AROIOS
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Posts posted by AROIOS
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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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58 minutes ago, Aidan said:
Sorry to have to share that Peter Baartmans, Yamaha’s ultra talented and exuberant Genos and Tyros demonstrator, has passed away. Peter was out on the road demonstrating Genos 2 throughout Europe only a few months ago but apparently had an aggressive cancer of which he was unaware. As well as a being a brilliant musician at home in many styles of music, Peter was a great communicator (speaking many languages fluently) and a genuinely nice guy too. A big hole has opened up in the Yamaha family. RIP, Peter.
Very sad news, I'm a big fan of Peter. May his gentle soul rest in heaven. -
13 hours ago, Reezekeys said:
I always thought they had the same sound engine - the JV1080. The sound data was certainly compatible, notwhithstanding some model-specific diffs, e.g. # of outputs.
1080/2080/1010/30/50/60/80 are the "Super JVs". He might be referring to the original JVs (JV80/880/90/1000 etc)-
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1 hour ago, Reezekeys said:
Nice fat sound you got there! Three basses seems like enough to do the job too.
There's another way to do this – a small amount of LFO modulating pitch at slightly different rates on each synth voice. I would put a delay on the offset of the LFO so the attacks are all together and in tune.
Glad you liked it, Reezekeys, and thanks for the new tip. I'm gonna try it out in my next synth bass programming adventure. -
4 hours ago, jazzpiano88 said:
I would say this bass patch would have made the recording at least 1.414x nicer. The Bass sound w/ attack minus the bass muddy sustain is perfect.
Back then the artists and producers wanted huge bass, which completely destroyed the mastering mix. So they included such BS Bass sustain from that original Stem attached above. What they didn't understand is that they only really needed the high frequency components of the Low End, which is what the patch from AROIS achieves. Instead they ended up with what was like Cellos playing vibrato sustaining in the background which is complete mush and had to be mixed out but retaining a crappy DC component that ended up degrading the overall recording.
So on the Cetera "Next Time I Fall" recording, like, who is going to complain? It's 1985!!! Who's going to go "Omar, the Keyboard Bass is too muddy and overpowering....can you ease up on the number of TX816 channels you're using to overload the console over Amy's rich vocal"??? No. They knew her vocal baritone components were getting shrouded but no one knew why.
It wasn't until a few short years later that mastering and mix engineers realized that they needed to open up the low end to allow the low end to breath. You can always add low end later, but if the low end is dominated like the original droning sustain (growl / swirl as described above) bass Stem shown up above, it saturates the mix from that track from the start and there is no recovering.
So the Bottom Line: Be that as it may, the Cetera tracks are great, but could have been even better. If there was swirl on the bass, but not on the Electric piano, something was wrong.
Glad you enjoyed the patch, jazzpiano88. And yes, the original bass is more impressive in isolation but could be a PITA to tame in a mix.
The mix engineers behind so many of these Pop and Rock hits don't get nearly as much recognition as they deserve. Only after listening to a lot of the original stems, did I realize what crude materials they were dealing with back in the day. -
21 hours ago, Reezekeys said:
I'm gonna guess that swirly sustain on the bass is eight DXs... yes the TX816 which I saw a lot of in studios at that time. You take one patch, put it on all eight modules, and detune them slightly from one another. That's the "swirl." This was done with many FM sounds, to fatten them up.
@Reezekeys so I layered 3 FM bass patches today and got a sound similar to "Glory of Love". This opens a new door for my synth bass programming. Thanks again for the suggestion.
Here's a quick demo of it:-
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8 hours ago, kpl1228 said:
This has always been a cool mystery bassline to me. Analog? DX7? Real fretless bass? All of the above plus a chicken?
It's DX7-y, but not sure. Thoughts?
Sounds like the DX7 factory preset "Fretless" from ROM #3, i.e. the "Take My Breath Away" bass.
Here's a quick demo of it:-
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3 hours ago, Mark Zeger said:
Re: “Next Time I Fall In Love”, allow me to segue to its writer, Bobby Caldwell. Love his music. His album Heart Of Mine generated hits for Cetera & Grant, the title cut for Boz Scaggs, and “All Or Nothing At All” for Al Jarreau. Those are 3 of the first 4 songs on the album!
Besides being a great songwriter, he's also got a distinctive Blue-Eyed-Soul voice. My favorite cover of The Emotions' "Don't Ask My Neighbors" was from Bobby.
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1 hour ago, Reezekeys said:
I'm gonna guess that swirly sustain on the bass is eight DXs... yes the TX816 which I saw a lot of in studios at that time. You take one patch, put it on all eight modules, and detune them slightly from one another. That's the "swirl." This was done with many FM sounds, to fatten them up.
That's a great idea. I've done it with electric piano patches for years but never thought of applying it on FM basses. -
7 hours ago, dalpozlead said:
can we say this is the "real" stem? if so, is it coming from the old "Jammit" app, or something similar...?
Yes it is, with volume normalized/compressed. It was ripped from the game Rock Band.-
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14 hours ago, tapes said:
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The bass sounds hilarious by itself, but Foster wrote such great songs.
That's one of the biggest arrangement/mixing lessons I learned from transcribing and listening to original mix stems of my favorite Pop tunes: Density management.
The individual parts of those tunes are often much simpler than I thought or what I would write. It's the brilliant interplay among these simple parts, plus the genius of the mix engineers, that turned those parts into a final product greater than the simple sum of them.-
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14 hours ago, tapes said:
Funny, I never even noticed the odd long decay on that bass until hearing that isolated stem! Back then they used to combine FM (DX and Synclavier) with a MiniMoog, like on 'Thriller'.
That long swirling decay is the most definitive feature of the 80's/David Foster style power ballad synth bass. It fills up the sparse arrangements in the verse of a power ballad much better than a real bass could.
And yes, bass layering was common at the time. "Thriller"'s bass was actually done on a ARP 2600 with a Moog ladder filter. So Minimoog can definitely do a convincing job of covering it.
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5 hours ago, J.F.N. said:
Great demonstration of emulating analog filter and pulsation with FM, thanks for the share.-
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Bitwig Studio 5 Is Surprising Me
in Craig Anderton's Sound, Studio, and Stage
Posted
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.