Swingbeat; How do I do it?

[jancivil]

Yeah, no.

I'm talking guys who act like we're going to go over here and smoke a joint and then they get a BJ. Like right there in a corridor.


tell me I don't know from 'urban styles'

[vurt]

[vurt]

it would have to be damn good weed

[jancivil]

oh my




I blame porn for this behavior

[jancivil]

You literally know nothing.

Like the wise Socrates once figured ..." True wisdom is in knowing you know nothing ".

You're a narcissist with clear ego problems and no real life/career outside of KVR.

Jesus, such a lashing out. I can't really be insulted by such a childish acting out, you know.

The reality here is you posturing you know something about teh urban music and you literally don't know anything about the rhythm. Your self-awareness is non-existent. You postured about feel and ear in the same exchange where you stated all there to know about it is the swing feature in a sequencer, in a petulant reaction against knowledge.
You have done the very diametric opposite to having the wisdom to acknowledge not knowing. A glib, empty gesture meaning nothing.

And it's just parroting something you never looked into, out of all context. Mindless.

The quote which you mention is a loose paraphrase of a portion of
Plato's "Apology", in which Socrates questions the wisdom of a person
who is reputed to be wise:

"...I went to one who had the reputation of wisdom, and observed to
him - his name I need not mention; he was a politician whom I selected
for examination - and the result was as follows: When I began to talk
with him, I could not help thinking that he was not really wise,
although he was thought wise by many, and wiser still by himself; and
I went and tried to explain to him that he thought himself wise, but
was not really wise; and the consequence was that he hated me, and his
enmity was shared by several who were present and heard me. So I left
him, saying to myself, as I went away: Well, although I do not suppose
that either of us knows anything really beautiful and good, I am
better off than he is - for he knows nothing, and thinks that he
knows. I neither know nor think that I know."

Internet Classics Archive: Apology by Plato (Translated by Benjamin Jowett)
http://classics.mit.edu/Plato/apology.1b.txt

Project away, regarding ego (in context: "I KNOW YOU ARE BUT WHAT AM I", the very extent of your achievement in rhetoric). I have a good ego and I have things to show, results of my work. You think to argue there is nothing more (in two styles, one supposes in everything you gravitated towards) than layers and layers of samples, with no consideration whatsoever as to what went into some music to where people would think to sample it for their use; and have somehow managed to delude yourself you know all about the thing. We would have to conclude from this that you can't really do anything in music, no ideas of your own, no chops, nothing but bullshit. So sure, you would have to do exactly that, isn't it.

There is nothing less aware than this shit here.

[IncarnateX]

Double bubble

[IncarnateX]

(R8) Has no swing function though, only 100% triplets, no percent settings in between but a few microtiming settings to rush or slow the beat a little.

Wrong again, idiot. Shift + 6 gives you the swing menu with percent setting and all

Two wrongs doesn’t make a right but likely a moron who doesn’t know what he is talking about. Yipikayee.

And though microtiming is static, you can set it per beat. This machine rocks my socks.

[jancivil]

You are disrespecting the religion of the Sample Trees! How dare you, with your numbers and your science, this is a thread about layers and layers of...


Reported.

[IncarnateX]

Oops
You are right. Further, I am actually talking about MAKING MY OWN BEATS on this crazy thing. I am even go to BANG THEM INTO IT MANUALLY. And the worst thing is that my bars can’t be sampled and looped, BECAUSE THE PARAMETERS HAVE TO STAY RANDOMIZED FROM BEGINNING TO END.

Wroooooong thread

Though I promise to use the swing function at some point. Maybe it will turn my music into “Swingbeat”

[IncarnateX]

And even further: Sorry if I break any important taboos returning to a thread and correcting my own rubbish in public. Blame my mother, she gave me a conscience that occasionally works. Fortunately not often.

[jancivil]

MAKING MY OWN BEATS

Yeah, you'll never know anything about teh hipping or teh hopping with that misguided approach.

[jancivil]

Actually, when performing things in was very problematic due to having a machine which wasn't up to snuff, I once decided to record the basic bass groove just so, and use the groove quantize feature in Cubase SX2, and then over-quantize for drums entered in via step (straight quantized).
It doesn't breathe; I would have to create a new template every few bars and do a lot of guessing and trial and error trying to approximate a real-life groove. It never happens, it's a not-trivial expenditure of time to a dead end, is what I found. It's not necessarily less work than writing it all in with the pencil tool really, and less useful since I can conceptualize the thing linearly rather than in small chunks.

