I'm having a hard time remembering. I think 'trestles' was Uhbik-A and I'm fairly certain I used my TC Fireworx for 'reappear'. 'Wrend' and 'for the tenth time' both sound like I used more than one reverb, maybe EOS and Arts Acoustic's Reverb.DavenH wrote:What reverb do you use on your pseudo-serialism tracks?
3am - portions (wall o' geetar noise)
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- KVRAF
- Topic Starter
- 13140 posts since 7 May, 2006 from Southern California
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Yeah, that's clear enough; so lose that one bit I found boring. I say that with all the authority a drummer brings to bear.justin3am wrote:
It's funny you mention combining the two tracks. They were conceived at the same time and rather than trying to fit them together I just said fuckit.
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- KVRAF
- Topic Starter
- 13140 posts since 7 May, 2006 from Southern California
You remind me of something that I've always tried to achieve with my sequenced stuff... when you hear someone who is very skilled with an instrument you can occasionally hear them "sing" through it. I want to achieve this with a sequencer. I think it's possible. I already play the sequencer like an instrument in real-time and I can inject some semblance of "feeling" through timing tricks but I don't think I have the technique down as well as i'd like.jancivil wrote:I don't know about 'building' melody, you 'sing' a melody. With whatever instrument. I guess you have built something to sing *over*; as an object it seems that way. Good job.
Of course I'm talking about my approach to my more abstract stuff but I hope that I'll one day have the skill to apply these techniques to any style. My thought is that whatever style I attempt will still have my "sound" because of how I approach my instrument.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Oh, it's possible.
I'm not one of those people, except sometimes with a drum controller. My effect, a whole lot of it is got thru editing [I throw a phrase in at a time live, sometimes a note at a time]. There are a couple people, one is Jay Bacall, that I think works almost strictly in the piano roll tools, to produce eg., the entire Rite of Spring for VSL demos, that's wholly convincing. But this sort of thing (PHRASING) is a world of experience brought to bear. One's, your, sheer power of intelligence isn't likely to provide a way around it.
All this, btw is why I'm saying 'boring' about the first part, not to be snarky, but it comes off as completely 'plastic' and quantized.
The quality you're looking for is obtained through experience with an instrument in real time. Human feel... knowing where things lie in the timeline, in the abstract, will be kind of a mug's game, without that experience. It's very difficult at all; unless one can just hack it live in a way that requires little editing.some semblance of "feeling" through timing tricks but I don't think I have the technique down as well as i'd like.
I'm not one of those people, except sometimes with a drum controller. My effect, a whole lot of it is got thru editing [I throw a phrase in at a time live, sometimes a note at a time]. There are a couple people, one is Jay Bacall, that I think works almost strictly in the piano roll tools, to produce eg., the entire Rite of Spring for VSL demos, that's wholly convincing. But this sort of thing (PHRASING) is a world of experience brought to bear. One's, your, sheer power of intelligence isn't likely to provide a way around it.
That's right.My thought is that whatever style I attempt will still have my "sound" because of how I approach my instrument.
All this, btw is why I'm saying 'boring' about the first part, not to be snarky, but it comes off as completely 'plastic' and quantized.
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- KVRAF
- Topic Starter
- 13140 posts since 7 May, 2006 from Southern California
No worries. Occasionally 'plastic' and quantized is what I'm aiming for... it wasn't in this case.jancivil wrote:All this, btw is why I'm saying 'boring' about the first part, not to be snarky, but it comes off as completely 'plastic' and quantized.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
part of is probably the ad copy in front 'wall of noise' and then that kind of.. smallish event, in a style area I haven't any taste for.
you and I have seriously different sets of influences/information. much the time I have no idea what you are referring to per genres etc in other comments here. I come from the middle of the 20th century, rock out of blues vs serioso classical and to me 'club' means KC and the Sunshine Band basically.
you and I have seriously different sets of influences/information. much the time I have no idea what you are referring to per genres etc in other comments here. I come from the middle of the 20th century, rock out of blues vs serioso classical and to me 'club' means KC and the Sunshine Band basically.
