169 Forum Posts by "Phonometrologist"
At 2/10/14 01:54 AM, Piggler wrote: It's not very techno-y but Wikipedia says that Satie's Gymnopédies are "regarded as an important precursor to modern ambient music."
Funny, when I just clicked on this thread, I was thinking exactly Satie's music-- a precursor for minimalism as well. He called some of it furniture music.
I have an issue similar to this but concerning more of the composition aspect of it. I’ve had lucid dreams where I was able to play or hear an original piece of music, but while I wake, the only thing remaining was how I felt upon hearing it. As soon as I try to write it down, it leaves me, or the notes that I grasped turn out to be disappointing. The problem comes in the interpretation of the music we hear. One gets better at it over time as others can attest to.
There’s another post concerning what to do when you can’t think of a melody, and I think that it is all tied together to that curious statement you made:
At 2/7/14 04:11 AM, ApocalypsePresents wrote: Full control to me is being able to take my song in my head and make it a reality.
I think it’s important first to establish what it means to create the music in your head a reality.
My philosophy leans toward the philosophy of this composer. I’ve came to know it before to be the case for me that the source of music is outside of myself, but when I heard him say it, I was delighted in the picture of how he explained it:
“Where does music come from? My experience with music is that it’s like an underground river that’s always there. And like an underground river you don’t know where it comes from and you don’t know where it’s going. The only difference is whether you’re listening to it or not.” -Philip Glass
Now, to be more practical in my response, all the money in the world isn’t going to get us the sound we hear in our heads.
Let’s say for example, you have a full orchestra or heavy metal band on your finger tips waiting for you to tell them what to play. How would you communicate to them the music that you would like them to play that you attempted to interpret yourself in the first place? If you can figure that out, then you will realize that having these musicians creates no sense of obligation in music to sound “great.” Or let’s say you have all the plug-ins or the libraries in the world on your computer, you can only be as good as how you know how to use them and when to use them. You didn’t use the word “great” in music, but rather to get popular. Well, I suppose popularity can be achieved by having lots of money, because popularity doesn’t equal to quality and that knowing how to market is separate from creating great music. Those are two separate discussions, and I would advise worrying about the former first rather the latter regardless if many were able to hear it or not. There will be two types of musicians, those that love music, and those that put more value in money and fame. Which would you choose to be?
That being said, to heed Triosnyx’s advice would be the thing to do.
Besides checking out some NG user's soundclouds, I've only really used soundcloud to listen to this guy's stuff:
https://soundcloud.com/max-richter
Haven't really used soundcloud as my main source to seeking out new and relatively unknown quality type music.
But I guess then I'm digressing a little from your main point...
I like where this thread is going even if it's just an interesting read for me.
At 2/2/14 10:16 PM, Desiel391 wrote: Ok, so to do an entire compilation will take some time. I will transpose by ear onto sheet music what you have so far and see what I can do. Some tracks are easier than others. It just takes work to do this with a record aka sheet music.
How much time do you have on your hands exactly? And can you point me in the direction from where you get it
At 1/28/14 05:25 PM, JacobCadmus wrote: How can I recreate this sound?
http://www.youtube.com/watch?v=5sJ80joz_eI
My "Ectopic beat" for halloween was somewhat inspired by Alien, but mostly because Samulis's free library had a whistle that reminded me of this sound. Miscellania I:Horror had a whistle on C6 of the piano roll, and I only used a snippet of when the whistle began to sound. At 2:12 of the piece, I then added a distortion plug-in with a longer reverb. I didn't attempt to go further with it as I was just trying to keep it close to the library of his, but I imagine if one wanted to get as close as possible to it, sounds like this whistle, as an example, would be layered with other sounds, of course, as you would typically do in sound design.
I assume you're asking merely for learning purposes which is a good exercise I think.
Probably is more fun just to create your own variation of the sound with a similar vibe.
At 1/28/14 08:47 PM, SoundChris wrote: D Minor (... I - II# - C7 > F Major (Lots of Chords in F ... IVb- Eb7 ) > A flat Major (I - G7 - C7 > F Minor (I - G7 - F7)
>>> B Flat Minor
... ok - maybe a little bit complicated and maybe it looks like it would sound odd - but it doesnt. It sounds really nice in my jazz tune.
Not odd at all, and in fact I enjoy hearing pieces that have to travel quite a ways to get back home.
