I love this suggestion!!!duncanparsons wrote:I'd love to do a bad moods theme - bitterness, angry, frustration, depressed, etc.
I'm sure we would have a wail of a time..
DSP
august contest - GOSSIP
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- KVRist
- 264 posts since 8 Jul, 2002 from Lake Superior
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windchillFactor windchillFactor https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=8138
- KVRist
- 44 posts since 20 Jul, 2003 from Meatloafville, USA
We could take it a step further and write mean, insulting songs about each other.Mo Verdigast wrote:I love this suggestion!!!duncanparsons wrote:I'd love to do a bad moods theme - bitterness, angry, frustration, depressed, etc.
I'm sure we would have a wail of a time..
DSP
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- KVRAF
- 2093 posts since 19 Jun, 2003 from UTM 18 317254E 4295335N (WGS84/NAD83)
Sorry, I can't write reviews for everyone this month. Below are the folks for whom I voted and why. But first, I have a lot of HMs including: Bastien Phelps, Dave Spiers, Donkey Tugger, El Baggio, fell (aka jdg), Freeztar, fst, Haghi, Jeff Dickens, Jens Leuner, knockman-wildchurch, Koorby, Kriminal, Mo Verdigast, nikp20000, peppy197, Pheeleep, RichieBee, rsmus7, sttjelle, Thomas Christensen, Tristeza Orange, wilkoryte, and Yagushi (who always makes me want to get out my old Devo and Oingo Boingo records). I'm sorry I couldn't vote for you all.
"El futuro de la humanidad " Spyro - Emerald Tablet
This music and production is brilliant, catchy and sophisticated. There are so many facets to the song that reward repeated listening by revealing more with each play. And though I appreciate the sentiment, I find Remco's lyric more than a little ham-fisted in parts - but not enough to keep this from getting my top vote. I also like the juxtaposition of languages, the South American flavorings and the best song ending of the month!
"Don't Let Sleek Month Win" Markleford Friedman
Even if Sleek entered, he wouldn't stand a chance. This is top notch spoofing because it works on so many levels: the TMBG-ness of it, the Sleek-sample-solo and the fact that it's just a good song! You seem to have a chameleon quality that allows to to slide from one genre to another and adapt your voice well - stunningly well in this case. Nice horns too.
"I Lost My Robot" Lady J
There's been so much clamor over you and your song lately and I've read comments that range from ridiculous toretarded, but I don't care who or what you are - this is a groovy little piece of ear candy. I have no problem with any of it - except maybe that it could build up faster or have some little extra hook in the first eight measures but that's minor. The shuddering guitar if so cool. So is the vocoder - it doesn't need any improving. This version is dirty and cute, demure and brash, futuristic and retro all at the same time. Very Basement Jaxx. I didn't hear the long version and I wasn't in a hurry to because I like the perfect little impermeable place this version occupies. The 5 seconds if silence at the beginning is unnecessary.
"To Die For" Glooper (Ben Smith)
I said I like this song already and let me tell you a couple good things it reminds me of: The beginning guitar, bass and keyboard interplay and the dramatic apex near the end evoke a certain 70s pop ballad feel . So many songs had that swelling strings-and-winds crescendo. It's nice how you underplay the emotionalism here even in the climax because it could get too overwrought. As a guy, that sometimes makes me uncomfortable, so thanks for toning it down. You've even got a nice little pause like Garret does in his songs. The tremolo effect on "To avoid this I would die ie ie ie ie ie ie e e e e e e" is far out.
"Chloe, Chloe, Chloe" Plunge
I think I already talked about my fondness for this earlier but one other thing I wanted to say was I like the way the piano self-assembles from the fractured little bits at the beginning. There's a real ready for prime-time polish on this which I admit put me off at first, but there's an undeniable honesty which appeals to me. Sure, I'd probably like it even more if Tom Waits or Mark Hollis interpreted it in their particular ways but you've done a fine job and I respect it.
"Overboard" The System ERA (Sciche)
This is the best piece I've heard from you and appeals to me in many ways. First of all you play piano like me! ... Probably better, but I can imagine me playing this. I love the drumming and the rest of the arrangement. I love the way you pronounce "very" and "memory!" The mix might be a tad (and I mean just a tad) bright - no maybe it's the cello-strings need more mellowness. I don't know but it's not important. Great song.
"candy bullet" pHz
I thought your comment about this just being "a bit of throwaway fluff and thats the nature of the beast (live4) to some extent" was glib but forgivable because I understand how you like to spend so much thought and energy on the design engineering of the sound. Live makes it easy (and pretty fun) to make grooves. But you've waxed about getting more accessible and here you are - your most accessible tune yet.
