AROIOS
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Posts posted by AROIOS
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22 hours ago, DroptopBroham said:
Boomers gonna Boomer.
Nah, CyberGene dislikes "The Miseducation" and HipHop likely for the same reason I disliked Trance: Boring Harmony.
Both genres depend heavily on sound and rhythmic design, but often suffer from anemic harmony.
Luckily for us, it's an easily solvable problem. There's a plethora of Urban and Neo-Soul tunes with rich harmony driven by dope HipHop beats. And it only takes a few extra notes to turn Trance from manic noise into rad anthems.-
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2 hours ago, CrossRhodes said:
The 80’s have been in vogue for quite a while now. I’m even seeing 90’s and early 2000’s influence creeping back into music and fashion. Now I know how my dad felt when I first “discovered” Hendrix. 😛
Can't wait to see some NewJackSwing and R&B revival! Grunge on the other hand can rest in peace for all we care 😆-
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5 hours ago, RABid said:
What's interesting is the genres that they left off of the list.
Yup, it says a lot about those "expert"s' and "professional"s' pathetic taste. 😆 -
11 hours ago, CyberGene said:
...Apple Music experts and a group of artists, songwriters, producers, and industry professionals...
😆 That doesn't mean sh*t, brother. Haven't you heard enough garbage these "experts" and "professionals" pushed out over the last few decades? Why give two sh*ts about their opinion, especially when we don't even know they are?
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Just came across this dope E. Funk piece from the excellent Vaughn Henry. It brings me right back to the 80's. What an endorsement for UVI!
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Great voice, his "Driving Home For Christmas" is a staple of my winter playlist.
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5 hours ago, ElmerJFudd said:
AI software synth, trained on a huge body of synth patches.
Feed it a patch you like from a recording. It will recreate it with its own parameters. Not exactly right? The parameters are there for you to tweak until you’re happy with it.
https://micromusic.tech/
Free download.
IIRC, Synplant is another tool that does something similar.
All the example shown in the video are EDM-oriented VA sounds. I'm looking forward to these technologies being applied to physical modeling and waveform generation (from a scratch). -
8 hours ago, obxa said:
Cherry Audio rumored to release the Chroma on 5/14/24
Love to see the Roland JD990 & MKS70 as virtual. Haven't been too impressed with Roland Cloud stuff. I've got enough mono synths. I've always felt the PCM-hybrid sample type stuff (e.g. Wavestation) actually sound better in software.
Roland released a sampled version of JD-990 called "Anthology 1993". It covers all the factory presets and might fit the bill for folks not planning on tweaking/programming they own.
There's an excellent free synth called PG-8X that does a good job of emulating the Roland JX-8P. Stack two of them together and we have a decent approximation of the MKS-70.-
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2 hours ago, GovernorSilver said:
...Once the songwriter is satisfied with the song, MIDI can be exported to a DAW for further work...
Yup, the MIDI exports from these arranger boards are excellent for studying grooves of different genres. They also serve as catalysts for musical ideas. I often take a style and replace some of its tracks with my own sequence, it's a lot of fun.-
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17 hours ago, tapes said:
Off-topic, but this reminds me of the funky Michael Jackson "frog" synth bass (played by Phillinganes) from "Thriller". It was a cheapo Casio, used as is:
The frog layer is fun, it reminds me of Charlie Puth sampling random sounds around the house and using them in his arrangements:
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4 hours ago, GovernorSilver said:
Yes, it is possible for someone with the skills and experience of a David Paich (circa late 1990s) to make productive use of a Yamaha PSR-730...
Yup, not to mention that mid-to-top range PSR boards have had decent patches since at least the mid-90's. Their "Sweet!", "Cool!", "Live!" patches are often better sounding than their counterparts on pro boards. And by the time Tyros came along, it's simply silly to sneer at arranger boards for their patch quality.
I also concur 100% with David on arranger boards being excellent music writing tools. Martin Harris and team busted their asses to audition, transcribe and program tons of songs representative of their genre. For a musician, it's like having the original band behind some of the most successful tunes at your command 24/7. It's ironic how few musicians make good use of such wonderful resources.-
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I'm kinda curious what a 6 oscillator mini can do that 2 minis layered cannot achieve.
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17 hours ago, CyberGene said:
I meant the song’s most typical and recognizable features come from the horizontal movement of notes and simultaneous interaction between the two guitars. Almost like counterpoint. In Bach you can find that the counterpoint implies or outlines chords but once you play the chords (similar to what you did with the chords in Black Hole Sun), it just sounds entirely different and to me that means “non-chordal”. It doesn’t resemble Bach but rather relies on similar principles.
Well, you can devise those chords and they are obvious by the notes that are used but once again, if you play those chords it sounds like a different song to me. But it can be a subjective thing too. This song is really one of my favorites and I’m not a huge fan of synthetically transforming it into chords and scales for the sake of it, if it won’t convey the original aura of the song. But then, I’m contradicting myself too, wanting to “jam” over it. It’s not a jammable song, unless you want to completely turn it into something else 😞
It's all good. I have(had) my own "special songs" too that hook(ed) me magically but are actually pretty simple structurally if I break it down.
