AROIOS
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Posts posted by AROIOS
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25 minutes ago, jazzpiano88 said:
WTF is MIB 3?
3rd movie in the "Men In Bikinis" franchise-
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14 minutes ago, jazzpiano88 said:
...vocabulary only includes major and minor chords and the most awkward/lame voicings...
😃 That should be part of Neo-Classical's WIKI page. -
21 hours ago, musicbysterling said:
I'm learning a very cool JT tune, Every Has the Blues and there's a two bar chord progression at 1:19 that has me stumped on the last 2 beats of second measure. I hear the bass line as B C C# D E F F# resolving to a G. The chords I think I hear are Dmin/ C Eb/D G/D, but just can't figure out what chord is over the E F F#. Any better ears out there that can help me? Thx!
It's a classic Blues/Gospel progression: I - I7/III - IV - bVdim7 - Vsus, and then VI7 followed by two passing chords, bVII7 and V7, moving chromatically back to I or I7.
The 4th chord in this pattern is usually a bVdim7 (bD--|G-bB--bD-E). This performance featured a hipper, Lydian sounding alternative, by keeping both a diminished 5 and a natural 5 in the voicing (bD--bA-bD-bE-G).
The VI7 in this performance was also played hipper than usual, with a Lydian sounding, open, quartal voicing of (E--bA-bD-bG-bB), instead of (E--bA-B-D)
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1 hour ago, Bill H. said:
...I don't know how anyone could have avoided it all these years...
Never heard that boring tune either. It's as simple as cutting commercial Pop radio out. -
2 hours ago, jazzpiano88 said:
...He can only play in one idiom well, and I’m not even sure what you’d call it...
Neo-Classical Shred-
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10 hours ago, CyberGene said:
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What do you think?
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Lipstick on a pig -
12 minutes ago, Iconoclast said:
...Counterintuitive when I consider most of my music equipment to be a huge sunk cost
Just hold them for 20 years. The next generation of sucker... ahem...I meant players, will take out a loan to make tasty bleep and fart sounds with them. -
18 hours ago, GRollins said:
AROIOS,
I'm not trying to smooth the transition. It already works well both ways, A to G and G back to A. I'm trying to decide where to go next.
...
Some of you might remember an OT thread I started in '21 after my daughter died...
Sorry for your loss, GRollins.
Attached below are 3 examples of how I would use common tones and voice leading to decide where to go next after a I - bVII lydian progression.-
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On 1/11/2024 at 3:04 PM, Docbop said:
I never heard of this guy before but this interview and studio tour was really interesting to me. I was really blown away at the end when he gets into his new DAW he's using for his HUGE 900 track film project. Then at the very end of the video Christian Henson pops in and say all this is being run on a M2 Macbook Pro.
Thanks for sharing this amazing interview. What a lovely space he has in the attic!
It's heart-wrenching to hear (and see) Andy recount the fire damage. The brief demo of his workflow in Cubase and Halion is a great endorsement of Steinberg. -
16 hours ago, MathOfInsects said:
...A "dorian" means nothing as a mode, it only describes the collection of notes being used by that chord...
Small nit: A given mode (and a given scale) often has a unique sound, which can be heard in many of the chords derived from that mode/scale.
Ionian has a "centered" quality defined by the major third from the root. Aeolian has a "sad" quality defined by the minor third from the root. Lydian has an ethereal quality defined by the major third and a tritone from the root. Dorian also has an ethereal quality defined by the minor third from the root and a tritone above that (kind of a "minor Lydian sound"). Mixolydian has an "untamed/unresting" quality because of the dominant 7 from the root.
If we expand our scope beyond the Diatonic scale, modes in Melodic Minor and Harmonic Major/Minor scales are even more flavorful. To say they "mean nothing" in isolation would be an understatement.
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19 hours ago, GRollins said:
...can someone point me to equivalent guidelines for progressions that go from major (Ionian) to Lydian to...whatever?
Grey
Common Tones + Voice Leading will offer all the power you need to handle situations like this.
A -> A/G (G Lydian) is the one of the most common progressions in Pop. There are 6 common tones between A ionian and G lydian. You don't have to do any more work, the transition is already as smooth as it gets.