To me, creating music is not about how well you play yesterday's traditional instruments or how many chords you know or even whether you can tune a guitar. As more people move toward computer-based performing and recording, the traditional ways of inputing and articulating sound (ahem, data) are inadequate for some artists. Besides strings, mouthpieces, keys, pedals and sticks, we need sliders, knobs, pads, ribbons and other sensors. Like old school electronic music some can't even be made in real-time.
I don't have a problem with electronic or loop or sample-based composition. It's about another way of interpreting what music can be. Frankly I think divorcing oneself of the charge of having to create the source recordings can be liberating in terms of keeping an open mind to the way sounds can be manipulated and and rearranged. I once suggested that the maybe most interesting "DJs" weren't always the most awesome musicians. That's arguable and who knows what DJ means anymore but I think you get my drift.
Music isn't solely the purview of western cultivated, conservatory trained aesthetes. It isn't even the domain of musicians. It's belongs to everyone and it should be made by everyone. In the end, it only matters if it sounds good. Your song sounds good so there!
"Back and Forth" Garret Gengler
The ambiance on the guitar over in the left channel is wonderful. I like the dry vocal and the intimate mix. The coda is top notch pop. The whole song is a shiny gem. I still need to go out and buy that Wire album...
"Ceyecal" Ianweb123
This reminded me of maybe a lost B-Side from Tangerine Dream's album "Exit." Except that your bass isn't as warmly analog as one I'd expect from them. Your bass is OK mostly but right near the end where it starts to stand out more, it sounds a little too much like a preset sound. I love those deep arco strings, the distorted lead and all the cool thinth noises. I assume the title is a play on the word "cycle."
"Heartbeat" Barnadine
I think the main reason I like this is because when I play guitar, I try to make little songs like this. Unfortunately I can't play or sing well enough to pull it off... But there's something else going on in yours. Despite the seemingly intimate impression of a confession at the beginning, the song's mien is increasingly contaminated by distorted guitar and effects why bely the implied sincerity. Then it seems to resolve itself around 1:04 when you sing, "stumble on..." But the song reiterates from the top with a slightly different personality (namely a different mix) for awhile - only to slip in and out personalities whilst "stumbling on." You're not a shrink are you? The whole song seems a metaphor for a person who seems to be taking stock of their faults and trying to start over anew only to eventually revert to their old bad habits again. Yes, it's a perfect hangover song.
"El futuro de la humanidad " Spyro - Emerald Tablet
This music and production is brilliant, catchy and sophisticated. There are so many facets to the song that reward repeated listening by revealing more with each play. And though I appreciate the sentiment, I find Remco's lyric more than a little ham-fisted in parts - but not enough to keep this from getting my top vote. I also like the juxtaposition of languages, the South American flavorings and the best song ending of the month!
"Don't Let Sleek Month Win" Markleford Friedman
Even if Sleek entered, he wouldn't stand a chance. This is top notch spoofing because it works on so many levels: the TMBG-ness of it, the Sleek-sample-solo and the fact that it's just a good song! You seem to have a chameleon quality that allows to to slide from one genre to another and adapt your voice well - stunningly well in this case. Nice horns too.
"I Lost My Robot" Lady J
There's been so much clamor over you and your song lately and I've read comments that range from ridiculous toretarded, but I don't care who or what you are - this is a groovy little piece of ear candy. I have no problem with any of it - except maybe that it could build up faster or have some little extra hook in the first eight measures but that's minor. The shuddering guitar if so cool. So is the vocoder - it doesn't need any improving. This version is dirty and cute, demure and brash, futuristic and retro all at the same time. Very Basement Jaxx. I didn't hear the long version and I wasn't in a hurry to because I like the perfect little impermeable place this version occupies. The 5 seconds if silence at the beginning is unnecessary.
"To Die For" Glooper (Ben Smith)
I said I like this song already and let me tell you a couple good things it reminds me of: The beginning guitar, bass and keyboard interplay and the dramatic apex near the end evoke a certain 70s pop ballad feel . So many songs had that swelling strings-and-winds crescendo. It's nice how you underplay the emotionalism here even in the climax because it could get too overwrought. As a guy, that sometimes makes me uncomfortable, so thanks for toning it down. You've even got a nice little pause like Garret does in his songs. The tremolo effect on "To avoid this I would die ie ie ie ie ie ie e e e e e e" is far out.
