Eyup Seb, the huge obstacle for me isn’t creativity. Starting out recording everything digitally/rendered with a Virus TI2 I laid the groundwork for some great music. Productivity was high and I was loving life. It all fell apart when I tried to do the same with analog synths, particularly with software editors, it has become a nightmare. It seems Windows is flawed and going Mac isn’t stress free either. You seem to be achieving the impossible with iPads and Windows as live editing software. Multi-client software seems to be a big fib. Please spread the analog synth love by helping us lesser mortals actually get some music out.
No, you are completely right. Software editors for synths tend to be very buggy. I can never get the VST editors working properly, so I usually run the standalone editors alongside Cubase. The challenge with the iPads again is to get the wireless MIDI (rtpMIDI) working. When I start them up I always have to shut down and start up the system in a certain order, otherwise it won't work! If TI2 was working for you, then I would suggest you to go back to that. That is one reason why I still use Cubase 7.5, because I have everything working now and I don't want to do any changes that can risk that. So I would suggest use something that is working as a backbone for your work, and then you can add on top of that other synths and work slowly towards getting a larger system to work.
Another masterclass in Sound underpinned by very detailed structure, analysis and technique....Totally admire the attention to detail and resulting perfection!!!
I am not a musician but I am an electronician and I understand about audio and signals. That was very interesting to see how works a professionnal! thank you Kebu 😉
What is most amazing to me is that you can pick apart a tune and then work on ways to emulate each little element. I love this kind of music, but I'm no musician and I just hear the major parts without appreciating how they break down. When you say your computer isn't powerful enough at some point, it's proof that some human minds can exceed technical limits.
One of the things that I always found funny is how you choose voices because it sounds super cool, but when you mix it with the others, everything sucks, and then you try with another "not so cool" sound and the magic happens. A few legendary songs to me, just as suggestions: -No Tengo Tiempo (con los dedos de una mano), by Azul y Negro. -Nothing to Fear, by Depeche Mode. -Chronologie part 4, by JM Jarre (I always wanted the drums to be a little bit more punchy). Super interesting your cover breakdown videos. You are a wizard revealing your secrets.
WOW!!! I just love to see the knowledge and passion you put into the music. Pleeeeease continue posting this in depth videos and keep rocking. So fun to hear the music i fell in love with in my twenties.
Hi Kebu. I have listened to dozens of synth / keyboard artists on youtube, and you by far have the most polished and greatest sound. You are truly a master of your craft and your videos are a huge inspiration to me and my own synth / keyboard journey :)
( ¡¡ Exelente Sebastian, siempre te sigo en todas tus creaciones, sea interpretación de tercero cómo también tus creaciones !! Desde Tacuarembó Uruguay 🇺🇾 !! ),,🙋
High quality demo. Maybe not something you'd think, but for me personally, you are a great representation of contemporary genius from Finland, among other values I attribute to your country.
I can't begin to understand the technical details/processes here, but I really appreciate your passionate pursuit of the "right" end product and also your incredible musical ear. Oh, and the cow bell! Fantastic insight as always; thank you for sharing.
Dear Sebastien, you are a gift, hugely appreciated and looking forward to the continuing series. Props to MES for recognizing a national treasure. I always end my posts to you with the standing invitation to please come to the US, you can stay at my house. :)
Intuition, creativity, knowledge and skill. Mix these elements and add vision and you get Kebu! I can't say enough about your many talents, but I know one thing.....I love and enjoy your work!!!! Will Ortiz
Interesting workflow. I came here from the finished video and did like it - I set it on loop for a bit! I noticed the layers sounding not quite blended through headphones(and these aren't fancy headphones, for long computing sessions, I always use Sony MDR-ZX110s because they are super light) and think this ultimately comes from the initial recording being focused on, as you say, getting the sound in a place where it's mixed before you record. That leads towards stacking up a lot of stuff since every addition is a little dopamine hit, and when you cut it down later to fit it in the mix, you're managing material that's basically "dirty" with a lot of interfering timbres. The alternative I've sometimes used is to pre-plan a set of submixes that are locked in from the beginning, before you even know what sounds you're using - hard cut frequencies, effects already dialed up to all but ensure that the frequency spectrum will *always* look a certain way. Driving your synth patches through those makes you make different choices with the synths themselves, often simpler ones because you've already shaped it to do exactly what it needs. It needs trust in your arrangement, but it can make for a really simple, legible process.
Do you ever get dirty plugs or switches maybe you could do a video on how to clean a synth without destroying it!! And also love these videos this is exactly what I needed to learn!
Thanks for the suggestion. However, there are already quite many synth repair videos online, so I don't think I can bring anything new. For instance, check out the videos by @markusfuller or @syntaur . Also, I'm not a service tech, so I don't want to give advice on repairs, as some of the methods I use may be flawed.
I lost count of the number of layers of filtering/processing steps you used in order to tame e.g. the hi-hat or to bring the bass where you wanted it. Is it easier to just add on another mastering pass, than to go back to the original tracks' recordings and tweak them once there?
I would have to rerecord the stems or submix, depending on at what stage I'm working, so yes, it's easier to fix what I have than rerecording, because I probably would get some other problem instead if I rerecorded it. It's the additional submixing step that made this a bit clumsy way of working, and the fact that I wasn't mixing through the master bus compressor.
@@kebu That makes sense to me, as if you r workflow means recording each stage of the mix/processing, then using that as an input to the next stage, and thereafter ignoring the earlier steps' recordings. It's not as though it were a software maintained dependency tree, where changing something in isolation at an input or configuration item could automatically recompute all the intermediate results all the way into the final audio track.
It looks like you have a 49SL MK III midi controller in front of you. Do you use the hardware profiles feature of this controller to change parameters on some of your synths that support this sort of thing? I'm looking for a controller and was torn between this one and the Behringer Motor from ten years ago.
Glad you like my music! You buy it directly from me if you buy it from my Bandcamp store. Put a comment with your order that you would like to have it signed: kebu.bandcamp.com/
Mestari? Ja meillä on vaihtoehto, jos Venäjä hyökkää meihin. Anteeksi kysymykset :-)? mutta kyse on sähkön puutteesta ;-)) Ystäväsi ZibiKropla :-) Puolasta