After all this fun talk, this thread inadvertently inspired in me a chord progression and a simple melody in B-flat minor. I'll save it for later when I have more time to sit down with it.
At 1/28/14 12:07 AM, floppypawss wrote: So i've been listening to a lot of vijay iyer, lou reed, velvet underground and kurt rosenwinkel lately, and all of these artists love to experiment with sound and noise, by pushing their instruments beyond the standard expectations. They dont just use chops (the jazz cats out there will get it) but they use space, dissonant chords, and atonal phrasing. Kurt, jazz guitarist uses gain and distortion to push noise, and create a more unified sound, that some might find irritating, but if your like me, you can find just the whole aspect of "free noise" beautiful. i recently listened to White Light/White Heat and was pushed to create this piece:http://www.newgrounds.com/audio/listen/564432 read this description and please listen with an open mind.
If any of you guys have music that you have recently (or not recently) composed that u showcases experimentation in sound, please post it, as i am interested!
Right on. Im interested in this as well. Although I have written some pieces with a similar motive, I don't have anything I've uploaded on here to share. I'm into atonal and extended techniques in orchestral music.
And since your piece is called "War Sounds," it made me think of Penderecki:
https://www.youtube.com/watch?v=Dp3BlFZWJNA
That's pretty good war sounds I'd say, and it not only pushed beyond the standard expectations of the use in these instruments, it also expanded on how it was notated. Quite interesting. Penderecki is really just the start into this world though as it can get to be even more interesting.
Oh man you got an endless amount of possibilities really, but finding the right one to keep the piece's integrity I suppose it what makes it difficult. So what I can further add to what has already been said would be difficult without hearing it in context. "As fast as possible," is also difficult to do without making it sound a bit jarring. However, your rhythm and, more importantly, your melody is crucial to making a smooth modulation. Your use of non-chord tones will be your biggest ally in assisting you. The "Romantic" composers were notorious for using them in half-steps for moving chords in and out of the original scale. As I'm sure you're aware, non-conventional modulation techniques will sound more elegant when the chords are broken up as opposed to just block chords.
Anyway, Chando's advice would be your most efficient way, but, then again, maybe it's not the best one for it. You mentioned two minor keys, so would a diminished 7th work in context? Cdim7 is the same as E-flat dim7, G-flat dim7, and Adim7. Just half steps away from your B-flat minor. Really there's only 3 diminished 7 chords which can be written in several different ways.
If that's too much, I do like the Neapolitan 6th chord. Dminor-->N6 (E-flat major with G as the root)-->B Minor. I kind of like the Major IV chord going to Minor I. Same as the Major I chord to Minor V really, but establishing your theme should set that straight for the listener.
If you don't like the E-Flat chord to be major, you just need to move the note G a half step down to G-flat after the N6 chord. Again, the melody will help. So, Dminor-->N6-->E-flat Minor 6 (with G-flat as the root)-->B Minor.
This is a fairly quick way.
-OR-
You can also add an augmented sixth chord before the Neapolitan sixth chord: Dminor-->Ger+6(B-flat7)-->N6(has the same root that is B-flat)-->etc. You should probably go back between the Dminor and the Ger+6 chord to establish the fact that the relationship between the two is indeed a Minor I chord with an augmented sixth. Typically an augmented sixth chord like a Ger+6 goes to a minor one chord in its second inversion and then to the major V chord.
If you're still with me, the point I'm getting at is the Ger+6 chord is also V7 of the Neapolitan chord.
At 1/23/14 03:37 AM, Emid wrote: I think this link also worth reading where Hans talks about the contest and entries.
"'It’s the community that’s going to take the first listen and bring it to our attention,' says Emanuel. 'That’s why it truly will have to be brave, I think. They’ll only be excited by something that’s different and bold.'”
Anybody agree with that statement?
I would think most people would only want to hear that Hans Zimmer kind of sound.
How to start reading sheet music?
By one page at a time.
Not to say it sarcastically, but I mean just to do it. Start reading.
At 1/18/14 10:28 PM, JoshuaHughes wrote: Also, never EVER use Q-tips to clean your ears. It does more harm than good.
Yeah tell me about it. My ex would use Q-tips, and one day my printer wouldn't work. Took it in for a fix since it was fairly new, and they found a dirty Q-tip. Gross... Apparently she dropped one in the feed.
Q-tips definitely do more harm than good especially when it comes to printing out important docs.
At 1/18/14 09:42 PM, Bad-Man-Incorporated wrote: So in recent months, I've been experiencing some weirdness, with my hearing.