Ultimately that mentality kills the music; when hip hop was old 70s grooves appropriated and recycled "Urban" had some life left. Coming up with one, maybe two bars of a kick drum BOOM, BOOM, buh BOOM and pasting the copy again and again for a 3 minute track is death. I suppose if it's the Club track it's the same 3 seconds of 'music' for, who knows, hours.

I also love how that received notion of how 'hip hop' is made is supposed to be tantamount to esoteric knowledge. I can replicate the style all by myself (it's not challenging, and thus not so interesting for me), but this little factoid 'layers and layers of samples' is special. Then, 'you were born in 1950' as a diss, you can't know anything as an old fogey.
LA Reid was born the same year I was, 1956.



______________________________________

Anyway, numerous things going on here in this forum which any one of them could be a signal to move away, and, finally, I've seen enough.

It comes down to people trying to believe all music is equal and you can't say boo about there being music which is not actually good, and has no redeeming qualities; which is fine for a person who isn't in music, but if you are it's an utter absurdity.

If there can be no objective criteria for quality, how would you ever gauge your own music? It's just everybody just stays within their little zone of 'like'? Ok, so ultimately you have exactly this kind of shit, from people with no curiosity and finally zero growth. A lot of it is a copout for people, don't ever set a bar you have to stretch to get over, remain writing the same quality and remain safe. Something about a plugins forum and the whole thing of a technology where you can actually kid yourself you're makin beats fosters a delusional mentality and a weird, shoddy scaffolding of ego. And, the internet.
Oh well.

I want to convey and deal in ideas but I'm not magnanimous enough to maintain it and I'm not going to front and try to act like something I'm not.

[IncarnateX]

Think I said something like the latter in the BOOM thread but it got locked before we could get furher into to it. However, it is an honost opinion, and I see no reason why I shouldn’t repeat it here to supplement the above ^^^

Music, qualities, like, not like. Modern BOOM doesn’t usually pretend to be a piece of art (but to a few to whom it defines modernism). BOOM does not pretend to carry history, enlightening, milleniums of cultural events related to human development. It does not pretend to take advantage of refined musical techniques, outstanding performances, art of simplicity as well as complexity in compostions, art of musical story telling, art of musical induction of shared human feelings, and a whole lot more about which you could write novels. And it shouldn’t pretend that either, imo.

I do not give a sht whether I occasionally like some BOOM or not, but when I do, this does not mean it thereby has passed this ^^^^ test as far as the “quality” of music concerns.

Now if I am not allowed to judge e.g. Mozart’s music or afro american spirituals as something of higher quality in that sense than DJ Khalid’s BOOM, completely independent on who likes it, the world of real music is indeed coming to an end. Such cultural, historical and technical qualities are not determined by my taste but having knowledge and insight into what music is in the first place.

You may as well say “what matters to me is whether I like it, therefore is a Big Mac a gastronomical piece of art to me”.

I know it is meant well, but for illustration with reference to a recent thread: Writing fugeues has very little to do with using Fugue Macine for anything. Its loan to fugues is but a single straw on a feather of fugues, if even related at all. Writing fugues is an art form with historically established techniques, not a question of which machine to use.

[jancivil]

I was irritated by a couple of events in that thread, such as saying an assessment of hip hop in the negative is 'condescension' (which is not a good use of the word) and the reduction of emotional depth and life experiences to suit that. But the guy was having a bad day. I was having an abysmal day and in the end I felt I shouldn't even have tried.

It's Orwellian to say the retrogressive attitudes of Urban-oriented disposable pop defines "modernity".
Modernity in music as occurring right now is advances in rhythmic usage and awareness of things which can actually get to be passing difficult to quantify, eg., 'micro-rhythm'. Even as a proper performance of the Blue Danube Waltz is an example; but people are abstracting things from all over and pushing the envelope.





The discussion of Malcolm Braff cued there at '421' gets into morphing degrees of swing, extrapolated from analysis of african rhythm.

[IncarnateX]

Gold as usual, Jan. Have no time myself to dig up such, so thanks,

Though speaking of origins of rhythm, and at least not the mensural and neumes signs spoken about some pages ago, strict rhythms in the system of 4/4 came with the system itself; as he states it, it is a feel you have to be socialized into. Hard to write, yes, for there was no sign for it to begin with, people just learned and did it. Thus, micro rhythm and the many nuances of e.g. african rhythms, are foundational imo. It is that which sometimes can make a rhythm orchestra sound like they are drifting from each other, while still being on the same track. The eternal dynamics of playing the rhythm together or playing it with each percussionist’s own (micro) interpretation: being a whole, drifting apart, into a new whole, drifting apart etc. That is simply music at the core. And just one of many parts of it which can be hard to express on paper and close to impossible to imitate in a DAW.