06-03-2023, 06:43 PM
IFF any of you excellent peoples have used these I'd really like to know how you handle a few things.
I found 2 Stylus multis that combine extremely well. I was inspired and thought I'd load Trillian and start playing with a bass line. WTF? this doesn't sound right! The tonal elements in the Stylus multi sound like they are tuned between 2 semitones. OK no problem they have a global pitch control I'll just adjust that by 50 cents and I should be good. NO! OK I think I get it. The bass patch is modeling a real instrument and I expect an upright to be very slightly sharper on the attack than on the sustain. The drone in the multi is also slightly slurred and in this case the two aren't playing nice. I can think of a few things I can try here but the incident leaves me with 2 questions.
How do people generally use these in their work flow how much can you change the pitch of a rhythmic element with a tonal component before it changes its character as a rhythmic element per se? This appears to be less flexible than I would have thought.
Also how do percussionists generally handle this? I get that it's quite doable if you have a drone that's basically functioning as a pedal point even if it's not the current root but that seems to place some harmonic constraints.The kids seem to accept this when they make stuff that has sub bass cause there are only a narrow range of keys you can use before the sub will loose its character by either getting too high and colliding with the more melodic bass elements or by dipping below most systems' ability to physically output the frequency.
I'm not asking anyone to RTFM Stylus for me but I'd love to know if anyone has come across this and how they approach the problem in general.
One last unrelated question. How do you generally handle polyrhythms like 4:3 Do you set the project to 12/8
or stay in 4 and use triplets? Folks rolling their own seem to like 12/8 but I could imagine that could possibly cause confusion for Stylus even though I created a trivial midi file in 12/8 and Stylus's "groove lock" didn't seem to choke on it.
Please and thank you,
mous
PS
Eric Persing may look like an ex collegiate linebacker from the mid west but holmes is a stone genius as a programmer and a musician and his company is ethically a cut above everyone else in the space. We see you UA and we're tired of you pimping your plugs right in the middle of our damn sessions!
I found 2 Stylus multis that combine extremely well. I was inspired and thought I'd load Trillian and start playing with a bass line. WTF? this doesn't sound right! The tonal elements in the Stylus multi sound like they are tuned between 2 semitones. OK no problem they have a global pitch control I'll just adjust that by 50 cents and I should be good. NO! OK I think I get it. The bass patch is modeling a real instrument and I expect an upright to be very slightly sharper on the attack than on the sustain. The drone in the multi is also slightly slurred and in this case the two aren't playing nice. I can think of a few things I can try here but the incident leaves me with 2 questions.
How do people generally use these in their work flow how much can you change the pitch of a rhythmic element with a tonal component before it changes its character as a rhythmic element per se? This appears to be less flexible than I would have thought.
Also how do percussionists generally handle this? I get that it's quite doable if you have a drone that's basically functioning as a pedal point even if it's not the current root but that seems to place some harmonic constraints.The kids seem to accept this when they make stuff that has sub bass cause there are only a narrow range of keys you can use before the sub will loose its character by either getting too high and colliding with the more melodic bass elements or by dipping below most systems' ability to physically output the frequency.
I'm not asking anyone to RTFM Stylus for me but I'd love to know if anyone has come across this and how they approach the problem in general.
One last unrelated question. How do you generally handle polyrhythms like 4:3 Do you set the project to 12/8
or stay in 4 and use triplets? Folks rolling their own seem to like 12/8 but I could imagine that could possibly cause confusion for Stylus even though I created a trivial midi file in 12/8 and Stylus's "groove lock" didn't seem to choke on it.
Please and thank you,
mous
PS
Eric Persing may look like an ex collegiate linebacker from the mid west but holmes is a stone genius as a programmer and a musician and his company is ethically a cut above everyone else in the space. We see you UA and we're tired of you pimping your plugs right in the middle of our damn sessions!
