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Cheers! Yeah if you spend a bit of time getting to know the internal Room reverb as you have, it can do some powerful things. I think my main beef with it is by default to me, unfortunately it does sound fake. It may be because I've used AD pretty much daily for nearly 10 years now and I'm just really used to the sound of it, so AD2's verb is instantly recognisable and therefore makes it easier to identify when AD2's been used in production. For me, that slightly defeats the purpose of using programmed drums, so I tend to bus it off to external reverbs with different qualities and textures to AD2's. My thought process or approach behind this kit is kinda loosely informed by Amon Tobin's 'Foley Room' album documentary where he talks about recording everything in a very dead, dry and almost anechoic foley room, to get the driest possible source recordings. Makes it possible to then colour the sound in any way you want and take it in any direction you can think of; so hopefully it's good for clean & dry sounds as well as giving yourself an easy platform to build up something more creative from.

cheers! I just threw this idea together quickly purely for this vid. I could turn it into a full tune and release it maybe 🤙

Now I think about it I've been using AD for over 10 years now too, jeez...🕣💀 Yeah I also love a low-tuned tom so that they sound basically almost like a 2nd set of kick drums. I find the Metal pack toms are the best for this as they recorded naturally tuned quite low or looser lugs, so you don't have to pitch them down digitally to get that same kind of result using toms from the other packs, in my experience anyways

That's a really good idea, I haven't really thought of that before even though you pretty much always get some bleed into each mic when recording a real kit. You can sort of emulate cross-talk with the Snare Buzz control in AD2, if you turn that up to full & then hit the Kick, you'll notice it causes the snare wires to buzz much like irl (you also need the Room or Overhead bus turned up to hear this)

@joshtrinnaman yeah I know the buzz control function of the snare and I use it a lot. But it just isn't the same as the crosstalk.

When you're in the piano roll all the kit pieces from AD2 get assigned to notes, the Kick is always mapped to C1 and the rest of the kit can be found on the notes going above it, up to like C6 or something like that. I have a short series about how to program drums that might help you out, its mostly in Logic but the same techniques apply in Ableton & I cover that as well th-cam.com/video/FhT796JhSAA/w-d-xo.html

That sounds really fun, loving the drumkit hooked up to triggered sounds and glitchy bits! i'd be interested how well the wireless midi controller might work for a setup like this and if its stable at a gig

@joshtrinnaman will let you know how it works out something I'm keen to ty out in the new year 🙂

Cheers, glad you enjoy!

Glad you like it!

Thanks so much!! we'd love to make more of these, I realised after filming that we didn't do any of the FF8 or 9 covers, so would love to add a couple of these at some point. Comments like yours go a long way 🙏🤜

It's gonna be an all-timer- what Josh has put together here is a testament to music , videogames + their relation and importance to one another. The design here takes risk, I heardto one of the others a moment ago- and was like this was great- wish there was more, then realize, yea the madlads made FOURTY OF THEM! fucking bravo! This is a mythic algorithm pull. The song choices, the instrumentation, the performances, the willingness to be expressive and free.

legend! happy to provide, glad you're enjoying the thpooooky vibes on this'un

Humbling to read, thank you! Yeah I went in pretty hard on the 40-track album 😅 it's definitely a scary/risky thing to approach covering, cos so many people love these tunes. But it's something I've always wanted to do & needed to get out of my system. Glad you're enjoying the direction me & my hooded figures here took it in. They don't say anything except 'reunnnionnnnn' over & over again, but I will be sure to pass on your kind words 🙏

🙏 thank you!

Thanks so much! There's a couple more tracks/vids out from the same session now if you enjoyed this one :) 🙏 th-cam.com/play/PL-kiON_oQKPBQ5kt10rle-Tekpf7CBBwA.html&feature=shared

Im not knocking your method. I just wonder the pros and cons to each method. I think you can do more with that fcb 1010 since it has 2 expression pedals and more buttons. You don't even need an audio interface for the pedal you can hook it up to computer via midi to usb cable

You don't need to buy an FCB1010 with this method and also don't need to press any buttons or anything, that's the idea. I didn't wanna have to buy one or have that as part of my setup. You just play and Ableton loops for you. Some people might prefer the manual control tho, so this can also work with an FCB or similar

@@Itsmejanstand you've missed something critical mate; you'd have to control an FCB1010 with your foot, and unless you've got more than 2 feet, you can't press more than 1 button at a time. With this method, you can trigger basically unlimited things at once (the equivalent of hitting multiple buttons or pedals simultaneously), you can also automate unlimited numbers of Expression FX -- vs the 2 that you get on an FCB. And you also don't need to lug a phyiscal device around with you, the idea is to do this kinda thing without needing the equipment and doing it with software instead.

