re-inflict:
EDIT, long broken dropbox link replaced:
https://www.youtube.com/watch?v=q1XR3Hi ... x=4&t=160s
This link gets you to a 3-track playlist, which is the larger whole. It was semi-programmatic music but that doesn't have any reality at the end of the day. I was writing a 'bible' for a ginormous series that I abandoned because reality caught up to my fantastic dystopia in 2010. This was conceived and executed in 2009, a fertile time for us.
Evidently I stopped fugging with it in 2015, so OFFICIAL forever version here.
Pyre/Resurrection and Theme
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- KVRAF
- 8072 posts since 12 Dec, 2003 from Canada
Wow! Cinematic mood swings. I love the dramatic opening. Some heart rending moments with the cello, yum, and I love the way you like to throw a bit of pizz in there. Percussive tour de force and all the bowed metallic-y sounds are great. The harmony guitars - oh crap what a finish!
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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
I was forced to go with pizz as I found there were no marcato switches on the GPO solo cellists, and turns out no marcato at all with the liberry. but I liked the vibrato so much I stuck with it.. I'd already got a good EQ, excited some resonances, for the old school cello tone so I was kind of attached by the time I got to that point..polyslax wrote:Wow! Cinematic mood swings. I love the dramatic opening. Some heart rending moments with the cello, yum, and I love the way you like to throw a bit of pizz in there. Percussive tour de force and all the bowed metallic-y sounds are great. The harmony guitars - oh crap what a finish!
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- KVRAF
- 4784 posts since 2 Sep, 2005 from city of lights (nl)
Nice, missed this the first time around. Lots of good stuff in here. Will get a few listens 
Rekkerd.org the latest news on audio plugins, sample libraries & virtual instruments, synth presets & more.
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Don't click here if you can't control yourself!
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- KVRAF
- 1585 posts since 13 Nov, 2005 from St. Paul
I'm impressed Jan, nice work!
A few listening thoughts: Very ominous start, very strong. That's a real statement to start with. I got the feeling of grinding gears, the operation of a massive industrial behemoth with less than positive intentions. Again, the screetching sounds before the cello gives a feeling of impending doom. The cello "duet" reminded me of Alfred Schnittke a bit, not overmuch. It was an unusually well-developed use of strings for a real statement, rather than just an effect. The return of some of the droning, crashing metal was more spacious, very different than the start. I often wince at overdriven guitar solos, but I liked yours, it was a strange interlude relative to the rest of the proceedings. The non-metered rhythms in the band section still had a strangely present feeling of pushing forward, at least to me they did--propulsion without compulsion.
The use of clearly defined sections and lots of tonal effects was very appealing to me. This is the sort of really creative use of sound that I've always thought avant garde music should aspire toward.
A few listening thoughts: Very ominous start, very strong. That's a real statement to start with. I got the feeling of grinding gears, the operation of a massive industrial behemoth with less than positive intentions. Again, the screetching sounds before the cello gives a feeling of impending doom. The cello "duet" reminded me of Alfred Schnittke a bit, not overmuch. It was an unusually well-developed use of strings for a real statement, rather than just an effect. The return of some of the droning, crashing metal was more spacious, very different than the start. I often wince at overdriven guitar solos, but I liked yours, it was a strange interlude relative to the rest of the proceedings. The non-metered rhythms in the band section still had a strangely present feeling of pushing forward, at least to me they did--propulsion without compulsion.
The use of clearly defined sections and lots of tonal effects was very appealing to me. This is the sort of really creative use of sound that I've always thought avant garde music should aspire toward.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
thanks muchly Jopy. 
To me the opening is like 'black helicopters'. I did some doubling trick on one of the synth tracks and got those reinforce/cancel phenomena which surprised me some.
the last part with the band arrangement literally began *as* the cello "duet" (which is on one track but is two parts - it got real dodgy splitting it up, w. a Keyswitch before almost every note); with overdriven instruments it's so radical how that same material is so dissonant; I had to subtract quite a bit. then, some octave displacement and 'reharmonization'. I left the performance sloppy and emotive rather than tightening it up much, I still cringe sort of at a couple spots. Fine line there before you kill the feel.
To me the opening is like 'black helicopters'. I did some doubling trick on one of the synth tracks and got those reinforce/cancel phenomena which surprised me some.
the last part with the band arrangement literally began *as* the cello "duet" (which is on one track but is two parts - it got real dodgy splitting it up, w. a Keyswitch before almost every note); with overdriven instruments it's so radical how that same material is so dissonant; I had to subtract quite a bit. then, some octave displacement and 'reharmonization'. I left the performance sloppy and emotive rather than tightening it up much, I still cringe sort of at a couple spots. Fine line there before you kill the feel.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
Notes: I went back to this at some time, and more than once.
I see by my response part of WHY.
Notes as to process: at this time I was not working with 'bars and beats' in Cubase 5, I simply ignored it. I would just record the things and edit having no interest in it.
So, eg., the finale section sort of deal here was pretty loose. At some point I got tired of the cringing and established barlines for the metered bits at least. I doubt I did anything for the opening section but I well recall getting very picky with most of it. NB: the final section is not unmetered, never was, but it is not beat music to say the least.
The thing that jopy elsewhere called a jugalbandi, the overdriven e. guitar Sarod-influenced (sliding around the fingerboard with one or two fingers) playing was something I really cared about and re-worked like a dozen times. I was never going to hit my ideal of it and this early 2015 upload represents the end of that.