Audio muting (temporary) on both sides, rarely at the same time, like someone pouring water in my ears.
Last night, I had a constant ringing. It has yet to go away. It is the same that one experiences after a concert, loud jam or show, or whatnot. I have not done any loud music "ing" in a couple weeks.
Wondered if any other newgrounders suffered any kind of hearing loss or ringing and what you might do to distract from it? Or weird home remedies etc? or earplugs brand? aids? monitors etc...Not just for me, but for all of us, as a community of musicians.
I've lost a quarter of my hearing as a child so perhaps it could be a genetics thing for myself, but I did end up listening to loud music in live settings as well.
You learn to live with it. For more sever cases, I've heard interviews of those that can't imagine living without it, oddly enough, as if it was some strange companion. Tinnitus gets louder when I choose to focus in on it. Keeping the mind occupied is what distracts me away from it. That, or by listening to more music... kind of like the cliched hangover remedy, eh?
And for that temporary "audio muting" I've grown to enjoy it from time to time. Especially when I'm amid a crowd, or near obnoxious people.
I think about how well technology is nowadays, and how better it will become, I don't stress too much when I will lose even more hearing as I get older. Even if I were to completely lose it, what then? I've heard enough to be satisfied for a lifetime.
At 1/11/14 04:21 PM, MetalRenard wrote: I do all my music using a $130 Logitek speaker system and $120 headphones. Sure I'd like to have better stuff but I get by and I've learnt to use them over time (years and years now).
I agree, headphones are essential as they allow you to clearly perceive the "space" in the piece, where instruments are (are they close, far away, left or right?) but at the same times speakers are important too because they will tell you how balanced the frequencies of your mix are, a lot more so than headphones.
You need both.
Yes, and I would just further add that it's just as important to know your own speakers and room so you can compensate for them. But don't stop there, bounce your tracks and listen to them in a variety of different speakers and ways. For example, my final test usually involves me putting a blender in the bathroom, and singing in the shower along with the track as it plays in the other room with my speakers on full blast. This usually always helps.... sometimes.
At 1/9/14 12:03 AM, JRob wrote: You could be The Refrigerator!
Or The Fridge!
.... :D
Hey welcome! May I request a cover of "The Great Gig in the Sky?"
At 1/7/14 07:52 PM, blindone2 wrote: Was just wandering if anyone on NG uses Logic Pro X to produce music? if so what plugins do you use and do you have any useful tips on how to use the software?
Two tips:
Get the update if you haven't done so already. Their new EQ is pretty sweet, and a whole lot of bugs got fixed.
Tutorials:
https://www.youtube.com/user/HorseDrawnMusic?feature=watch
At 1/7/14 06:19 PM, DanoXmas wrote: edit:oops
Very nice. Even though I can't see your whole room, I can pretty much bet those monitors really tie the whole room together.
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anxiety attack by neonshudderFirst track from the cataphractals EP
- Score
- 4.92 / 5.00
- Type
- Song
- Genre
- Industrial
- Popularity
- 49 Views
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Lycanthropy by VoltusA Techno Song which is a Dubstep Song which is a Story (yeah right...?)
- Score
- 4.07 / 5.00
- Type
- Song
- Genre
- Techno
- Popularity
- 97 Views
I reviewed both of these tracks as these got missed.
No review necessary on my account.
Hope the last two guys will realize that the thread goes by reviewing first another persons work.
Man there are so many good pieces...I'm trying to go back and forth between posts to see what the person asked for while I listen to their gifts, but I think I'll just have to sit back and enjoy the music.
At 12/25/13 09:34 AM, Kruizy wrote: Now I don't feel TOO bad about the poor quality of my track. Admittedly, the request was quite different to what I usually produce, so I had to keep the instrumentation very simple, as I lacked experience in the style and had to adapt.
My gift to Phonometrologist is not the best track, but I still hope he enjoys it.
Thank you Kruizy. I don't mind the quality, as I'm more interested in the composition aspect of it. I'm curious how you approached the piece in a creative sense. I like how the piece bounces around in parts particularly the C minor part with the Cello contour. The transition to the section at 2:00 minutes was a surprise. Overall, it's a fun piece. Also, going by the title, you didn't manage to find a synesthete did you?