🙏 let's mosey

🤜cheers for watching!

🙏cheers, glad you enjoy!

Awesome to hear from an FF fan. Glad you enjoyed :) there's a couple more tracks/vids out from the same session now in case you might not've seen them th-cam.com/play/PL-kiON_oQKPBQ5kt10rle-Tekpf7CBBwA.html&feature=shared

thank you man, appreciate the support again! :)

Happy to help & especially glad to hear that. I intentionally avoid doing those things as an experiment on my channel to see if it's as essential as most vid creators seem to think it is these days, and if anybody even cares/notices when it's absent

always heard it pronounced ahmen in the UK

It doesn't do it for you, but it has EQs built into it for the Texture sample & the dry signal so you can shape things around each other that way internally. Pretty sure it doesn't automatically sidechain, either

I seem to take a similar approach as you. The rides and other cymbals are only in the overheads and have no close mikes, so I treat them as Cymbal mikes, and have them pick up some hihat too. It seems a lot of engineers will get the sound in the Overheads and room mikes and then bring the close mike to level to balance the sound. As the overhead and room sound is baked into the recording in the real world, they have to get this right. But it's not baked in in AD2 so setting up a mix with these first would mean messing with al the knobs on each kit piece and be quite a lot of jumping around. Also I'm not sure I want a fully traditional sound, having my tastes been shaped by dance music, drum machines and samplers over the past 3 decades, and dryer deader drums also seem more of thing right now. So approaching it from dry kicks, snare an hats and building outwards works better for me too. I like running through the presets to audition individual kit pieces playing, as sometimes I find myself overlooking some kitpeices, but then finding they work in some presets. Analyzing just one pieces to see how to capture that character is more achievable then looking at the whole kit.

Click on the Preset Menu at the top & in the middle of the UI, go to the 'All Presets' category and scroll to the top, you should find the 'Initialize (Empty)' Preset there.

@@joshtrinnaman Version 2.5 doesn't have one!

​@@DL-kc2mw That's strange, I have 2.5 as well and can see it in there! I wonder if its possible I've got it as I've had AD since Version 1, if you've only just picked up 2.5 without having previous versions I'm thinking its possible they've renamed the Preset to maybe something like 'Default'. Should be in there somewhere.

What kinda stuff dyou tend to play at a real kit? Often times realistic grooves don’t work super-well applied to electronic sampled beats and so on, sounds like that might be the hurdle possibly. But worth practicing programming in parts you’d actually play naturally to get fluent with how it ‘looks’ on a grid or in a piano roll etc

I'm genuinely delighted to hear that, nice one! 🙏 I agree there's not much out there on the hyrid approach, so if there's anything else I could cover that would be fun or handy to know feel free to give me a shout. If you haven't heard of it before, you might wanna check out Full Fat Conductor, it's a Max for Live device for Ableton that I'm pretty sure would enable a semi-spontaneous para-linear Flow (love this name :D) www.fullfat.co/conductor

Another even more customizable option would be TouchOSC that would let you build your own interface essentially

LK Remote does work on Android and I’ve explored that setup before, but in my experience isn’t something I’d like to count on working reliably at every venue or gig; if you’ve got time to spare in soundchecks to make sure everythings working then that’s a goer, but can be a bit scary to be relying on something like that if you’re doing a gig where you only get a quick line-check, quick changeovers eg festival gigs. This is why I prefer being old-school & using actual physical Jack leads & audio cable connections over using WiFi or Bluetooth apps

@@joshtrinnaman Absolutely, The fewer points of potential failure, the better. And when you're performing similar or identical sets its easy to get those kinds of kinds locked down. I'm used to working in contexts that incorporate a lot more spontaneity and musicians swapping in and out and trying to keep as many things flexible on the spot as possible, but the workflow here is just super cool and i'm still definitely taking some notes for other future projects.