"Chloe, Chloe, Chloe" Plunge
I think I already talked about my fondness for this earlier but one other thing I wanted to say was I like the way the piano self-assembles from the fractured little bits at the beginning. There's a real ready for prime-time polish on this which I admit put me off at first, but there's an undeniable honesty which appeals to me. Sure, I'd probably like it even more if Tom Waits or Mark Hollis interpreted it in their particular ways but you've done a fine job and I respect it.
"Overboard" The System ERA (Sciche)
This is the best piece I've heard from you and appeals to me in many ways. First of all you play piano like me! ... Probably better, but I can imagine me playing this. I love the drumming and the rest of the arrangement. I love the way you pronounce "very" and "memory!" The mix might be a tad (and I mean just a tad) bright - no maybe it's the cello-strings need more mellowness. I don't know but it's not important. Great song.
"candy bullet" pHz
I thought your comment about this just being "a bit of throwaway fluff and thats the nature of the beast (live4) to some extent" was glib but forgivable because I understand how you like to spend so much thought and energy on the design engineering of the sound. Live makes it easy (and pretty fun) to make grooves. But you've waxed about getting more accessible and here you are - your most accessible tune yet.
To me, creating music is not about how well you play yesterday's traditional instruments or how many chords you know or even whether you can tune a guitar. As more people move toward computer-based performing and recording, the traditional ways of inputing and articulating sound (ahem, data) are inadequate for some artists. Besides strings, mouthpieces, keys, pedals and sticks, we need sliders, knobs, pads, ribbons and other sensors. Like old school electronic music some can't even be made in real-time.
I don't have a problem with electronic or loop or sample-based composition. It's about another way of interpreting what music can be. Frankly I think divorcing oneself of the charge of having to create the source recordings can be liberating in terms of keeping an open mind to the way sounds can be manipulated and and rearranged. I once suggested that the maybe most interesting "DJs" weren't always the most awesome musicians. That's arguable and who knows what DJ means anymore but I think you get my drift.
Music isn't solely the purview of western cultivated, conservatory trained aesthetes. It isn't even the domain of musicians. It's belongs to everyone and it should be made by everyone. In the end, it only matters if it sounds good. Your song sounds good so there!
"Back and Forth" Garret Gengler
The ambiance on the guitar over in the left channel is wonderful. I like the dry vocal and the intimate mix. The coda is top notch pop. The whole song is a shiny gem. I still need to go out and buy that Wire album...
"Ceyecal" Ianweb123
This reminded me of maybe a lost B-Side from Tangerine Dream's album "Exit." Except that your bass isn't as warmly analog as one I'd expect from them. Your bass is OK mostly but right near the end where it starts to stand out more, it sounds a little too much like a preset sound. I love those deep arco strings, the distorted lead and all the cool thinth noises. I assume the title is a play on the word "cycle."
"Heartbeat" Barnadine
I think the main reason I like this is because when I play guitar, I try to make little songs like this. Unfortunately I can't play or sing well enough to pull it off... But there's something else going on in yours. Despite the seemingly intimate impression of a confession at the beginning, the song's mien is increasingly contaminated by distorted guitar and effects why bely the implied sincerity. Then it seems to resolve itself around 1:04 when you sing, "stumble on..." But the song reiterates from the top with a slightly different personality (namely a different mix) for awhile - only to slip in and out personalities whilst "stumbling on." You're not a shrink are you? The whole song seems a metaphor for a person who seems to be taking stock of their faults and trying to start over anew only to eventually revert to their old bad habits again. Yes, it's a perfect hangover song.
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- KVRAF
- 3066 posts since 31 May, 2002 from My chair
Already done this month.windchillFactor wrote:We could take it a step further and write mean, insulting songs about each other.
(nah, actually mine was a total green-with-jealousy good-natured ribbing thing: gotta love the Sleekster...)
- m
Markleford's band, The James Rocket: http://www.TheJamesRocket.com/
Markleford's tracks: http://www.markleford.com/music/
Markleford's free MFX, DXi2, DR-008 modules: http://www.TenCrazy.com/
Markleford's tracks: http://www.markleford.com/music/
Markleford's free MFX, DXi2, DR-008 modules: http://www.TenCrazy.com/
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- The Teach
- Topic Starter
- 8273 posts since 23 Jul, 2002 from flatness
thanks for taking the time to write this george ...You™ wrote:To me, creating music is not about how well you play yesterday's traditional instruments or how many chords you know or even whether you can tune a guitar. As more people move toward computer-based performing and recording, the traditional ways of inputing and articulating sound (ahem, data) are inadequate for some artists. Besides strings, mouthpieces, keys, pedals and sticks, we need sliders, knobs, pads, ribbons and other sensors. Like old school electronic music some can't even be made in real-time.
