N/M
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- KVRAF
- 2861 posts since 3 May, 2003 from Germany
I also listened to Jade A - and what to say: Sounds very good and thrilling. The drums are excellent.
Symphony Nr.1
Meet the Cities Repair Team Unimportant laughter
music has become meaningless...we just keep doing it
Meet the Cities Repair Team Unimportant laughter
music has become meaningless...we just keep doing it
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
The link to Sinistres 1 as dl=1 (embed) exhibits a bug, it tracks back abruptly to an earlier area of the track in midstream here. So you’ll have to go to the Dropbox (via dl=0) where it’s normal.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
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thecontrolcentre thecontrolcentre https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=76240 - KVRAF
- 35163 posts since 27 Jul, 2005 from the wilds of wanny
Just listened through for the first time. Awesome. Great atmospherics and drumming.
I couldn't get Sinistres to play, but I'll try it again later.
I couldn't get Sinistres to play, but I'll try it again later.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
fun fact here: the distortion there in the middle of Jade(d) is all from a VSL patch.
This is all BFD3 & VSL, except for a little bit sparkly transients in the attack from NI The Giant in one bar. VSL has modeled a number of tape saturations recently, fantastic sound
This is all BFD3 & VSL, except for a little bit sparkly transients in the attack from NI The Giant in one bar. VSL has modeled a number of tape saturations recently, fantastic sound
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
Yes it’s Festivus
It starts off with a lot of tension, which grows in intensity - wait, edit: after the first climax it relaxes and hangs there in space - then extreme tension and a quite violent event breaks through suddenly where solo vlns, heretofore not present, enter with sharp, jagged gestures; and dynamically this measure is significantly louder than what preceded it.
There is quite some depth of field as well. The solo violins are way out in front, for instance.
Then we may note the comment re night terrors. Yeah, this is the diametric opposite of flat in affect, it’s extreme and disturbed.
So, it’s highly doubtful you listened to this at all. It’s not even the typical troll move where one hears just enough to cherry-pick something to remark upon as though to deceive and seem like there is something to one’s remark.
What you did is seize on the word niveau and make that into a negative remark. And, quelle surprise, you don’t actually have the meaning of the word.
a new level or plateau of existence
or another sense would be a higher achievement especially in a progression. The word ‘flat‘ doesn’t follow.
As to your gormless question re music theory, why would I waste time with your idiot trolling, you never read or remotely try to understand the point, instead what you do is twist and distort.
How a person does this sort of dishonest move, and so without shame, is quite beyond me.
In fact, the piece you’re remarking on is flat in no actual sense whatsoever.
It starts off with a lot of tension, which grows in intensity - wait, edit: after the first climax it relaxes and hangs there in space - then extreme tension and a quite violent event breaks through suddenly where solo vlns, heretofore not present, enter with sharp, jagged gestures; and dynamically this measure is significantly louder than what preceded it.
There is quite some depth of field as well. The solo violins are way out in front, for instance.
Then we may note the comment re night terrors. Yeah, this is the diametric opposite of flat in affect, it’s extreme and disturbed.
So, it’s highly doubtful you listened to this at all. It’s not even the typical troll move where one hears just enough to cherry-pick something to remark upon as though to deceive and seem like there is something to one’s remark.
What you did is seize on the word niveau and make that into a negative remark. And, quelle surprise, you don’t actually have the meaning of the word.
a new level or plateau of existence
or another sense would be a higher achievement especially in a progression. The word ‘flat‘ doesn’t follow.
As to your gormless question re music theory, why would I waste time with your idiot trolling, you never read or remotely try to understand the point, instead what you do is twist and distort.
How a person does this sort of dishonest move, and so without shame, is quite beyond me.
Last edited by jancivil on Sun Jan 12, 2020 2:31 am, edited 3 times in total.
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- Banned
- 2288 posts since 24 Mar, 2015 from Toronto, Canada
I like it very much. but due to the complexity of the piece, its hard to tell where the 3rd section is and what point is midway through.jancivil wrote: ↑Tue Dec 17, 2019 3:05 am I’m curious to see if this terrible glitch belongs to this idiot device (iPad) or what.
https://www.dropbox.com/s/t6uy8a7eklz7j ... I.mp3?dl=1
Here midway through the 3rd section it suddenly backtracks to some point in the middle of the 2nd section. It’s not the file, certainly. And it’s not the same two points except in general.
