’s in/out of fashion
awesome that you’re getting these effects out of the OT and focusing on how to get musical results with them. no such thing as too many tools in the toolbox
I am curious about your workflow here. Did you use the OTs Arranger? Did you load the vocal parts into static machines to give it some structure and then place the remixed stuff in the Arranger on the other tracks? Then record it from the stereo outs or exported the tracks?
Hi @alfred,
Well to be honest when i’m working in the studio i treat the OT more as an individual instrument that I multitrack, so I never use the arranger.
Everything gets multitracked into proTools in live takes, so in one pass I will record a bunch of guitar parts begin processed through the OT effects with p-locks, then I’ll play along to that with vocal samples, then with processed synth etc etc. These tend to be long takes, I’ll improvise a bit until I find things I like, then record long variations of them, responding and playing along to previously recorded tracks, for this one I left the lead vocal part looping in PTools and played along to it on the OT.
Weirdly I don’t midi sync though, I just let pTools run to record and I manually start/stop patterns on the OT, just always prefer the feel of that… never enjoy the feel when the OT is sync’d to an external source.
Once all the tracks are recorded I’ll crop and edit it down in PTools, re-arranging and mixing the best bits of the takes. and then usually push the whole thing through t-racks at the end to master it.
( Oh, should add that I use a FaderFox PC4 to control the OT, lets me really manipulate lots of parameters in real time without having to jump to different screens on the OT. )
