AROIOS

Hating on Pop Jazz is as silly as highschoolers digging Nirvana and bashing Michael Bolton. And the word "guilty" is pretty indicative of how conformist we humans naturally are. Guilty of what? who got hurt? what morals were broken? Or is it more likely we felt "guilty" exactly the same way a highschooler gets peer-pressured into feeling not "cool" enough? And didn't Taylor Swift's kindergarden drivel get praised here by so-called "Jazz" players not so long ago? 😆

A YT channel I subscribe to uploaded this. First time I hear the tune, absolutely love it.

I'm glad for you Bob. Mrs. Notes definitely sounds like a keeper.

I've always told my guy friends that: "Mac is this hot, scheming chick skilled at seducing and pleasing you, as long as you put up with her spending habits , controlling behavior and occasional abuse. And Wintel is this grumpy, ugly wife I've suffered so many years with, to the point where I know how to manipulate her into doing anything for me." A big part of what Apple sells is "sex" and fashion. Lust and romance aren't rational, you can't talk a guy madly in love with the hot chick out of his infatuation. In his eyes, you are simply a tasteless chump who will never understand how amazing his "true love" is.

Auto-volume-riding and mixbus-gelling aside, compression is an integral part of my Pop snare programming process. I haven't found other tools/techniques that give me the snappiness in the attachment. SNR Compression.mp3

I think you nailed it. TET makes it easy to transpose, JI removes pulsation. One is not inherently more "pure/just/correct" than the other.

Been a big fan since the 90s. For me, pretty much all the appeal of Jacob Collier came from the Gospel Jazz influence Take6 had on him.

Great, both songs (Manhattan Transfer and the Delta Rhythm Boys) sound in tune. There's hope in my TET-ruined ears!

Just ran some simple math, and "just intonation" seems to be highly self-conflicting. The most fundamental frequency relationships under 'just intonation" are: C 1/1; E 5/4; G 3/2; in other words, a major 3rd interval and a perfect 5th interval. D, F, A and B are then derived based on these two fundamental intervals from C, E and G: D = G x (3/2) / 2 = 9/8, F = 2 x C / (3/2) = 4/3, A = 2 x E / (3/2) = 5/3, B = G x 5/4 = 15/8 Now here's the problem: you can't even play a 'just intoned" D chord in the key of C. Why? the A in a D chord is supposed to be D x 3/2 = 9/8 * 3/2 = 27/16 ≈ 1.69, and our "just intoned" A of 5/3 ≈ 1.66 would simply sound flat. To me, the core issue with "just intonation" is the arbitrary designation of the 5th harmonic to E. It just don't gel with the Pythagorean "circle of 5ths" (based on the 3rd harmonic) mathematically. And we are not even talking about key changes yet.

Thanks for the recommendation. But "Beauty in the Beast" sounds terribly out of tune.to my crude ears. They must have been permanently conditioned by decades of exposure to equal temperament tuning.

Some of these old romplers like the Super JVs had excellent architecture even by today's standards. Their main bottleneck was memory price and the resultant tiny sample size. But I guess Grandpas could say similar things about their 67 Camaros.😃 Every time I program something on the JVs, I can't help but cringe at the mismatch between their synth engine and ROM size. On the other hand, how the engineers' clever/tasteful programming overcame/masked those limitation never ceased to amaze me. In comparison, most of those multi-gig sample libraries in the last 20 years just seem obscenely wastefully.

Small nit: I think by "pitch" you meant "note".

Indeed, I don't come across many high quality vocal patches on Romplers usually. Short of dealing with Roland Cloud subscription, you can get a XV-5050/XV-5080 rack, or even the dirt cheap JV-1010, a great machine with the entire JV soundset and one of the best expansion cards inside. I've had all three machines for decades and the sound difference among them is hardly noticeable (5080 allegedly has a bit of "hyping/sweetening" on its output, something you can easily emulate in DAWs), and the extra samples/patches on the XV never justified the price difference IMO. I never paid much attention to the vocal sounds in my TritonEX and MicroX, thanks for the tip and I'll give them another listen. In terms of finding other quality sources of vocal sound, that XV patch I used was programmed with two old "VoiceOoh" samples from the JV romset, in other words, sampled during the Eric Persing era. So I would look into Spectrasonics' products like the "Vocal Planet" and "Symphony of Voices" sample CDs and Omnisphere for similar sounds. I recall hearing demos of the two CD sets decades ago and they were absolutely beautiful. Have fun!

Very close, it's a patch from the XV series called "Ooh Aah Mod".

Same here, sounds terribly out of tune. I simply won't trust opinions about sound from anyone who plays jazz on a harpsichord.

I started listening at 4:25 and it sounded beautiful and majestic. But to my crude ears, it's nothing twelve-tone equal temperament can't deliver. And Jacob's "flat" tuning did nothing for me. I transcribed what I heard in the attachment below, what hidden beauty of this mysterious "micro-tonal modulation" am I missing? Jacob Collier - In the Bleak of MidWinter .mp3

Speaking of the Mustang Sally groove, Bruce Springsteen's song makes for a perfect mashup and great fit for the occasion. Merry Christmas, Sally .mp3

Those who wince at Mustang Sally will have a hard time producing anything dope. Both Hall & Oates and Mick Hucknall found gold in that groove.

Study subtractive synthesis and audio mixing for a month, instead of GASing for three decades.

As is that statement itself.

I stand firmly with your teenager self.

Sorry to break it to ya @GRollins, I live on the coast and most Liberals here are just as tone -deaf.

It's definitely Country and I would have disowned my daughter if she puts me through that sh*t for more than 3 days.

Tasty stuff, thanks for sharing it. Some arranger friend of mine used to study Scriabin in the conservatory over 20 years ago and swore by his approach to harmony. I'm gonna look into it and see if I can get some ideas.

I'm sure all your Jazz neural connections are still there in your brain and just waiting to be re-kindled. Classical can offer a lot of inspirations to other genres (e.g. Rachmaninoff and Eric Carmen). Maybe you can push some sonic boundaries with a fusion between Classical and Jazz. That sounds like a lot of fun even just thinking about it.