I don't have a problem with electronic or loop or sample-based composition. It's about another way of interpreting what music can be. Frankly I think divorcing oneself of the charge of having to create the source recordings can be liberating in terms of keeping an open mind to the way sounds can be manipulated and and rearranged. I once suggested that the maybe most interesting "DJs" weren't always the most awesome musicians. That's arguable and who knows what DJ means anymore but I think you get my drift.
Music isn't solely the purview of western cultivated, conservatory trained aesthetes. It isn't even the domain of musicians. It's belongs to everyone and it should be made by everyone. In the end, it only matters if it sounds good. Your song sounds good so there!
... it articulates so much of what i think about music too only does it less glibly ...
... at an earlier point in this thread i had a long post typed out about some of these issues but didnt hit submit because it might have come across as whinging and accusatory when it REALLy wasnt - you writing this gives me the chance to throw my main observation into the mix again ...
... while we 2 (AND many others it has to be said) are happy to see loops / found sounds as valid tools / instruments there are always a few 'but its only loops' comments thrown around (hell even i did it myself in relation to this contest track) ...
... however (and heres the actually-not-finger-pointing-though-it-might-sound-like-it bit) there are many here who use stuff like virtual guitarist / slicy drummer / etc and get compliments every time on their riffs / rhythms ... again i have no issues with these tools (i have and occasionally use slicy drummer myself) but the generally positive (or just unnoticed ??? ) perception of their use i find interesting ...
... i hope my genuine curiosity is what comes across here
thanks for the in-depth review BTW ... and ... accessible ??? bloody hell !?!
slainte
rob
Last edited by pHz on Fri Aug 27, 2004 7:16 pm, edited 1 time in total.
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- KVRAF
- 3066 posts since 31 May, 2002 from My chair
My blessing, my curse: I do prize my versatility, but don't have the patience to forge a "sound" for myself like someone such as Beardedone has.You™ wrote:Markleford [...] You seem to have a chameleon quality that allows to to slide from one genre to another
My wife has recently been getting voice acting books from the library for me in hopes of pushing me into a career I might actually enjoy.and adapt your voice well - stunningly well in this case.
Thanks for the praise and vote,
- m
Markleford's band, The James Rocket: http://www.TheJamesRocket.com/
Markleford's tracks: http://www.markleford.com/music/
Markleford's free MFX, DXi2, DR-008 modules: http://www.TenCrazy.com/
Markleford's tracks: http://www.markleford.com/music/
Markleford's free MFX, DXi2, DR-008 modules: http://www.TenCrazy.com/
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- KVRAF
- 2093 posts since 19 Jun, 2003 from UTM 18 317254E 4295335N (WGS84/NAD83)
Well, good. I'm glad you guys know what I'm sayin'
I know Gordon's been doing well with Slicy/Fillin' and I'm interested in finding out more about them. I keep meaning to look 'em up but I always get distracted...
But the whole loop/sample/real/whatever argument is nothing new. It's all a matter of degree. When I was younger, many musicians whined about the perceived threat of synthesizers eventually replacing them and public taste would be tainted by all this prefab electronic pottage so much they couldn't appreciate the nuance and subtlety of real violins, piano or drums. That seems rather quaint considering the big synths around were analog Arps, Sequential Circuits, Oberheims, Moogs and those behemoths that looked like luggage from the phone company. As cool as they were, they were in no danger of fooling anyone into thinking they were traditional instruments.
Before my day, I hear there was some resistance to instrument amplification. Recently it's been sampling and looping. I'm sure there's a camp of adamant VST and software nay-sayers out there too.
I think the issues people have with technology (lets face it, that's really what we're talking about) is that it seems to obsolesce all the hard work that people had to do by hand before it. Well that's what it's supposed to do - make things easier. But it doesn't seem proper or fair when other less experienced "users" can fashion something that rivals (to some ears) even the best musicians hard work. Notice my obnoxious use of the terms user and musician.
Well to some extent the Tom Scholz's of the world were right. Technology has defiled popular music. But that would happen anyway as long popular music is dominated by an "industry" that prizes profits and demographics over substance and itegrity. More importantly, technology cuts both ways: simplifying the effort required to achieve a particular goal while providing new opportunities for expression by savvy artists. It let Joey, Johnny, Dee Dee and Tommy have the power to fire one of the opening salvos of the punk movement while at the same time in Düsseldorf, it helped Ralf and Florian push experimental music into the sound that would inform disco, techno and all pop music forever. There are more bands, more styles, more ideas and more opportunities now than ever before.
So the net gross is that the cannon of interesting musical ideas grows and the world of possibilities really is endless.
