this has some new tricks. incl a classy slick section out of nowhere...
stranger n some more again [E]
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- KVRAF
- 12141 posts since 13 Mar, 2009 from UK
I love the guitar (again), and the drums on here, but the trumpet? section was really impressive. Some nice reverb through that part. I may be reading too much into this but I get the feeling that these "Stranger" pieces form one longer continuous work and this is building towards something climactic.
Very good indeed
Very good indeed
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- KVRAF
- Topic Starter
- 26033 posts since 20 Oct, 2007 from gonesville
trombone. this instrument has a pretty high range, very strong and clear at the top of it. This works more like a valve 'bone than slide tho. the stuff later in the section I think would be impossible for slide trombone.
when I built this, the foundation was audio more or less the same as that of the foundation layer of "A".
(that is soundscape stuff I make with mostly Absynth [4] and Guitar Rig [4] in Kore2. That is the basic ebb and flows of the composition. Before I can have a lot of orchestration up I have to commit the first layer to audio.
I use some very long Absynth envelopes for one thing which is the CPU hog of all time.)
here I wanted to present as quiet and mysterious a stranger as I could. for a couple days I was approaching it as more of a purely electronic thing, with some FX percussion.
the next step for the 'sans strategie' M.O. is some Reaktor Skanner, one or more lines to articulate the basic shape/composition. Now, there is a preset that's very warm and very cutting at the same time I've been starting with. It very much agrees with mid-brass and high winds. Dialing in 'envelope' and 'modulation' amounts, gives pulsing, you can dial in changes in meter/tempo by that.
So I like to play off that with cymbals. I got kind of enthusiastic with that and got to a certain detail of the thing thru that.
Again, the changes of mood are determined by the first layer: in both A and E there is that declarative introduction that ebbs out into a mellow mood.
The Skanner agrees so much with the trombone I have in the template that's a no-brainer. I had that drums and percussion thing nearly formed and I came up with the trombone line in one sitting, and set about with more particular drumming following that. I had thought early on that standup bass would be the thing if I got bass in, and it perfectly suited the mood of the 'bone and the jazzbo drumming. I did not know this would be the direction to this extent. The personality of the 'bone rules ok. 'The Bassist' knew exactly what to do at once.
this is a larger conception, if only because I like the vibe of this 'orchestra', this landscape and its population. I think I'm getting to be enough of a composer to bring it off, though I don't know exactly where it will go. I don't write things out, everything is direct-to-project off of 'through-comprovising'.
when I built this, the foundation was audio more or less the same as that of the foundation layer of "A".
(that is soundscape stuff I make with mostly Absynth [4] and Guitar Rig [4] in Kore2. That is the basic ebb and flows of the composition. Before I can have a lot of orchestration up I have to commit the first layer to audio.
I use some very long Absynth envelopes for one thing which is the CPU hog of all time.)
here I wanted to present as quiet and mysterious a stranger as I could. for a couple days I was approaching it as more of a purely electronic thing, with some FX percussion.
the next step for the 'sans strategie' M.O. is some Reaktor Skanner, one or more lines to articulate the basic shape/composition. Now, there is a preset that's very warm and very cutting at the same time I've been starting with. It very much agrees with mid-brass and high winds. Dialing in 'envelope' and 'modulation' amounts, gives pulsing, you can dial in changes in meter/tempo by that.
So I like to play off that with cymbals. I got kind of enthusiastic with that and got to a certain detail of the thing thru that.
Again, the changes of mood are determined by the first layer: in both A and E there is that declarative introduction that ebbs out into a mellow mood.
The Skanner agrees so much with the trombone I have in the template that's a no-brainer. I had that drums and percussion thing nearly formed and I came up with the trombone line in one sitting, and set about with more particular drumming following that. I had thought early on that standup bass would be the thing if I got bass in, and it perfectly suited the mood of the 'bone and the jazzbo drumming. I did not know this would be the direction to this extent. The personality of the 'bone rules ok. 'The Bassist' knew exactly what to do at once.
this is a larger conception, if only because I like the vibe of this 'orchestra', this landscape and its population. I think I'm getting to be enough of a composer to bring it off, though I don't know exactly where it will go. I don't write things out, everything is direct-to-project off of 'through-comprovising'.
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- KVRAF
- Topic Starter
- 26033 posts since 20 Oct, 2007 from gonesville
Thanks. It's pretty wet there; the channel level for the 'bone is backed off a bit but with a lot of send, and there's a lot of tail w. a high-ish wet level. there are two 'verbs it's sent to, one a big room and another for some 'diffused taps'. my automation maps get to be kinda long lists per these mixes.seismic1 wrote:Some nice reverb through that part.
thank you. we are amused with this one too.seismic1 wrote:Very good indeed
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- KVRAF
- 8237 posts since 22 Sep, 2008 from Windsor. UK
Most excellent, I enjoyed that.
It oozes a classy and mysterious atmosphere without being pretentious in any way (which can often be the case with this 'concept' jazz style)
It oozes a classy and mysterious atmosphere without being pretentious in any way (which can often be the case with this 'concept' jazz style)
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- KVRAF
- Topic Starter
- 26033 posts since 20 Oct, 2007 from gonesville
thanks
I'm pretentious enough tho. I pretend to be able to do something until I can bring it off.
but I was brought up in, steeped in jazz. I don't often go there directly, I have a lot of other things on my mind it seems. But apparently a line like that occurs to me naturally. That section came the quickest by far.
I'm pretentious enough tho. I pretend to be able to do something until I can bring it off.
but I was brought up in, steeped in jazz. I don't often go there directly, I have a lot of other things on my mind it seems. But apparently a line like that occurs to me naturally. That section came the quickest by far.
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- KVRist
- 159 posts since 24 Jul, 2011
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- KVRAF
- Topic Starter
- 26033 posts since 20 Oct, 2007 from gonesville
thanks for dropping by, n0rd!
I'm not sure what acid jazz is but I don't mind the tag, I've gone for it myself, it sounds good! I was about to say space jazz or something for this. the bottom layer is pure space...
I'm not sure what acid jazz is but I don't mind the tag, I've gone for it myself, it sounds good! I was about to say space jazz or something for this. the bottom layer is pure space...
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- KVRAF
- Topic Starter
- 26033 posts since 20 Oct, 2007 from gonesville
"F" is turning out to be quite a departure. The end of this E took me into a groove mode. F is quite a bit more direct/less tricky. A lot of 4/4.
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- Banned
- 6129 posts since 9 Oct, 2007 from an inharmonious society