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9 hours ago, 16251 said:
I was listening to a Jackie McLean album and wanted to ask a question about pitch. I like him and have some of his albums (based on who is playing piano,) but his pitch hurts my ears. Even to my less than perfect pitch ears, he sounds sharp.
Q - anyone that know Jackie's music and have a strong pitch experience trouble listening to people that play out of tune?
It seems to be a feature of many "serious" jazz recordings, along with terrible recording/mixing quality.
In contrast, I don't recall ONE Pop Jazz recording that's out of tune. -
22 hours ago, Konnector said:
I think the main issue with that snare in the video is not so much the sound, but the fact that it's waaay too loud in the mix compared to the rest of the drums. Sticks out like a sore thumb. Not a good balance.
Yup, the volume, sample selection and mixing technique are all off. The original featured a typical 80's gated-verb big snare (1:25 below).
Speaking of 80's big snare (Robert "Mutt" Lange style), it's a signature sound in 80's Pop and Rock styles. Yet I've never seen (heard) any arranger boards do it right.
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11 hours ago, pjd said:
...The "ActionAnthem" style uses the AnalogT8Kit and the new Ambient drums RockKit. The channels are run through the Uni Comp compressor effect and the Ambi kit probably has some level of ambience dialed in.
The "OrchRockBallad1" style uses the new OrchTimpani voice and the new Ambient drum DirtyKit. The DirtyKit is going through the newly added multi-band compressor effect.
There's lots of sound shaping tools available. I'll grant ya, the Ambi RockKit is largely the old Revo kit with new ambient samples added.
Hope this info helps -- pj
Thanks for the info, pjd. You are the man when it comes to anything related to arranger boards. -
23 hours ago, Mighty Motif Max said:
Interesting - I’ve owned numerous current and past keyboards from Roland, Yamaha, Korg, Kurzweil, etc, and to me, overall Yamaha has by far the most realistic sounding drums. They still pale in comparison to drum software of course (I use Addictive Drums 2), but they’re not very far beneath, say, Roland’s current electric drum lineup (I own a TD17-KVX). I did like Korg’s crash cymbals on the Jazz kit introduced with the Kronos, but that’s about it.
Yup, I didn't have much complain about the main acoustic snare on my MOTIFs.
And yes, I have yet to hear a "record-ready" drum kit on any keyboard I've touched. Even some of the 90's AKAI/Roland sample libraries sound better with a bit of tweaking in DAW. -
8 minutes ago, GovernorSilver said:
The snare sound used in that Top Gun cover does not sound like an acoustic snare to me. It sounds like a sample of a drum machine (synthesized) snare. I'm not sure which drum machine - maybe a Roland TR-909?
Took a quick look at the Data List for the Yamaha PSR-SX600, which I own. It definitely has multiple drum kits to choose from, ostensibly for various genres such as rock, jazz, etc. I think Yamaha wants me to use this software for creating custom drum kits with samples of my choosing: https://my.yamaha.com/en/products/musical_instruments/keyboards/arranger_workstations/psr-sx600/yem.html. I don't think I'd use it, however, in the near future. I'm content to export MIDI from my arranger to a DAW, then swap out sounds as desired.
For aficionados of acoustic snares, there are software sample libraries that would likely satisfy you more than the onboard drums on most arrangers. Yamaha and Korg tend to reserve their very best sample libraries for their most expensive arrangers.
fwiw, I have no plans to use my arranger in a live situation.
I think you're hearing the TR-808 snare in the verse of that tune. The "sh*t" snare I mentioned strikes at 3:35 and is definitely an acoustic type.
And yes, there are usually well over a dozen different drum kits in these arranger boards. Ironically. I never had much complain about those kits other than "Standard Kit1", which is arguably the most used kit on an arranger board. Even from a marketing perspective, any manufacturer with half of a brain would make it, and especially its snare, sound as good as they can, if only for a good first impression. But nope, not the case with the pro-PSRs and Tyroses.
It never bothered me back in the days coz the S700 costs only $1000. My ears got spoiled by all these excellent $50 drum libraries over the years, to the point where I hear a 90's-Rompler-quality snare on a $4000 board, I can't help but go WTH. 😆
First World Problems, I know, I know. -
24 minutes ago, ProfD said:
I have no idea of how much editing capability exists on those KBs but if it does, sound shaping and/or tuning those snares could tighten up the sound.
