eassae NAUGHT Funtime Sandbox (⌐■_■)ノ♪♬

[vurt]

Hey Vurt,

There are a few things layered there but I think your talking about these ONE(wait for it, takes a few to come in) and TWO? So to do this I started with a patch I made in absynth, the basics are: Double Saw_real in the first lane, pitched an octave down with a cloud filter; a single sign in lane 2 pitched 20 down unfiltered; another double saw in lane 3 with a cloud filter. All three have an envelope that raises the pitch over 4 bars. After that I have a Valhalla plate reverb with a 35% mix and a 6.6 second delay. After that, and where the magic happens, is a simple logic tremolo. Start with the rate at DC, depth at 100%, smoothing at 46%, phase at 60%(this is the key) which turns the tremolo into a gate with a little bit of stereo width because of the offset. For a pure gate you would set the phase at -90. After this is set up automate the rate from DC to 20 and you get the effect. You actually hear this in motor sound design in movies all the time(See Star Wars VII), this is actually where I picked up this trick. Two is the reverse. I just bounced in place and reversed.

The voc synth you're talking about is this VOC? If so, this is the LuSH-101 from d16. The patch uses a vowel filter(built into the synth) on a simple saw wave, then it's arped and gated, then some delay, then a uhbik phaser then gated again to clean it up.

Thanks for the comment on the drums. I mix in logic and create an number of sub groups. Everything except the drums and bass go through a duck bus with a sidechain compressor that is triggered by the kick—I use an EQ to roll off all the low end on this channel. I also have a separate duck bus for my effects buss.

Hopefully I got the right sounds you were looking for? If not let me know. Also happy to answer any more questions.

thats great, thanks so much for the details.
id have never guessed lush tbh! sounds great, may have to have a closer look at that.

[ChameleonMusic]

Here's progress on the Jazz Noir track. In this phase I work a lot on sound design, and setting the basic levels. It usually ends up being kind of a mud pie(as you can hear below), but I figure if I can find decent space for an element when the mix is so dense, then it will have it's own space when I go to the arrangement phase and everything isn't going at once. I also turn on my mix bus chain at this point and make some basic moves.

Here's the chain: Waves Abbey Road Vinyl(no crackle, just a little bit of wow and adjustment of the tone arm position)->bx digital eq(just a little overall signal boost, centering everything under 111 cycles, and stereo width set to 111%)->Lindell TE eq(I start adjusting the overall tone)->The Glue(very very light, a db or two, compression with no makeup, filter out the low end so it doesn't trip the compressor)->FabFilter Pro L2(just some light signal boost,). I'm over the loudness wars and like my transients, so when my signal hits the L2, it's usually not chopping off more than a db. And finally, I place a Waves L3-LL UltraMaximiser on the stereo out and push the signal a couple of DB.

Anyway here's the clip of my mud pie:

Play

Always very interesting to hear how other people approach composing / mixing/ mastering / sound design etc!

Seems to me like the production side is all moving in the right direction!

I do have a few issues with the actual musical content though at this stage...just opinion obviously...and always meant constructively...

I find a lot of the note choices in there 'not quite 100% right' at the moment to my ear...certainly not exactly what you'd expect in Noir Jazz...definitely not straightforward triadic chords + linked melody approach...but not quite fully making sense to me in terms of a more experimental approach either?

Also - there is clearly a strong rhythmic groove going on, but I felt that certain parts don't quite sync with that groove as of yet?

[eassae]

thanks so much for the details.

Yeah, no worries. The tremolo gate trick can be used on any riser really, or any other content too for that matter, sometimes I use it just rhythmically without adjusting the rate, just leaving it set synced to 1/8 or 1/16 or whatever.

[eassae]

I find a lot of the note choices in there 'not quite 100% right' at the moment to my ear...certainly not exactly what you'd expect in Noir Jazz...definitely not straightforward triadic chords + linked melody approach...but not quite fully making sense to me in terms of a more experimental approach either?

Thanks for keeping up with the progress.

One thing I should mention is my theory background is basically piano lessons for a few years as a kid, and every once in a while watching Rick Beato or Adam Neely for 15 minutes. I have some idea about some aspects of theory now, but naming chords is a bit over my head. I just used the term Jazz Noir because you did. I didn't have a set goal of the song being that specific genera. I just liked the initial melody I came up with that morning.

I started this with an 8 chord progression. They're all 7 or 9 chords. There's a lot of modal interchange here(not sure if I'm using this term correctly). I started the idea in Fmaj but it moves around so much I don't really know what key this would be considered. It actually seems to resolve to both C and G pretty well actually.