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- KVRAF
- 8099 posts since 12 Dec, 2003 from Canada
Totally unexpected!
I don't think I've heard you do a doomy grindy thing in a rock context before Justin. I love the guitar - cool sustained drone behind the chords and really nice when you stop and bring the dry sound in. Some melodic soloing over top would be icing.
I don't think I've heard you do a doomy grindy thing in a rock context before Justin. I love the guitar - cool sustained drone behind the chords and really nice when you stop and bring the dry sound in. Some melodic soloing over top would be icing.
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- KVRAF
- 2909 posts since 15 Feb, 2007 from ...in the butt
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- KVRist
- 401 posts since 15 Oct, 2007 from Terrebonne, Montreal, Canada
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- KVRAF
- 4074 posts since 28 Apr, 2004
this is very different for you imo.
much more careful (and i hesitate to use that word as it has many connotations) this sounds like you wrote it with a tune in mind where as to me, much of your stuff sounds like you wrote it as an excercise in fuxking with sonic boundries then "tidied" it into a tune. from your workflow explanations i have read in the past, my understanding is thats the way you normally work, with the mixing/mastering/tidying done in pro tools after you've got your "sounds" down.
(not a bad thing, i love your experiments, your synth and drum programming/edits puts everybody but a couple of my very favourite artists to shame.)
this one seems to stick to convential timing and tonality. as a result i half miss the madness and esoteric "how the fxck did he do that" ness. but on the other hand i can follow the tune better. it seems to have been written within my own ocd limitations (key,sig,quantise)
would make an excellent "end of movie" tune.
lovely
steve.
much more careful (and i hesitate to use that word as it has many connotations) this sounds like you wrote it with a tune in mind where as to me, much of your stuff sounds like you wrote it as an excercise in fuxking with sonic boundries then "tidied" it into a tune. from your workflow explanations i have read in the past, my understanding is thats the way you normally work, with the mixing/mastering/tidying done in pro tools after you've got your "sounds" down.
(not a bad thing, i love your experiments, your synth and drum programming/edits puts everybody but a couple of my very favourite artists to shame.)
this one seems to stick to convential timing and tonality. as a result i half miss the madness and esoteric "how the fxck did he do that" ness. but on the other hand i can follow the tune better. it seems to have been written within my own ocd limitations (key,sig,quantise)
would make an excellent "end of movie" tune.
lovely
steve.
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- KVRAF
- Topic Starter
- 13140 posts since 7 May, 2006 from Southern California
oops, I missed the latest action on this track.
You're right Steve, careful is a good word for it. I'm still new to guitar, so I'm attempting things that are familiar to me. I'll probably do a few more tunes like this as I get more comfortable with the instrument. It was also a nice exercise in restraint... I could have gone editing crazy but I decided to leave most of it "as played", choosing to fix stuff with the good ol' fashioned punch-in overdub (an acquaintance, who is a much more accomplished engineer than I, claims that there is no longer a practical purpose for overdubbing that way. Ha!).
Also, my wife is into the heavy stuff and I promised that I'd attempt an album of death metal along the lines of Deicide or Morbid Angel for her. I've got a long way to go but it's a fun challenge.
You're right Steve, careful is a good word for it. I'm still new to guitar, so I'm attempting things that are familiar to me. I'll probably do a few more tunes like this as I get more comfortable with the instrument. It was also a nice exercise in restraint... I could have gone editing crazy but I decided to leave most of it "as played", choosing to fix stuff with the good ol' fashioned punch-in overdub (an acquaintance, who is a much more accomplished engineer than I, claims that there is no longer a practical purpose for overdubbing that way. Ha!).
Also, my wife is into the heavy stuff and I promised that I'd attempt an album of death metal along the lines of Deicide or Morbid Angel for her. I've got a long way to go but it's a fun challenge.