@Johnfn
I forgot to mention in the message that, although, the piece was inspired by Shoegaze, admittedly, I just used elements of the style to which I can't say it wholly fits the genre by itself. Hoping that you don't mind it in that regard. :-)
At 12/24/13 11:04 AM, JacobCadmus wrote: CRAP. I completely forgot about this! Well, Merry Christmas; just send me a lump of coal and we're even.
OR release one of your unfinished works as a gift. better than nothing I suppose
At 12/23/13 06:12 PM, Troisnyx wrote:Uh..... I hope that doesn't mean you're giving away whom you're doing your piece for.At 12/23/13 04:30 PM, Stupor wrote: You will be fired out a cannon into deep space.YES!!!! i'm turning mine in late
No i just want to get shot out into space...
At 12/23/13 04:30 PM, Stupor wrote:At 12/23/13 03:32 PM, Troisnyx wrote: @Stupor It's in the middle of exporting now -- it's about done. I take it I would be DQ'ed if it doesn't export on time?You will be fired out a cannon into deep space.
YES!!!! i'm turning mine in late
I think organic is a bit healthier...
At 12/14/13 01:14 PM, Omegeist wrote:At 12/14/13 04:03 AM, MetalRenard wrote: You're going about it the wrong way.So your implying that some people think that they can make genres without any actual content put down first?
"Genres" are created AFTER music has been made and they're created by people trying to define what that music is. It's simply putting labels on things.
The first rock and roll was "blues" and only later became known as what it is today.
I think he's "implying" that it is more often than not the job of the admirers to subside a composer/artist's originality and creativity to another particular group. A great artist isn't worried to what style they write in, but rather more concerned about finding their own unique voice. Example: Impressionism was never a name given from the mind of the artist. It was actually a criticism that stuck.
btw, am I fooling by bringing up names like Chopin and Impressionism to a Newgrounds forum?
At 12/11/13 04:08 PM, LichLordMusic wrote: I have around 10 tracks or so which are nearly finished but I can't be bothered to finish them off since I don't like the sound of them that much anymore. I should consider doing a demo reel sometime next year or so of all of my unfinished stuff.
Reminds me of, "When one does a thing, it appears good, otherwise one would not write it. Only later comes reflection, and one discards or accepts the thing. Time is the best censor, and patience a most excellent teacher."- Chopin
Even the greatest would attest to what everyone here goes through.
At 12/8/13 12:21 PM, Breed wrote: Bought Cubase 7
Shits intense. Probably gonna switch outta FL.
Congrats! I would have went with Cubase myself if I wasn't practically handed Logic Pro X. Seems like a perfect fit for the type of work that you do.
At 11/27/13 10:49 PM, Wilhiemthe2nd wrote: Just to make my presentee have huge medical bills for the Jaw that they broke from listening to it.
As long as you don't mind him billing you for that.
At 11/27/13 10:46 PM, FirewallParadox wrote:At 11/27/13 10:00 PM, BlueOceans wrote:Phonometrologist, those are good points. Why do you find it difficult? It makes me wonder if I do it because that's how I started and I've never known any other way?
Well I guess it depends on what people mean when they say "master" as I've always said that mastering is a dark art. There's a lot of misinformation, and for the ones that actually know/do it seldom like to talk about it.
If you're talking about boosting the gain during the mix, I know several people that do that to help the creative process. I'm not sure if that really qualifies as mastering though. I'm sure another can explain more about this.
The difficult part for me during mastering is trying to EQ the whole track after I already EQed the parts individually during the mixing stage. How much more could I expect to hear on my own? Hence having another perspective and set of ears. Even though EQing during mastering is really suppose to be subtle, I feel a bit stuck on it regardless, especially if you're not mastering it alongside another track.
My engineer that I study under tries to encourage his clients not send to him a single track to master unless they really have several tracks that they want to do at once. That being said, you pretty much can do everything during the "mixing" process it seems. However, if you do have a separate program primarily used for mastering, which I don't, then I suppose you can say you're masting a track in itself as well.
Based on what hear, it just seems that mastering really comes into play when you have a record or collection of pieces that you're releasing altogether.
At 11/27/13 09:50 PM, FirewallParadox wrote: I've heard that for many producers composing, mixing, and mastering are all completely different tasks that should be done separately, yet I always find myself mixing while I compose.
That's probably because traditionally you have a different engineer doing each one. I find it really difficult to mix and master a same track of mine. It's really beneficial to have more than one set of ears listening as its being shaped, and I think that's the point.
In your case, I would just leave plenty of time in between those tasks so your ears are fresh.