Another thought is those arranger KBs should have several drumkits. Again, if editing is possible maybe snares can be swapped out into a customized kit.
Otherwise, Yamaha deserves an azz whipping if that's the only snare in those KBs.🤣😎
Snares are one of those sounds where character of the original sample(s) matters a lot ( on a second thought, what kind of acoustic sounds aren't? 😆). There's only so much tuning, EQing and compressing we can do, before it starts to sound like ass.
I used to swap the snare in recordings from my PSR-S700 well over a decade ago. It's a breeze with DAWs, but would be a PITA in live situations, if even possible. -
Ok, just heard a redeeming snare at 10:00 in Martin Harris' demo, there's hope:
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For the last 20 years, the acoustic snares on Yamaha's pro-PSR and Tyros lineups have always sounded like hitting a HomeDepot utility bucket with a spoon.
Unfortunately, that tradition carried on to the Genos 2. Jump to 3:34 of the first video below and you'll hear a snare that sounds like your average early 90's garage band on a 4-track recorder.
This is in such drastic contrast with the excellent Sweet! and SA1/2 sounds on these boards. It has always felt to me that acoustic snares were never budgeted for and ended up being sampled in someone's bathroom in 10 minutes.
What the heck? Snare is arguably the single most important sound in Pop and Rock arrangements. And Yamaha, the maker of great real drums and e-drums, can't get it right on their multi-thousand dollar flagships for over 20 years?
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5 hours ago, tapes said:
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It’s very popular among the wobbly ”lo-fi” crowd especially, but it’s been featured in modern hip hop productions too. Look up ”vaporware” etc. ...
The Vaporwave kids got good taste and a sense of humor. They often spin cheesy-but-tasty oldies into a dope-as-fxxx psychedelic treat.
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21 hours ago, CyberGene said:
...I also think that he has unique piano voicing style that is very recognizable in his movie soundtracks and solo piano works. To me maybe his trademark right hand voicing is the following (bottom to top):
Bb C F AThis can be used over different bass notes for different function/effect. For instance:
C -> C7sus
G -> Gm7/9/11D -> Bbmaj7 / D...
I'm also a big fan of rootless voicing. Usually the more ambiguous it is functionally, the more dope it sounds.-
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Was watching UK keyboardist Andre Louis playing with some KORG plugins earlier on YT, and this combi caught my ears.
Had to find it on my TRITON EX and share it. It's called "Where Are You?" -
20 hours ago, CEB said:
...Layering the D-50 with TX synths was glorious...
Eric pulled off some magic with that tiny ROM. "Soundtrack" still brings me chills to this day. 😃
Speaking of laying D-50 with TX, this song has D-50 and DX7 written all over it. -
On 1/5/2024 at 3:57 PM, CHarrell said:
Thanks for the link! I was just familiar with Ivan Lins for his collaboration with Irakere:
My pleasure, CHarrell. Ivan Lins is truly one of a kind. His approach to harmony has always been a great source of inspiration.
Can't pick out these chords in a James Taylor song!
in The Keyboard Corner
Posted
What's played is more of a "Db lydian" chord. And it is a pretty different sound from Eb. As I mentioned in my reply to OP, Dbdim is the most common choice in this type of progression, and sticking to Db-based chords makes things a lot easier to decipher. In the particular context of the recording, that chord (Db--Ab-Eb-G)'s Lydian quality was not prominent, and it was most likely just effective voice leading between IV and V.
It's only a Edim if we fill in the diminished 3 (G), which wasn't present in the recording. There's actually a vague hint of natural 3 (Ab) being played. If we go by that, the chord, E-Ab-Db-Bb, would also have a Lydian sound in isolation. But again, in the context of the recording, it functioned much more likely as simply voice leading between V and bVII.
Just chromatic passing chords for G, extremely common in Blues/Gospel.
Yup, voice leading and common tones are our best friends when it comes to Gospel and Blues harmony.
That said, the two angles you mentioned, tritone substitution and relative major/minor, are very useful and can explain tons of progressions as reharms of simpler alternatives.