Could you be more specific about what is not sitting right with you? I'm not quite sure what I should look at. Like I said theory is not my strong suit, so treat me like an idiot if need be. I wen't to art school, and have gone through hours and hours of critique, so I won't be offended.

[eassae]

Not sure what I did here.

[ChameleonMusic]

Not sure what I did here.

KVR double-posts sometimes for me as well...seems like it's not posting...I click again...I get two posts...one is empty! Welcome to the idiosyncrasies of the Music Cafe! I should know better after 15 years, but I don't!

[ChameleonMusic]

I find a lot of the note choices in there 'not quite 100% right' at the moment to my ear...certainly not exactly what you'd expect in Noir Jazz...definitely not straightforward triadic chords + linked melody approach...but not quite fully making sense to me in terms of a more experimental approach either?

Thanks for keeping up with the progress.

One thing I should mention is my theory background is basically piano lessons for a few years as a kid, and every once in a while watching Rick Beato or Adam Neely for 15 minutes. I have some idea about some aspects of theory now, but naming chords is a bit over my head. I just used the term Jazz Noir because you did. I didn't have a set goal of the song being that specific genera. I just liked the initial melody I came up with that morning.

I started this with an 8 chord progression. They're all 7 or 9 chords. There's a lot of modal interchange here(not sure if I'm using this term correctly). I started the idea in Fmaj but it moves around so much I don't really know what key this would be considered. It actually seems to resolve to both C and G pretty well actually.

Could you be more specific about what is not sitting right with you? I'm not quite sure what I should look at. Like I said theory is not my strong suit, so treat me like an idiot if need be. I wen't to art school, and have gone through hours and hours of critique, so I won't be offended.

Warning - I can seriously go on about all this stuff, so just tell me 'enough is enough' if it gets too much...likewise no offence will be taken!

I think in general I find there is a mismatch between the melodic parts and the background of sustained chords. I'm no stranger to extreme dissonance / avant garde music / experimental music, but it's just sort of 'off' a little bit at times from the expected connection between the chords and melodies...but not in a consistent way?

Simple example:

First chord = FMaj7 = notes F A C E

Melody above the chord = D Eb D C

Nothing at all inappropriate about the D as long as it resolves / moves somewhere and obviously the C is part of the accompanying chord anyway. But...the Eb just hits that accompanying E in a way that doesn't work for my ear. There are other examples as well as it progresses.

It's NOT wrong as such...I don't ever use that word for anyone's music. If it works for you, then that's just as valid as my opinion, but it's certainly unusual.

Chords and melody - it's worth remembering that the melody notes also form part of the ongoing harmony if that makes sense...they are not separate from it as such.

[eassae]

Warning - I can seriously go on about all this stuff, so just tell me 'enough is enough' if it gets too much...likewise no offence will be taken!

I think in general I find there is a mismatch between the melodic parts and the background of sustained chords. I'm no stranger to extreme dissonance / avant garde music / experimental music, but it's just sort of 'off' a little bit at times from the expected connection between the chords and melodies...but not in a consistent way?

Simple example:

First chord = FMaj7 = notes F A C E

Melody above the chord = D Eb D C

Nothing at all inappropriate about the D as long as it resolves / moves somewhere and obviously the C is part of the accompanying chord anyway. But...the Eb just hits that accompanying E in a way that doesn't work for my ear. There are other examples as well as it progresses.

It's NOT wrong as such...I don't ever use that word for anyone's music. If it works for you, then that's just as valid as my opinion, but it's certainly unusual.

Chords and melody - it's worth remembering that the melody notes also form part of the ongoing harmony if that makes sense...they are not separate from it as such.

Thanks man! I appreciate it.

[eassae]

Progress ⊂(◉‿◉)つ Still a ton of writing, arranging, and mixing to be done, but it's getting there.

PLAY

[eassae]

So close (◑‿◐) Headphone mix. Some of the parts may still be too dense? maybe vary the drums a little more?…???

https://soundcloud.com/eassae/sn759/s-oyfdflBExNu

[eassae]

Tweaked some of the transitions, softened the lead bass in a few parts, adjusted the positioning of parts in a few places. I think it's done?

https://soundcloud.com/eassae/sn759/s-oyfdflBExNu

[eassae]

Another start. Adventures in lydian…ish:

PLAY

[StudioDave]

I'm enjoying your "jazz noir", your melodic note choices work all right for me, for the most part. Nothing I didn't like hearing.

As Frank Zappa suggested, keep moving forward and never stop.

Best regards,

dp

[eassae]

I'm enjoying your "jazz noir", your melodic note choices work all right for me, for the most part. Nothing I didn't like hearing.

As Frank Zappa suggested, keep moving forward and never stop.

Best regards,

dp

Thanks for listening dp

[eassae]

New track progress PLAY ~(˘▾˘~)