I'm A Grandad 🎺🎺🎺🎉🎉🎉 So of course, had to contribute to the celebrations in the only way I know. Here's the info on it as appeared on Soundcloud.
Plenty of family specific references but hey I'm a 'SABA' (Hebrew for Grandad)...
The Boy's name is Vincent and the song called:
Vinnie's Bounce
Enjoy 🍷🍷
Duet with my wonderful daughter Maya to celebrate the birth of Vincent the son of Michael & my daughter Ruby. My grandson and Maya's Nephew.
When Ruby was born she was named after the song 'Ruby Baby' (Jerry Leiber and Mike Stoller). Ruby Baby (Fagen's version) lends its spirit and is (very) briefly quoted in this song
Thank you. I wish I knew the secret to achieving perfect horns sound (or for that matter - perfect horn) I am a piano player, but in my experience even though I play horns on the keyboard I have to forget all about chords and work on lines that counter, support, or respond to the melody. The 2nd thing is realistic sound. Horn samples are like fancy caffe restaurants in Australia. A hundred different things on the menu but only one that sound good and the trick is to find it. Play with each sample untill you find the notes where it sounds good and try to aim for that area in your arrangement. I like to mix different - say, trumpets to create imperfect match which gives illusion of real playing. Explore different velocities it makes huge difference to the sound.
All that said, if you are willing to spend a bit of money there are amazing sounding libraries out there. My budget didn't allow for that but I was pretty happy with 'Composer Cloud' of EastWest (check it out if you haven't already)
Sorry for the long lecture, hope it helps a bit...
I'm embarrassed to admit that I only discovered their existence when I thought an instrument started to 'misbehave'... I appreciate why they are there but prefer to produce the variation in sound independently. I find them slightly more useful in strings, but In general I believe that if an idea is good it will sound well even on a casio keyboard sounds...
Aha agree, for certain sounds they’re good, particularly percussion as it gives some movement, but some sounds the real deal is always best. Ive been creating some interesting sounds converting Boris speeches into MIDI notes then using that to trigger a synth.He’s good for basslines 😆
Aha agree, for certain sounds they’re good, particularly percussion as it gives some movement, but some sounds the real deal is always best. Ive been creating some interesting sounds converting Boris speeches into MIDI notes then using that to trigger a synth.He’s good for basslines 😆
Yes its fun the Boris thing, a bit staccato... I've got a sort of half song where I sampled ping pong including serves, smashes, ball hit the net, ball on the floor. Ping pong is keeping the bit, paned left and right throughout the song (two players), the idea is to follow the song, and the score at the end. One day i'll finish it 🤣🤣
Interesting idea, do you quantize it at all or just use the natural meter? I have an addiction for using ramped LFOs for modulating percussion parts to get a bouncing ball effect where the speed increases with each ‘bounce’, I’m a big admirer of Aphex Twin and it’s something they use a lot, I did this track as a little homage: https://youtu.be/tUOoSjlEgC0
Well, what can I say... Gripping, swarming, relentless, Ominous, and all very much within a clear narrative. So many colours in this work, but what impressed me most is commitment to the narrative. Not sure if my comments are making any sense, the bottom line is I loved it...
The only occasions when I quantize is if I want to transfer between DAW (Reaper) and scoring program (sibelius) for obvious reasons...
Well done again for the piece and thanks for sharing 👍👍
@LennyLowrent glad you took all that from it, yes in the spirit of a homage to its namesake I wanted it to go a bit crazy, it was a live performance within the context of using Ableton session view as a sequencer for hardware, with the percussion fills being live sound mangling just as his greatness would do(within my limited abilities).
Yes referring back to your earlier comments I remember you saying you like to capture the moment so makes sense about not quantising, I feel the same only using it in car crash situations!
Again I have to confess my ignorance... never heard of Aphex Twin until you mentioned him (just listened to 'come to Daddy') I will check him out more... I like the mixing of live and sequenced music. All great. For what its worth, I found a signature in your music. In my book it's mission accomplished.
