untitled - new, space
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- KVRist
- 424 posts since 4 Jul, 2006 from Sweden
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
Hi, thanks for taking the time to say so. I missed this the first time.
So, I somehow for no real reason came up with this stupid Hollywood cadence before the thing goes awry; a real, prepared, real kind of tonal harmonic-the-f**k cadence; which was a dodgy idea particularly as it doesn't match the underlaying Absynth thing for shit, and then I spent a whole full-time day just f**king up left and right trying to fix things, for this rather corny yet grand effect. Just piss-poor management.
Might be the worst thing I ever had to extract myself from. Yet the actual money shot of the cadence remains because it sets the ending-which-used-to-not-be-an-ending up. Since I had gone fully into key I went for the gusto and a really lush delusion of grandeur bit, and lush. Kind of salvaging the piece, which was absolutely a horror to behold for over one full day... while managing to be not really that corny anymore.
Still needs work (hard mix to do) but as a composition it's been mo' less repaired. Some of the note choices appear to have been the work of an unwell person. Stranger things have happened, but it meant a whole lot of erasure and tedious work, for not a lot of joy. Actually not very challenging if it's just working with a score, one of the times pushing rectangles in the piano roll around is really not so conducive to that kind of thought, for me.
The Absynth patch has so much inharmonicity and dissonance it produces notes that are not the named notes at all, like the fundamental is missing.
I took it out of circulation, breaking the link renaming it, yesterday.
still fetching
So, I somehow for no real reason came up with this stupid Hollywood cadence before the thing goes awry; a real, prepared, real kind of tonal harmonic-the-f**k cadence; which was a dodgy idea particularly as it doesn't match the underlaying Absynth thing for shit, and then I spent a whole full-time day just f**king up left and right trying to fix things, for this rather corny yet grand effect. Just piss-poor management.
Might be the worst thing I ever had to extract myself from. Yet the actual money shot of the cadence remains because it sets the ending-which-used-to-not-be-an-ending up. Since I had gone fully into key I went for the gusto and a really lush delusion of grandeur bit, and lush. Kind of salvaging the piece, which was absolutely a horror to behold for over one full day... while managing to be not really that corny anymore.
Still needs work (hard mix to do) but as a composition it's been mo' less repaired. Some of the note choices appear to have been the work of an unwell person. Stranger things have happened, but it meant a whole lot of erasure and tedious work, for not a lot of joy. Actually not very challenging if it's just working with a score, one of the times pushing rectangles in the piano roll around is really not so conducive to that kind of thought, for me.
The Absynth patch has so much inharmonicity and dissonance it produces notes that are not the named notes at all, like the fundamental is missing.
I took it out of circulation, breaking the link renaming it, yesterday.
still fetching
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- Banned
- 4558 posts since 21 Mar, 2020
I missed this one - it's pretty awesome. Tension and atmosphere that feels somewhere between - oh, I don't know what, but it's kind of like a Roberto Matta painting - hard to decipher exactly where the control ends and the chaos begins and very cosmic with glimmers of enchanting colours coming through the cold harsh space. I hope that doesn't sound too pretentious but that is how I experienced this.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
thanks for that!
I gave up a lot of control, a big part of why I love Absynth is I get into terra incognita all the time. I set modulation rates against each other and on top of envelope timing (and sustain vs release) there is no way to predict, unless you've far more brain power than me anyway.
The other note choices are total intention.
I do this orchestrating an Absynth trip a lot, where what I'm after is pretty abstract, color is really it, moving color around like moving space, given contours by time. things can bend
I gave up a lot of control, a big part of why I love Absynth is I get into terra incognita all the time. I set modulation rates against each other and on top of envelope timing (and sustain vs release) there is no way to predict, unless you've far more brain power than me anyway.
The other note choices are total intention.
I do this orchestrating an Absynth trip a lot, where what I'm after is pretty abstract, color is really it, moving color around like moving space, given contours by time. things can bend
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
yeah, kind of jangly
as an example of the unable to predict, in extremis, is recent renders of the Absynth track (which while I seek to preserve certain effects there are changes to its timing working with the orch) the fadeout now contains these glissandi, as though on a tinkly tiny metal keyboard. I have no idea why. First time I heard it I thought it was something outside my 'phones.
as an example of the unable to predict, in extremis, is recent renders of the Absynth track (which while I seek to preserve certain effects there are changes to its timing working with the orch) the fadeout now contains these glissandi, as though on a tinkly tiny metal keyboard. I have no idea why. First time I heard it I thought it was something outside my 'phones.
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- Banned
- 4558 posts since 21 Mar, 2020
It's interesting combining what we have said in my paintings thread about Kandinsky and this thread concerning visual art and music. Kandinsky was synaesthetic and was frequently trying to reproduce the music that he heard in visual form. His ultimate aim was to bring visual art to the same level of abstraction as orchestral music.