But, it looks like just this one does this nonsense.
I have finally cut the minute and a half of empty at the end of Jaded.
Spotify 
Soundcloud 
SoundclickGear & Setup: Windows 10, Dual Xeon, 32GB RAM, Cubase 10.5/9.5, NI Komplete Audio 6, NI Maschine, NI Jam, NI Kontakt
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
Now, while I think it would be naive to consider karma’s question as to theory as a real question, I can say one or two things. As sick of Niveau 6 as I am at this point.
A first section is all there was at the time.
Economy of means, number one. So, a post facto brief analysis:
Semitone down partial resolutions. b2 to 1, b6 to 5, 4 to 3 predominates. Andalusian scale* or its first cousin double harmonic scale. The outside or alien tone is the tritone.
Tension and release. What’s difficult about it? I like higher partial kind of things in higher registers. Harmonic series... I never wrote about any “the importance of music theory”, but I am in favor of having chops and a basis in knowledge. In fact, I have pointed out numerous times how not everyone needs to verbalize or codify what they hear...
but if you’re going to orchestrate you’d better know some things about music physically. Mr Golden Ear himself, Paul McCartney had to hire somebody for any Oratorio to manifest.
The interval distribution of vibrating air molecules in the atmosphere on planet earth is pyramidal; higher = closer.
But sure, naive ignorance rules ok! And talking to your own strawman is the best way to prove your point.
karma has a misconstruction of what music theory even is. I compose by ear; mature musicians internalize knowledge and preferably are not burdened by a lot of conscious thought. “You can’t think and play at the same time!” - Sonny Rollins
Much of the time I am blissfully unaware of names of notes. It’s intervals and impulse. I believe in ear-training as well!
So, what I did not do making section A was say, OK, Andalusian Scale (*: 1, b2, M3, 4, 5, b6, b7) or Dbl Hrm (1, b2, M3, 4, 5, b6, M7).
By “C”, I was very clear on this and it’s exposed, obvious.
The denser sonorities have to do with the sounddesign in a way I wouldn’t care a lot for writing about.
A first section is all there was at the time.
Economy of means, number one. So, a post facto brief analysis:
Semitone down partial resolutions. b2 to 1, b6 to 5, 4 to 3 predominates. Andalusian scale* or its first cousin double harmonic scale. The outside or alien tone is the tritone.
Tension and release. What’s difficult about it? I like higher partial kind of things in higher registers. Harmonic series... I never wrote about any “the importance of music theory”, but I am in favor of having chops and a basis in knowledge. In fact, I have pointed out numerous times how not everyone needs to verbalize or codify what they hear...
but if you’re going to orchestrate you’d better know some things about music physically. Mr Golden Ear himself, Paul McCartney had to hire somebody for any Oratorio to manifest.
The interval distribution of vibrating air molecules in the atmosphere on planet earth is pyramidal; higher = closer.
But sure, naive ignorance rules ok! And talking to your own strawman is the best way to prove your point.
karma has a misconstruction of what music theory even is. I compose by ear; mature musicians internalize knowledge and preferably are not burdened by a lot of conscious thought. “You can’t think and play at the same time!” - Sonny Rollins
Much of the time I am blissfully unaware of names of notes. It’s intervals and impulse. I believe in ear-training as well!
So, what I did not do making section A was say, OK, Andalusian Scale (*: 1, b2, M3, 4, 5, b6, b7) or Dbl Hrm (1, b2, M3, 4, 5, b6, M7).
By “C”, I was very clear on this and it’s exposed, obvious.
The denser sonorities have to do with the sounddesign in a way I wouldn’t care a lot for writing about.
Last edited by jancivil on Wed Dec 25, 2019 6:18 pm, edited 4 times in total.
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- KVRAF
- 11001 posts since 15 Apr, 2019 from Nowhere