I made a piece of music for an Installation at Dartington Music School, which was made using sounds from the Delia Derbyshire Archive (she was one of the original BBC Radiophonic Workshop members and created the Doctor Who theme among other things). Have just found out my piece will now be included in the archive itself, which is housed at Manchester University.
I suppose I could have put this on the ‘something nice’ thread… may put a screenshot of the email on there.
Found some old tapes of my band rehearsing in around ‘78, ‘79. Can I stake a claim as the worst songwriter on CL, or is it already taken? Perhaps we need a new thread.
Here's a film I made the music for, it's a collaboration as part of the Anniversary celebrations for the Tamar bridge's construction. We were able to access the bridges cctv footage as well as some archive footage of its construction.
I enjoyed that. Tones of Kometenmelodie era Kraftwerk and early Human League. Don't know why but your name suggested to me we might get something a bit more guitar based.
I enjoyed that. Tones of Kometenmelodie era Kraftwerk and early Human League. Don't know why but your name suggested to me we might get something a bit more guitar based.
I understand that, I’m a big Floyd fan, but it’s the experimental and electronic side I love.
Comments
I wish I knew the secret to achieving perfect horns sound (or for that matter - perfect horn) I am a piano player, but in my experience even though I play horns on the keyboard I have to forget all about chords and work on lines that counter, support, or respond to the melody. The 2nd thing is realistic sound. Horn samples are like fancy caffe restaurants in Australia. A hundred different things on the menu but only one that sound good and the trick is to find it.
Play with each sample untill you find the notes where it sounds good and try to aim for that area in your arrangement. I like to mix different - say, trumpets to create imperfect match which gives illusion of real playing. Explore different velocities it makes huge difference to the sound.
All that said, if you are willing to spend a bit of money there are amazing sounding libraries out there.
My budget didn't allow for that but I was pretty happy with 'Composer Cloud' of EastWest (check it out if you haven't already)
Sorry for the long lecture, hope it helps a bit...
I appreciate why they are there but prefer to produce the variation in sound independently. I find them slightly more useful in strings, but In general I believe that if an idea is good it will sound well even on a casio keyboard sounds...
Ive been creating some interesting sounds converting Boris speeches into MIDI notes then using that to trigger a synth.He’s good for basslines 😆
One day i'll finish it 🤣🤣
I have an addiction for using ramped LFOs for modulating percussion parts to get a bouncing ball effect where the speed increases with each ‘bounce’, I’m a big admirer of Aphex Twin and it’s something they use a lot, I did this track as a little homage:
https://youtu.be/tUOoSjlEgC0
…Yes you will finish it ✊
Gripping, swarming, relentless, Ominous, and all very much within a clear narrative. So many colours in this work, but what impressed me most is commitment to the narrative.
Not sure if my comments are making any sense, the bottom line is I loved it...
The only occasions when I quantize is if I want to transfer between DAW (Reaper) and scoring program (sibelius) for obvious reasons...
Well done again for the piece and thanks for sharing 👍👍
Yes referring back to your earlier comments I remember you saying you like to capture the moment so makes sense about not quantising, I feel the same only using it in car crash situations!
I like the mixing of live and sequenced music. All great. For what its worth, I found a signature in your music. In my book it's mission accomplished.
The rest is just vocal fry...
Have just found out my piece will now be included in the archive itself, which is housed at Manchester University.
I suppose I could have put this on the ‘something nice’ thread… may put a screenshot of the email on there.
It reminded me of the the guitar break following the weird bit on Whole lotta love.
https://open.spotify.com/album/4Bghv05FddneIWRUIdicC4?si=YGfeT2ADQbGe32drULTH2Q&dl_branch=1
very very professional production. Would love more details about the project if possible.
Thanks for sharing 👍
They've got a gig on Friday 15th, but I think Southend is probably a bit far for most Lifers to see an unknown band.
We were able to access the bridges cctv footage as well as some archive footage of its construction.
https://open.spotify.com/track/04M2RzeADarIzKULTwBHoR?si=436f2556aca5435c