I know Gordon's been doing well with Slicy/Fillin' and I'm interested in finding out more about them. I keep meaning to look 'em up but I always get distracted...
But the whole loop/sample/real/whatever argument is nothing new. It's all a matter of degree. When I was younger, many musicians whined about the perceived threat of synthesizers eventually replacing them and public taste would be tainted by all this prefab electronic pottage so much they couldn't appreciate the nuance and subtlety of real violins, piano or drums. That seems rather quaint considering the big synths around were analog Arps, Sequential Circuits, Oberheims, Moogs and those behemoths that looked like luggage from the phone company. As cool as they were, they were in no danger of fooling anyone into thinking they were traditional instruments.
Before my day, I hear there was some resistance to instrument amplification. Recently it's been sampling and looping. I'm sure there's a camp of adamant VST and software nay-sayers out there too.
I think the issues people have with technology (lets face it, that's really what we're talking about) is that it seems to obsolesce all the hard work that people had to do by hand before it. Well that's what it's supposed to do - make things easier. But it doesn't seem proper or fair when other less experienced "users" can fashion something that rivals (to some ears) even the best musicians hard work. Notice my obnoxious use of the terms user and musician.
Well to some extent the Tom Scholz's of the world were right. Technology has defiled popular music. But that would happen anyway as long popular music is dominated by an "industry" that prizes profits and demographics over substance and itegrity. More importantly, technology cuts both ways: simplifying the effort required to achieve a particular goal while providing new opportunities for expression by savvy artists. It let Joey, Johnny, Dee Dee and Tommy have the power to fire one of the opening salvos of the punk movement while at the same time in Düsseldorf, it helped Ralf and Florian push experimental music into the sound that would inform disco, techno and all pop music forever. There are more bands, more styles, more ideas and more opportunities now than ever before.
So the net gross is that the cannon of interesting musical ideas grows and the world of possibilities really is endless.
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- KVRian
- 725 posts since 30 Mar, 2004 from Melbourne, Australia
/bump. Moods = the best idea so far. Covers? Bleh!Mo Verdigast wrote:I love this suggestion!!!duncanparsons wrote:I'd love to do a bad moods theme - bitterness, angry, frustration, depressed, etc.
I'm sure we would have a wail of a time..
DSP
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- KVRAF
- 2093 posts since 19 Jun, 2003 from UTM 18 317254E 4295335N (WGS84/NAD83)
Moods aren't themes. Moods are emotional states. Every month is a moody month regardless of the theme.
...And I know what you're thinking, so shush!
...And I know what you're thinking, so shush!
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- KVRist
- 462 posts since 3 Feb, 2004 from HONG KONG
I, personally, like the idea of doing kvr covers. I actually was thinking about doing a cover of Garret's contest entry this month anyway. Of course, I would sing the lyrics the way that I heard them and not the way that he "SAYS" they really are.
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- KVRAF
- 2083 posts since 8 Apr, 2004
thanks for your kind words...You™ wrote: "To Die For" Glooper (Ben Smith)
I said I like this song already and let me tell you a couple good things it reminds me of: The beginning guitar, bass and keyboard interplay and the dramatic apex near the end evoke a certain 70s pop ballad feel . So many songs had that swelling strings-and-winds crescendo. It's nice how you underplay the emotionalism here even in the climax because it could get too overwrought. As a guy, that sometimes makes me uncomfortable, so thanks for toning it down. You've even got a nice little pause like Garret does in his songs. The tremolo effect on "To avoid this I would die ie ie ie ie ie ie e e e e e e" is far out.
...and for the vote...
Ben
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- angelboy
- 4586 posts since 21 Aug, 2001 from Larnaca, Cyprus
Wow!! 
I checked the voting thread and I couldn't believe it - two No1 votes? And more people voting for me too? Thanks everybody, I really can't believe it - I didn't think my track was bad, but next to some of the other entries, I think it does pale a bit in comparison.
Anyway, THANKS! You just made a simple boy very happy. 
I checked the voting thread and I couldn't believe it - two No1 votes? And more people voting for me too? Thanks everybody, I really can't believe it - I didn't think my track was bad, but next to some of the other entries, I think it does pale a bit in comparison.Anyway, THANKS!
You just made a simple boy very happy. -
- KVRAF
- 4878 posts since 13 Jun, 2002 from Montreal
What do you expect Tris! It is a great track.
Got to get back to listening - too many choices and I cannot decide.
Got to get back to listening - too many choices and I cannot decide.
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- KVRAF
- 4878 posts since 13 Jun, 2002 from Montreal