BTW - you have got me interested in Absynth.
BTW - you have got me interested in Absynth.
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- Banned
- 4558 posts since 21 Mar, 2020
Did it three times and the third (a black microdot) was too much and I never touched it again!-
- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
My first trip was pretty scary. I felt I was going to use up a lifetime of brain power in one night, like it was going to drain me.
I told my mother I did it. I was 14. I did it again soon after. I learned to 'pull straight', I remember we had a less-than-excellent color tv and while we were watching the Tonight Show or something she asked me to adjust the color.
I told my mother I did it. I was 14. I did it again soon after. I learned to 'pull straight', I remember we had a less-than-excellent color tv and while we were watching the Tonight Show or something she asked me to adjust the color.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
So I'm cleaning up some of the slop and adding the really obvious sweetening, probably even strings next. Big scary soprano choir overdub...
I don't know about this diatonic section, it's from a different movie than the rest of it, and the lines have not a lot to do with anything before it.
It's almost absurd.
fun things here: the bowed vibraphone gives a perfect flute repetitions articulation; I was about to go set that up with the piccolo and it was there, and I thought did I already really do that? I'm glitching for some time personally, confounding action with intention eg., did I take that pill already?
also the bowed Cloud Chamber Bowls take on multiple roles. I like vocal effects from the bowed metals (that's 'carboys', Harry Partch via SonicCouture) anyway.
I don't know about this diatonic section, it's from a different movie than the rest of it, and the lines have not a lot to do with anything before it.
It's almost absurd.
fun things here: the bowed vibraphone gives a perfect flute repetitions articulation; I was about to go set that up with the piccolo and it was there, and I thought did I already really do that? I'm glitching for some time personally, confounding action with intention eg., did I take that pill already?
also the bowed Cloud Chamber Bowls take on multiple roles. I like vocal effects from the bowed metals (that's 'carboys', Harry Partch via SonicCouture) anyway.
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- KVRAF
- Topic Starter
- 25053 posts since 20 Oct, 2007 from gonesville
introduced a small harp part in this, which brought out all kind of horrors in mixing this. There is one really dodgy instrument which is a giant problem, but is now irreplacable becausehttps://www.kvraudio.com/forum/posting.php?mode ... &p=7846776# of a peculiar double attack... weird low-fi creepy muted trumpets in a LABS freebie, I know enough not to spend the rest of my days trying to replicate that just for this stupid track.
Funny, the two I have both sounded like crap alone and in the mix (VSL SE "Percussion and More" and their Kontakt demo). I did one piece back in '15, harp is almost the whole track, using the old Gigaharp in a Kontakt translation. Gorgeous instrument. I've used one if not both of these recently, and a number of times but in this it's not happening.
My doG but this sounded like shit all day.
Can't be any but harp so it looks like I have to throw money at this, which is sorrowful.
Garritan Harps for $79 vs $76 for VSL Harp 1. I prefer the Vienna Instrument Pro engine, but 3 harps vs 1 and I know from Garritan and his love for the harp from the olden days.
Bought the Garritan, sounds fantastic but does not work in VE Pro 7 at all. VST-only, which VEP supports now on Mac, but this is NG: Don't Work
Someone at VSL told me it'll run in SFZ.
Funny, the two I have both sounded like crap alone and in the mix (VSL SE "Percussion and More" and their Kontakt demo). I did one piece back in '15, harp is almost the whole track, using the old Gigaharp in a Kontakt translation. Gorgeous instrument. I've used one if not both of these recently, and a number of times but in this it's not happening.
My doG but this sounded like shit all day.
Can't be any but harp so it looks like I have to throw money at this, which is sorrowful.
Garritan Harps for $79 vs $76 for VSL Harp 1. I prefer the Vienna Instrument Pro engine, but 3 harps vs 1 and I know from Garritan and his love for the harp from the olden days.
Bought the Garritan, sounds fantastic but does not work in VE Pro 7 at all. VST-only, which VEP supports now on Mac, but this is NG: Don't Work
Someone at VSL told me it'll run in SFZ.
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- KVRAF
- 2861 posts since 3 May, 2003 from Germany
I love absynth. And now I got it. You used the fx-version (?). Great stuff - I enjoyed it!
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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- KVRist
- 238 posts since 9 Feb, 2013
The Day The Earth Stood Still (the movie) is playing on the TV right behind me, and this music was riding along perfectly with the images for quite a while! Nice work. I have a hot/cold relationship with music like this, sometimes I actually try to make it but usually fail. This piece was very effective at creating a mood. Again, nice work.
