“Knödel die die Welt bedeuten” – Production Techniques

This is a track I did in the last few days. I’m planning to add some detailed description later, but here’s the track for now.

Before you listen, please consider that this track was (or is) a vehicle for trying new techniques with my stuff. Like with Komplete, semimodular synths (with and without MIDI interface), and Cubase.

It’s nice as a showcase for production techniques. But it’s not made to appear meaningful musically. With that being said…

Summary of Approaches

Part of the mixer, once the thing was about half-done.


  • Battery 4 did two drum kits, one acoustic and one based on samples of a Casio CT.
  • For the acoustic drums, I used my old Battery 1 Studio drums. For the Casio CT, I built a patch from The Machine library.
  • All of the acoustic drums included with Battery 4 suck. This is very disappointing.
  • The virtual instruments both for electric guitar and electric bass guitar are nice and allow you to get what you need really quickly.
  • The same can’t be said about Guitar Rig. I spent a lot of time trying to get a decent bass sound – to no avail. So I used other things for that.
  • Absynth and Reaktor are great things, if some hastily picked presets are any indication.
Setup whole
The main parts of the setup: computer and semimodular synths.

Elektron Analog Rytm

  • Works nice as expected, but…the Overbridge has some shortcomings, namely:
  • first (the small one): you need to confirm on the device that you want to load the plugin’s state into the device, and,
  • second (the big one): you can only transfer eight tracks in 16 bit, and even less in 24bit to the computer via USB. And no, this is not a problem with my crappy setup. Rather, a very disappointing (and uncalled for) limitation in the device.

DFAM Integration (and Komplete revisited)

  • There’s several ways to integrate this non-MIDI-enabled device with a very basic sequencer into a DAW setup and use more complex sequencing approaches (i.e. a non-“left-to-right” sequencer performance).
  • I used a sequence of gate pulses from a MIDI track to sync the DFAM’s sequencer to the DAW, recorded that onto an audio track, imported that into Kontakt, and used that as a beatslicing/shifting/stretching tool. Works, but is somewhat cumbersome from its workflow.

DFAM Groove.jpg

VCA Faders in Cubase

  • Tried that for the first time, and didn’t fully grasp it yet. The interaction with the VCA’d tracks becomes somewhat complex once you start to automate the link group. I still need to get how that works.

Audio Engineering

  • Interestingly, what came out of the mix in the end was compliant with EBU R128 if I pulled it up to the true peak limit. Lucky hit?

R128 Knödel

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