AROIOS

I'm the biggest sucker for that Westcoast juiciness. Jay Graydon, Toto, David Foster, Jerry Hey...etc were on fire in the late 70's/early 80's.

Let's see how long it takes til a few politically correct folks jump out to deny your observation of declining music taste, and to try gaslight you into believing that everything is fine and you're simply stuck in the past. 😃

1) A few politically correct folks here will correct him about the "state of the industry". In their eyes (ears?), everything is fine and will be fine, he's just stuck in the past. 2) A circle jerk organization won't solve the problem for Ted. The average listener's taste is much more a result of "nurture" than "nature" (let's see how fast someone jumps on this with their statistically insignificant anecdotal rebuttal). To "nurture" a generation of paying listeners, you need to control the gatekeepers and channels. Too late, they've all been consolidated. 3) Technology has enabled anyone earning minimum wage to create amazing music. If people like him are not after fame and money, why not make money elsewhere and just enjoy making great music (that no one hears or enjoys, I know, I know...🤣) 4) Taylor Swift IS part of the problem he's bemoaning, why on earth would he beg the problem to solve itself?

Just discovered Anthony's YT channel thanks to Dr. Mix. Here's the OG breaking down the synth bass on Michael Jackson's PYT.

Just found an even simpler trick. Turns out Reaper allows linking parameters from the same synth/plugin. To link "Amp Attack" and "Mod Attack" for example, simply wiggle the latter, click "Param" and select "Parameter Modulation/Link". At the bottom of the pop-up window, check "Link from MIDI or FX parameter" and select "Amp Attack" from the list. And voila! Amp Attack slider now affects both envelopes. Now we can apply this trick to any synth, save the project and have our "linked envelope" version. Cheers.

@konaboy Looks like if all synths have an option to link the controls on Amp and Mod envelopes, everyone would be happy. Short of writing that into law, we can achieve what you're looking for with some hacks (on soft synths). With external MIDI controllers, we can simply MIDI-Learn the same CC on multiple parameters. E.g., assigning CC21 to both the Amp Attack and Mod Attack. Now turning the same knob/slider moves both parameters. In DAWs, we can create an on-screen knob/slider for that CC and achieve the same result with mouse moves. (example in Reaper attached below).

K K said it most succinctly. I think a big part of why some folks might consider separate ADSR envelopes redundant, is because human ears are more sensitive to higher frequencies, and low-pass filtering tend to create the perception of reduced volume/amplitude. To demonstrate why we would want separate envelopes for amplitude and filter, I've created a simple comparison below. The 1st sound has a slow attack applied ONLY to amplitude; while the 2nd one has the the slow attack applied to BOTH amplitude and filter. Everything else remains the same. As we can hear in the attack phase of both sounds, timbre doesn't change in the 1st sound. If we only has 1 envelope, we would be stuck with only the 2nd sound. Envelope Demo for Woody.mp3

The chord progressions in the first 40 sec are exquisite and soulful, they immediately remind me of some of the finest Brazilian-Jazz/MPB.

The kick and snare in the FS1R video are surprisingly good, especially for 80's styles. Yamaha would have doubled DX7s' already massive sales if they had those patches back then.

Small nit: The "Genie in a Bottle" kicks are 32nd instead of 16th. I love Paolo, but boy did he listen to some of the worst crap from the 80s/90s.

The progression below just popped into my mind, and the chord in question is without doubt producing a diminished sound in this context. It echoes what you and CyberGene commented about the separation of melody and chord movements in Jazz, and not getting too hung up on incorporating the former in our notation.

You quickly paint yourself into a corner with that level of rigidness though. Try play "a Cmaj9 chord with an E in the bass" and see how long you can insist that it "remains a C chord" before giving up. 😃

Yes, although they don't cover the E or A# notes in Bill's voicing, #C7#5 and #Cm7#5 (if that's what you meant by "-") are both good alternatives as subdominants in this context.

Yeah, II subdominant chords were the usual suspects I first considered. While A/C# or A7/C# would be a viable alternative for #Cdim7 in this context, I don't think the distinction between a dominant chord and diminished one is over-complication. They are two different sounds and could mean all the subtlety between a progression sounding classical versus jazzy, stylistically. I love the #F/D idea you mentioned and extended that further chromatically (bar 1 &2 below). It totally reminds me of Edgar Winter's "Frankenstein". We can also add a parallel line of 5th, to make it sound even hipper (bar 3 & 4 below). Now try shoehorn this progression into the Baroque framework 😃

I love this angle. It opens doors to modulations. For example, the one below.

Your suggestion got me into a bit of reharm fun. The result is the progression(s) below. I love the Lydian sound in the first one, it's got that late 70's/early 80's hip vibe which I totally dig. And the second one shouldn't have worked, coz the root #F is not part of the #A lydian scale. But boy do I love the resolution as a result of the II-V root movement and voice leading in the upper structure.

Agree with you 100% on this, CyberGene.

Agreed, the function of these chords are so vague, not even $1,000 is gonna move me to put chord symbols on them. 😆

I agree with everything you said, Dave. And I'm also a big fan of that hip bB-#C-E-#F-A sound. It works very well with D as root, in the context below for example.

This is closest to the mental sound I hear.

Yup, this angle makes sense to me, in the same way as the m6#5 I mentioned. #Cm6#5 can easily be seen as an alternative to #Cm7#5, which was discussed extensively in ReezeKeys' post from a while ago. I've always considered #Cm7#5 equivalent of Aadd9/#C. So it's easy for me to view #Cm6#5 as A(7)b9/C as you mentioned.

Just came across an interesting chord Bill Charlap played inside a IVmaj9-V13sus progression. How would you name the 4th chord below? I'm leaning towards #Cm6#5 and #Cdim7#5.

Yup, I'm having a hard time finding the vintage keyboards he used.

Dance music is rarely discussed here. I think the hidden gems below would expand everyone's marketable skills significantly. Enjoy.

Thanks for sharing your experience with guitar-triggered patches, KuruPrionz. I'm looking forward to hearing them in your compositions.