in fl studio i would use fruity soundfont player for multi sampled insturnents and drum kits. Sometimes i create layers, set and split children to play them from 1 midi lane (newer fl finally got around to letting you include samplers in patcher so you can use vfx splitter or set up key zone splits).
this lets you play everything in tbe channel rack at once!
mid is the sum divided by 2
side is the difference divided by 2
mid = (left + right) / 2
side = (left - right) / 2
today I learned you can create envelopes by dragging audio files from the browser or from edison.
intermodulation distortion
clicking on automation clips (not in the old fl) you can import audio and use the peaks to create automation clips
my old way was using the fruity peak controller
you can also drag audio into fruity love filter and the envelope controller.
I've been into using ctrl t (typing keys), ctrl e (step edit mode) to enter in triads.
then using what I learned about the harmonic series to create spread voicings
was watching a flux pavillion against the clock where he was using just a saw wave in massive but it was the way he arranged it
that made it sound huge.
being infront of a piano its easy to reach for those spread voicings but clicking it is quite a hassle untill I learned this way.
ctrl up down, to octave shift
shift up down, for semitones
right click edit events
alt o creates an lfo do this for each time selection
you can set the rate synced to the tempo and have it interpolate between 2 ranges
like 16th note slowing down to eighth and ramping down the intensity
then you can export the events data to an automation clip
The harmonic series of C refers to the overtones generated when you play a fundamental C. These overtones are naturally occurring and help define what we perceive as consonance. The harmonic series of C includes notes like:
C (1st harmonic, fundamental) C (2nd harmonic, octave) G (3rd harmonic, perfect fifth) C (4th harmonic) E (5th harmonic, major third) G (6th harmonic) Bb (7th harmonic, but it’s flatter than equal temperament) C (8th harmonic) D (9th harmonic) E (10th harmonic) F# (11th harmonic, sharper than in equal temperament) G (12th harmonic) A (13th harmonic) Bb (14th harmonic, again a bit flat) B (15th harmonic) C (16th harmonic)
Now, the G melodic minor scale is:
G - A - Bb - C - D - E - F#
Compare this to the harmonic series of C:
It shares G, C, E, A, Bb, F#, and even D appears early in the series.
The G melodic minor scale includes several of the prominent early overtones from the harmonic series of C, particularly:
G (3rd, 6th, 12th harmonics) E (5th, 10th) Bb (7th and 14th, though slightly off) C (1st, 2nd, 4th, 8th, 16th) D (9th) F# (11th harmonic-ish — although not exact in equal temperament)
Yes, G melodic minor does align more closely with the harmonic series of C than many other scales — especially because it includes many partials (or close approximations of them), including the somewhat oddballs like F# (11th) and Bb (7th/14th), which are rare in most diatonic scales.
So in a way, G melodic minor “echoes” the color of the C harmonic series more than, say, a C major scale does. It's an excellent observation if you're exploring spectral relationships or tuning theory.
Let's say you have a song that is originally 124 BPM (beats per minute), and you drag it into Reaper, which has the default project tempo set to 120 BPM. You then change the project rate to 200 BPM. Now, the question is: What is the new tempo of the song in this new project rate?
When you change the project tempo, you're effectively stretching or compressing the song to match the new tempo. To understand how much this changes the song’s tempo, you first need to find the percentage change between the project tempos.
The formula for calculating the percentage change is:
Percentage change = ((New Tempo - Original Tempo) / Original Tempo) * 100
Using the values provided:
Percentage change = ((200 - 120) / 120) * 100
= (80 / 120) * 100
= 66.67%
So, the project tempo has increased by 66.67% when the rate changes from 120 BPM to 200 BPM.
Now that we know the project rate increased by 66.67%, we can use this same percentage to adjust the original song tempo. The formula to apply the percentage increase to the original tempo is:
New Song Tempo = Original Song Tempo * (1 + (Percentage Change / 100))
Substituting the values:
New Song Tempo = 124 * (1 + (66.67 / 100))
= 124 * 1.6667
= 206.67 BPM
So, after adjusting the project rate to 200 BPM, the new tempo of the song is approximately 206.67 BPM.
By understanding how the project rate affects the tempo, you can calculate how much the song’s speed will change when you adjust the project tempo in Reaper. In this case, with a project rate change from 120 BPM to 200 BPM, the original song tempo of 124 BPM increases to approximately 206.67 BPM.
pkg install nnn (file browser)
mkdir -p ~/Documents/.vim/pack/bweew/start
lg2 clone nerdtree, vimwiki gruvbox, vim-orgmode
let g:vimwiki_list = [{'path' : '~/Documents/vimwiki/'}]
add that to your .vimrc so vimwiki can work properly
window manager tweaks, key used to grab windows ALT set it to none
in settings under keyboard:
alt super s = orca (most annoying thing ever its the first thing im going to remove I don't need to. it doesn't clash with anything I can think of but i remember it being really annoying and wasted a bunch of my time trying to figure out how to turn it off last time
xfce-app finder = alt f3
xfce-app fiinder collapsed = alt f2
xfce-popup-applicationsmenu = alt f1
xfce4-popup-whiskermenu = super L
xfdesktop--menu = ctrl esc
under window manager:
window operations menu = alt space
cycle windows alt tab / shift alt tab
close window = alt f4
toggle above = alt f12
toggle fulscreen = alt f11
workspaces = ctrl alt up/down/left/right
switch workspaces ctrl + f# ctrl f3 = space 3 etc..
was looking for a plugin called mda detune that was simple and sounded great found it on archive.org no installers needed from archive
cool mixing trick from sage audio.
It's similar to how compressors that have a high-pass filter built into the detection circuit before the threshold to prevent pumping.
tal use (ultra simple eq) is one option its a free tilt eq
these delays by arc dev noise industries are nice
dropbox linkthe guy who made that plugin makes folk dub shoegaze as terminal sound system
a beautiful machineMy top picks lately
cyclotron, et-301, dubb box, quilcom bfp, madshifta by tobybear, synthscience freezechamber, the oli larkin ones like gatecomb, the demo of endless series
opl3 bank editor
vinyl goddess
I want the bass patch from lvl 1 crush. cant do anything with vgm files.(plogue portasound could but hasn't been ported to linux yet) disco dsp opl loads sbi files. i think i could use opl3 bank editor to convert .snd files to work and even use it in adlib tracker.
and some more from today
ferric tds
