AROIOS
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Posts posted by AROIOS
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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
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The speed "AI music" has been improving at lately is truly impressive.
https://www.udio.com/songs/2G19zjD3rMHon3xvqbTdAv-
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12 hours ago, Thethirdapple said:
...In contrast, pushing equal increments of single bits yield the same result no matter how slightly i nudge the knob on a digital synth the increment is never in-between 0 and 1...
Sorry to break it to you brother. This is just typical urban myth pushed by sentimental illiterates and snake-oil salesmen who don't understand Nyquist-Shannon Theorem or Fourier Transform.
Our human perception has quite limited resolutions. And we are highly susceptible to our mental masturbation and external suggestions. There's a good reason double blind tests became standard practice.-
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On 4/20/2024 at 11:28 PM, DeltaJockey said:
...What's the general consensus on the best way to get through this without developing preset fatigue?
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Dissecting one preset thoroughly, will pay more dividends than casually browsing through a thousand.
Once we figure out what parameters contribute most to that preset, and how/why they shaped that sound the way they did, we can apply those techniques to programming hundreds of our own presets. It's a rewarding and empowering practice.
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21 hours ago, jazzpiano88 said:
To me it's clearly intentional for aesthetic reasons. Not unlike torn jeans and patina added to reproductions.
It's all good until they move from zippers back to buttons. That shit is easily the dumbest "retro" fetish. No one's gonna lift my zipper flap and applause my great taste on those "vintage" buttons! -
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1 hour ago, ElmerJFudd said:
I did notice the sloppy tuning on this record and was surprised by it. And then I thought, well you know - it’s almost refreshing given how locked into the North/South East/West grid everything is. 😉
Yes, a lot of our perception and judgement towards these frequency "deviations" are more results of "nurture" than "nature". My subconscious cringes every time it hear folks playing Blues notes on Classical pieces, despite my prefrontal cortex knowing perfectly well that there's nothing inherently wrong with that approach.-
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On 4/18/2024 at 2:40 PM, ElmerJFudd said:
Primrose Hill · James McCartney Primrose Hill ℗ 2024 James McCartney Released on: 2024-04-12 Composer, Writer: James McCartney Composer, Writer: Sean Ono Lennon
Someone needs to send Rick Beato this song, so he can make another episode complaining about the world coming to an end coz no one noticed that E note at 0:06 being out of tune.
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Consumer electronics are largely driven by mental masturbation. This applies to synths, cameras, smartphones (and Hi-Fi stereo systems before the 2000s, whatever happened to that market?). The fetish over analog (synths, vinyls) in the last 20 years is no exception.
I've hardly heard anything interesting done with analog synths in this resurgence that haven't been done between the 70's and 80's. The biggest difference between then and now is mediocre and talent-less nerds didn't use to have all the streaming infrastructure to broadcast their DAW-less fart sound tweaking self-indulgences to the world.
There are lots of advances in sound design in the world of VA and Wavetable synthesis. Too bad the genres in which these synths proliferate tend to produce ear-piercing noise instead of music.
At the end of the day, who cares what the latest trend is or what tasteless nerds fancy on a given day? Their impulse purchases and subsequent sales: 1) help manufacturers survive and keep offering cool products; 2) flood the market with cheap 2nd hand synths. (as long as we don't follow their fads).
I say, long live the clueless conforming nerds!-
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2 hours ago, CyberGene said:
It may be me but on a lot of modern pop/rock music I can’t really say if it’s in the major or the relative minor key...
That's clear clue for us to not obsess over the I vs. vi dichotomy on that particular piece.
Gospel often takes that kind of ambiguity to the n-th degree, and I LOVE it. Although I'm sure a Classical Theorist can always dissect those common-tone-based progressions down to modulations per beat, and "make sense" out of them. 😃-
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(TOTO) DAVID PAICH USED PSR SERIES
in The Keyboard Corner
Posted
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.