It isn't a jugalbandi really, ultimately there are more than 2 'players', there are 4 parts, and bass, and drums.
The drums mix rather sucked donkey until the final re-consideration which involved some replacement of the floor toms and a whole deal where I exported each drum from BFD2 and mixed it like that, which at the time seemed like the thing to do.
I approve of this track. This is the end of No Location, an album I wrote and laid original tracks for, May 2009 thru May 2010. I think the finale particularly rocks.
There is more than one 'style' here. I had these ideas all jammed together almost simultaneously and the only way to cope and retain them (I thought they were all keepers) was to stick them on the timeline; so the thing grows internally thru stretching the timeline and sticking more in there as it came.
As to the other two, I do want to credit the soprano sax work in Ray Dio Act-IF performed by one Christopher Kennedy Alpiar, who recorded it at his studio for the low, low price of $100.
I see by my response part of WHY.
Notes as to process: at this time I was not working with 'bars and beats' in Cubase 5, I simply ignored it. I would just record the things and edit having no interest in it.
So, eg., the finale section sort of deal here was pretty loose. At some point I got tired of the cringing and established barlines for the metered bits at least. I doubt I did anything for the opening section but I well recall getting very picky with most of it. NB: the final section is not unmetered, never was, but it is not beat music to say the least.
The thing that jopy elsewhere called a jugalbandi, the overdriven e. guitar Sarod-influenced (sliding around the fingerboard with one or two fingers) playing was something I really cared about and re-worked like a dozen times. I was never going to hit my ideal of it and this early 2015 upload represents the end of that.
It isn't a jugalbandi really, ultimately there are more than 2 'players', there are 4 parts, and bass, and drums.
The drums mix rather sucked donkey until the final re-consideration which involved some replacement of the floor toms and a whole deal where I exported each drum from BFD2 and mixed it like that, which at the time seemed like the thing to do.
I approve of this track. This is the end of No Location, an album I wrote and laid original tracks for, May 2009 thru May 2010. I think the finale particularly rocks.
There is more than one 'style' here. I had these ideas all jammed together almost simultaneously and the only way to cope and retain them (I thought they were all keepers) was to stick them on the timeline; so the thing grows internally thru stretching the timeline and sticking more in there as it came.
As to the other two, I do want to credit the soprano sax work in Ray Dio Act-IF performed by one Christopher Kennedy Alpiar, who recorded it at his studio for the low, low price of $100.
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- KVRAF
- 21196 posts since 8 Oct, 2014
Wow, that is sure loud in spots.jancivil wrote:re-inflict:
EDIT, long broken dropbox link replaced:
https://www.youtube.com/watch?v=q1XR3Hi ... x=4&t=160s
This link gets you to a 3-track playlist, which is the larger whole. It was semi-programmatic music but that doesn't have any reality at the end of the day. I was writing a 'bible' for a ginormous series that I abandoned because reality caught up to my fantastic dystopia in 2010. This was conceived and executed in 2009, a fertile time for us.
Evidently I stopped fugging with it in 2015, so OFFICIAL forever version here.
Listening to your stuff is like opening a box of mixed chocolates. You don't know what you're gonna get but you know it's gonna be good because it's chocolate.
This one was really out there.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
It's pretty quiet in spots, too. I don't mix that hot anymore, that's for sure. Don't blow your speakers out.
I like the lead guitar tones, which pushed Amplitube Jimi Hendrix WAY into the red in a way that is just wrong.
Stuff I used which I can remember:
Absynth, of course.
Impact Soundworks Impact Steel;
VSL Glass Instruments: Glass Harmonica, Verrophone, blown Bottles, and Musical Glasses;
VSL XXL TamTam;
VSL Bass Waterphone;
WarpIV Music Soprano Sax from the Hollywood Winds and Brass bundle;
Garritan Personal Orchestra Cello soloist #2, x2;
GPO Chromatic Harp;
VSL SE Percussion Vibes;
Orange Tree Samples Jaco;
OTS Cherry Bass;
BFD 2 and extensions, I don't know what-all.
I like the lead guitar tones, which pushed Amplitube Jimi Hendrix WAY into the red in a way that is just wrong.
Stuff I used which I can remember:
Absynth, of course.
Impact Soundworks Impact Steel;
VSL Glass Instruments: Glass Harmonica, Verrophone, blown Bottles, and Musical Glasses;
VSL XXL TamTam;
VSL Bass Waterphone;
WarpIV Music Soprano Sax from the Hollywood Winds and Brass bundle;
Garritan Personal Orchestra Cello soloist #2, x2;
GPO Chromatic Harp;
VSL SE Percussion Vibes;
Orange Tree Samples Jaco;
OTS Cherry Bass;
BFD 2 and extensions, I don't know what-all.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
GPO FTWjopy wrote:The cello "duet" reminded me of Alfred Schnittke a bit, not overmuch. It was an unusually well-developed use of strings for a real statement, rather than just an effect.
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- KVRAF
- 11506 posts since 13 Mar, 2009 from UK
I loved the part near the beginning where the cellos joined in with their sombre, mysterious mood. They seemed to recall Dylan Thomas' Dr. Pugh and his laboratory exploits. Great job with the guitars and percussion too.
Good work
Good work
