Nuages set [1, 2, & 3], Périphériques (1).

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//deleted link which was not 2A and eats bandwidth time redundantly//

(At the time I had only '2A'; A because the thing in the end has to does continue.)

"It may continue and continue in incessant mutation it's so statistically dense."/
There were finally two parts, second one stretching out slightly and with a literal answer where the first elided/pushed.


The usual [long tones basis] which is getting to be boring, I'm done I think; but I take a left turn at Albuquerque and then it goes south. In the good way.

https://www.youtube.com/watch?v=AUMm_LV ... 8&index=11

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Nuages

Nuages 2

Nuages 3
Last edited by jancivil on Wed Jan 30, 2019 3:00 pm, edited 11 times in total.

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Sounds like you have really cool ideas here. The highs in the middle were a bit too much, but I can totally see some of these sounds working well in other productions are ambiance and layers. Cool stuff!

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Thanks.

I don't know what this aversion to highs is around here, I've seen it before but I don't have it.
This is restrained compared to Nuages the original. I really get off on it. A couple others I did recently really go for it up there as well.

I think where it goes after the sort of resonant sustained treble notes you probably mean is... perhaps excessive, where the delay return goes wild on the left side and then the birdsong bit with the piccolo flute but I'm reveling in that excess. I may have run out of f**ks to give, actually.

for context:
https://youtu.be/bi4-k6YdRzY

Replaced with visualizer video.
Last edited by jancivil on Thu Feb 14, 2019 5:11 pm, edited 4 times in total.

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Oh yeah, the resemblance to Nuages '1' formally is that it goes somewhere else entirely in terms of the approach, the texture is radically different in the end. The original goes somewhere very concordant if not candy-assed with toy piano and vibes while this goes to this area with Rhodes and Balafon. I'm thinking, will the Balafon part be better with Hang Drum or something.

This compared to plain Nuages is a failure formally albeit I like its content. The payoff is the fertile field the thing at the end provides me to think about for a while and work with.

The basis for that little section is, I encountered somewhere a discussion of 'audio to MIDI' and I thought, what will Cubase do if I give it that delay return, which I'd printed, audio region and have it paste the result to a MIDI file. I slightly 'corrected' it but I loved the wrongness of it all.

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both beautiful pieces jancivil - particularly the longer "1" but I think that is just the greater length allowing the listener to be drawn in to the development of the material. I was listening to 2A and thinking this should go longer as I knew it was finishing in 10 secs or so but the abrupt ending is really strong in terms of setting the feeling for what comes before so even though there is lots of material there to develop 2A longer if you wanted to it would take away from the current version. Save it for the rest of the pieces in the Nuages suite ;)

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Thank you, Greg

The first part of 2A should be longer but I committed to what I had. The Absynth here is one of the worst to manage, the long envelopes, and the delay makes matters worse. I was repeating myself, I thought and I had the general notion to get to the contrasting 'pianos' section. It's kind of 'ruined orgasm' before I noticed the bird produced by the highs of one of the Absynth channels and the delay. That, too, will recur but I think it should be more standalone rather than a peak in the insanity.

I write fast; the last section had a natural ending, established in one session and that's that afaic. Even with no new writing those parts can be rearranged many ways. But the rhythmic potential - and I'm really glad I did something to get out of myself to establish the 'style' - is nuts. There is all this truncated nested cross-rhythm, like triplets on each of 7 out of a 15:2 which I want to get really crazy with. It would be good to have a display where you can see that across the bar but it's also good to be forced to come up with a way around.

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very brooding opening drone, the highs (which i liked) had me in mind of a singing saw when it first arrived :)


the second piece here is very deep, and i preferred the understated use of the glock/toy piano sounds in this one.

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The highs are Bowed Chamber Bowls (from Harry Partch's idea) and piccolo flute. And the XXL TamTam (from Stockhausen's Mikrophonie 1 idea), sample libraries. EDIT: TUNED bowed chamber bowls. Partch was never able to tune the carboys at all. So this only exists in sampleville. SonicCouture. The design of this library is wonderful.

I think Nuages 2 is an interesting failure as a composition. Nuages '1' set a high bar. But, I got the birdsong thing going again and maybe a start at a workflow (it's some work) which I haven't tried in like 5 yrs and the 2-part invention which is compelling to me.

I just wanted to get back into that world and manipulate that kind of patch some more basically. And then I had to get out.

thanks
Last edited by jancivil on Wed Apr 25, 2018 1:22 am, edited 1 time in total.

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I think this is about it:

[another redundant embedded youtube eating bandwidth, removed]

- 2nd permutation of the 2-Part Invention section. That kind of thing will drive you insane; which is a short drive, yes, but I'm going to do something else for a minute.
Last edited by jancivil on Thu May 31, 2018 3:59 am, edited 1 time in total.

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Yeah. Those highs seem quite tame relative to the earlier piece. The second half of this reminded me of the Be-Bop Tango. Make them dance!

Good work :)

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Thanks

I'm on Nu 3 now.

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been calling this Nuages 3 all along, but the last hit of Nu 2 overlaps with the entry of Nu 3 so...

https://www.youtube.com/watch?v=VBDr2Hm ... 0xw03c010c

Calling it Nuages 2'All'.
- this is pretty lumpy. it takes a couple of escape routes, it wants to bolt rather than hang out anywhere very long.

~5:51 in length.

actually I do want to hang out in the world that is the last section or so for a bit but that is most likely gwyne be #3 for reals.

edit: and did that.
YT links to playlist = Nuages now

New mix, some tweaks to various percussion moments = increase in depth,
Ultra High Definition render of the video so it got this Opus codec up.
The sound is finally quite good.
Last edited by jancivil on Wed Feb 27, 2019 1:10 pm, edited 6 times in total.

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_______
Last edited by jancivil on Sat Feb 24, 2018 2:28 am, edited 1 time in total.

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i went with "all" rather than just the latest piece in isolation...


still loving that opening brooding drone :)
and the glock section seems to work far better in the full context.
the snare rolls are nicely placed too, in the later part, both in time and mix placement, in fact the whole mix, plenty of space and even the contrasting rhythmic parts all sit in the same sonic field.
i find that can be difficult sometimes, having it sound like ive put some clean drum stuff over a prefinished piece :lol:

thanks for the info on those sample packs :)

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thanks for that

Yeah, where the snare first enters with those 4 16ths really works for me. I think the 'objective' or desaturated section that announces was a risk but perhaps less so following the 2-part invention of 'A'.

Here I had somehow ruined that 'first' [Absynth] layer for these several bars by the time I got to the part-writing but I had a piccolo part I wanted badly to keep. The stuff under it seems off the wall and it arrives but then vacates in no time. But the failure in the back layer means the unifying factor of that layer is missing here. The thing is, though, the bird rhythm in A has congruence with the other abstruse rhythmic business.

One unifying factor is the convolution reverb is more or less the same for all the layers and the idea of a further delay send making differences in the spatiality does not vary very much either.

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