It's kinda like romance. We sometimes fall into relationships that friends and families find hard to reason about. The good thing is music would never put cyanide in our coffee or drag us through a divorce court when the chemistry subsides.-
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4 hours ago, D. Gauss said:
The arranger of this version was going down a similar path I demonstrated above. -
5 hours ago, CyberGene said:
@AROIOS I’m not sure that makes it recognizable. The issue is not that your chords are wrong but rather, the original song is not a chordal song. It relies on a horizontal movement, almost like Bach’s counterpoint, and not on jazz-like chord extensions. Besides, there’s not a single ii-V-I turnaround or something like that, and the guys I had been playing with at the time (including me) - we were not advanced jazz players and even such chordal reinterpretation would still make it almost as difficult as asking us jam over the Coltrane changes 😀
Theory in this context is only useful to the extent of helping us in make sense of a tune. My interpretation makes perfect sense to myself from a conventional harmony perspective, though I can see how it might seem irrelevant if you were coming from a Baroque/Counterpoint angle.
With that said, I don't see (hear) much Bach-ish counterpoint in this song, and I wouldn't call it a "non-chordal song". The chords are beyond obvious to my ears: I6 - bIII6 - bVII - VI5 - bVI - Vsus4 - I6 - I/bVII - bII.
Also, regarding "there not being a single ii-V-I turnaround", the bVI - V - I above is actually a common reharm twist of ii-V-I.
I want to refrain from advising against over-complicating things, knowing how much geeky fun we can have in harmony analysis. But if the Baroque angle didn't help your band improvise, why not give good ole jazz harmony a shot? None of the chords above involve obscure scales after all. -
On 5/2/2024 at 10:32 AM, CyberGene said:
...the guitarist said something along the lines of: I like it but for the life of me I can’t make sense of its chords, nor I know what to play over it 😕 Hard to admit that I feel the same way, despite being pretty comfortable with music theory and harmony...
The progression (in both the intro and the verse) is pretty run-of-the-mill, the mojo of the harmony mostly came from extending those chords.
First 2 chords are a common relative major/minor trick (I - bIII), the next 4 chords are a chromatic descend toward V . And the progression ends with a common Mixolydian descend followed by a chromatic passing chord to return to I.
Here's how modifying the extensions of these chords (without altering their functions) will bring them back to a more familiar sound. Clip #2 is the bare essence of them.
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On 5/2/2024 at 12:04 PM, Josh Paxton said:
...and it might even make you reconsider your dislike for the DX7 in straight-ahead jazz:
FM EP is just a sound, and can be programmed to be warm and expressive. Those who vehemently bash it are just snobs, not unlike a lot of "analog" cork sniffers. -
So I followed the tips from Tusker and GovernorSilver and got something useful out of layering 4 instances of Polysix with detuning.This is fun.
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Just came across a powerful and tasty drone bass demo on YT that reminds me of what Hans Zimmer and Howard Scarr did in The Dark Knight sound tracks using Zebra.
What other synths and sound design techniques do you find useful for these type of sounds? Thanks!
https://www.youtube.com/watch?v=Jkci5U5TV7A -
Tried it out briefly today. The GUI is slow AF to load; the filter is unmusical; it forgets the last used preset in Reaper...
The only use I found for it so far, is to add some sizzle to a synth bass patch.
There are easily a dozen excellent free plugins out there that: loads in no time; sounds great; and follows VST preset protocols properly. Behringer would have to pay me to use this piece of crap at its current state.-
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Youtube has recommended a couple of Bitwig videos lately, and I felt exactly the same way about its flexibility. This is definitely an overlooked piece of gem.
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4 minutes ago, ElmerJFudd said:
I think that’s what I am trying to ascertain. Is there a difference between recycling compositional elements and recording anew vs. sampling and actually reusing the inspired by recording?
For example, Taylor owns her re-recorded albums. The original masters are owned by Scooter Braun.
It'll likely open the floodgate and exacerbate the already litigious state of our society.
There's only so many interesting combinations of melody, harmony, rhythm and timbre out there after all. -
Biologists, Mathematicians and Physicists are already using A.I. to develop insights in science. In other words, A.I. is discovering new theorems, formulas and protein structures formerly unknown to human.
What I anticipate is:
1) A.I. creating novel/exciting harmony that no one has heard before. Music has been largely stagnant on this front since the 70's.
2) A.I. creating synth patches/presets by simply "listening to" a snippet of a particular sound. Some companies are already offering software along this route. -
1 hour ago, ElmerJFudd said:
I read an article this morning where corporates are already hesitant about using Adobe’s Firefly AI to generate their commercial artwork needs because about 12% of the artwork that Adobe trained firefly on is not royalty free material. So, what transpires when laws catch up to the technology?
It’s obvious that suno and udio have been trained on copyrighted material. What that means going forward. 🤷♂️
That sounds like a business opportunity for SoundHound and Shazam. In addition to helping users identify songs, they can help copyright owners scan A.I. generated music and then charge/sue the users/creators at scale.
It'll also enhance user experience for their existing users and finally achieve what Pandora and Spotify should have done better: "Finding songs that feature elements that resemble the one I'm listening to."
For example, here's a short list of songs that "ripped off" "What a Fool Believes". I've always wanted a software service that compiles lists like this automatically. But both Pandora and Spotify fall short of achieving this level of intelligence.
Robbie Dupree - Steal Away
Fenis Henderson - Making Love
Joe English - Midnight Angel Choir
Apple Music reveals Top 10 albums of all time... WTF?!
in The Keyboard Corner
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You are comparing apples to oranges, and then, potatoes.
I was talking about "The Reason" CyberGene disliked an album, not its "Cultural Significance", nor its "Popularity".
And it was a direct response to DroptopBroham's speculation on, you guessed it, "The Reason" CyberGene disliked the album.
Stay focused, brother.
Indeed, CyberGene owe us beer for that. 😃