Link's in the description 🥁

Oooh yeah it's been a while since I've used that, but remember it being sick and would well in this chain! Thanks man 🙏

Cool way to record! Same room & group every time? Thinking a template like this could help save time on monitoring setups for sessions, if it's already sorted to everyone's liking / saved from the previous session 🤓

@joshtrinnaman Typically, yes. Actually having our next session this weekend. Spending my night trying to build a template to save some time and found myself back here! Thanks again for the video!

Using the Behringer UMC 1820 with the ADAT extension, trying to take full advantage. I think I have enough outputs to give everyone stereo!

@@samdavis4221 That oughta do it! Godspeed sir hope the setup goes well :)

Pretty sure it’s cos of Power Conditioners! They don't get talked about much by musicians / producers etc cos they're kinda boring, but very useful. Pro guitarists using Neural DSP plugins without noise issues likely have a power conditioner in their recording setup. Furman ones are pretty much the industry standard. Can see that Nolly GetGood has a Furman thing in his rack in this N:DSP vid (its the top unit): th-cam.com/video/uM8YUD7x3dA/w-d-xo.html They solve a similar problem you can get with pedalboards or powering 2+ pedals by plugging each one straight into a wall outlet or plug extension. Wall outlets don’t provide isolated, clean or ‘conditioned’ power, resulting in a very noisy guitar signal. This noise often worsens if you add and combine more pedals. An isolated power supply like a Strymon Zuma basically resolves this issue, so they’re kind of a boring-but-essential utility if you want to build a pedalboard: th-cam.com/video/4XRCjHxaYkc/w-d-xo.html It’s a similar principle in a recording setup. Powering a desktop/laptop, audio interface, speakers, possibly some rack hardware, a USB Hub feeding power to MIDI controllers, Portable HD’s, an external HDMI monitor, etc. If you plug this stuff directly into wall outlets or an extension, you can get stuck with this issue of noisy interface inputs & outputs. Adding N:DSP’s distortion & compression will raise up the noise in your interface’s pre-amps even more, so I think that’s likely why some of these high-gain tones can be wildly trashy, buzzy and humming intensely between notes; even with the Gate on, if that makes sense. If you don’t have a power conditioner, experiment with gradually disconnecting things from your laptop/PC and elsewhere around your room and see if the noise changes or goes away. Things like USB Hubs & Portable HD’s, external HDMI monitors, desk lamps, basically anything that draws power that is near you or could be on the same electrical circuit your wall outlets are on. e.g maybe a flatmate turns lights on in another room, and suddenly there’s a weird hiss. If you experience anything like that, it’s probably a bad power situation. I don’t have a power conditioner myself yet (even though I should), so I use this RX method to get around that. But is also very good for other stuff besides de-noising.

Thanks pal! Unfortunately I don't think so, you can use Plugin versions of all of RX's modules, so you could for example load up just the De-Noiser thing in Logic or Ableton on a guitar track in your DAW, instead of processing it offline in the standalone RX app like I do here. The denoising quality isn't as good when you're running it real-time as a plugin, which is why I used the standalone method -- pretty sure using the plugin probably adds a significant latency too, so its more of a thing to fix a recording in post rather than as a live tool

Ikr, their tunes are incredible. 😅 considered making a video about that here but not sure

@@joshtrinnaman Would be interesting to hear your thoughts on that!

Really happy you think so & glad somebody spotted this! My version of Terra / Bran Bal was causing a copyright notice thingie on this video (it wouldn't have affected my channel apparently, but I didn't want to risk this) - just wanted to avoid any potential issues so I took it out of this vid. However you can find the Terra video on my site, if you scroll down a bit on this post announcement about the album :) www.joshtrinnaman.com/post/release-announcement-2

Haha cheers! I love it as a live set opener because that bassline starting so sudddenly & loudly often visibly startles at least 1 person at every gig 😁good tune to wake an audience up

Yeah they can work nicely! I use a Behringer Miniamp800 sometimes, because I can connect from my interface's outputs 3&4 with two patch cables to the inputs of the MiniAmp, to get things in Stereo with less fuss. To do this with the MA400, I'd have to connect a single stereo jack cable from my interface's Headphone Output port, not the back 3&4 outs - which is kind of annoying, as routing things within Ableton specifically to the headphone port isn't really doable. Would have to mess about with the interface's internal routing & software, which is also bit limited for options on this Scarlett thing