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Everything posted by Radiowar

  1. yes! i have always wanted this. that way in iTunes i can just press "o" and it jumps directly to the album. ...not that itunes is really a relevant thing anymore
  2. thanks for the kind words everyone, so cool to see this get a post. just wanted to drop a fun little easter egg which i haven't seen anyone pick up on yet: in the intro there's a shoutout to the credits music from conkers bad fur day, a tune i've been wanting to do a remix of for yeeeeears
  3. thanks for those links djp! i actually did come across HerrmuttLobby's solution in my searches, and downloaded his patch. but looking at it i could not quite decipher what was going on, let alone modify it for the function i was looking for (his takes a polyphonic midi from one midi track and sends it to "receivers" placed on separate midi channels which might then be connected to monophonic synths, etc.). i will have to take a look at abehr's patch as well - figure there's something to learn from seeing multiple perspectives on a similar-ish problem. i think this will have to coincide with me taking a stab at it myself, though, if i'm ever going to hope to build some fluency with max. i'm thinking my approach might be to start with a simple patch that receives midi notes, then maybe an expression which compares them and sorts them from low to high, then routes them to separate outputs...idk actually, now that i think about it...there might be a somewhat convoluted way of using HermuttLobby's patch, then the receiver + Ableton's External Instrument to send back to a midi track with SAC separated by midi channel. kind of funny, potentially some latency (not that it's a dealbreaker)
  4. no "working the bag, boss" after a djp post...nothing makes sense anymore!
  5. so i've made a preset in super audio cart that has 3 layers, but it only sounds good as a chord if the layers are each distributed to low - mid - high notes within a chord. at first i tried doing this within SAC by giving each layer a note range, but ofc this limits its use in general. so i thought this might be an opportunity to try working with max, which i have some knowledge of but have never really used for practical purposes. my idea was a patch which would take MIDI data of a chord of 3+ voices and split so that the lowest note is only sent to the Low voice, highest note is only sent to the High voice, any inner voice(s) only sent to Middle voice. this already far exceeds my abilities with max, and even then i can foresee some complications with overlapping chords/notes, how to handle monophonic parts (my hope would be that from a player perspective, it would seamlessly transition from balanced polyphony to a more normal 3-instrument keyboard split) i'm kind of thinking out loud / firing a question off into the dark (rather than register for cycling 74 forums) so i guess my question is: is it possible to use Max4Live to create a polyphonic MIDI splitter for Kontakt instruments, or does anyone here have any experience with this sort of functionality?
  6. posting this just for closure, i'm pretty happy with the arrangement at this point. now to properly mix this monstrosity
  7. this is starting to feel nearly completed. ironed out some of the details in the piano, string, and drum parts. thinking of ways of making the A section more dynamic through fx modulation. the B section is a little muddy still. is there anything i'm missing here?
  8. thanks for checking it out update: i think this version represents more or less the completed form (some stuff is gonna need to happen during the middle and end parts). also some of the sounds and parameters need to be tweaked (and properly mixed ofc), but i think the texture is starting to sound a bit more balanced.
  9. been a while since i've posted here i'm currently working on a remix of a tune from Uncharted 4. i'm trying out a different approach to form that slowly builds tension through layering parts and hinting at later chord progressions. i'm taking a lot of inspiration here from Mogwai and Yotto. for reference, i'm basing my arrangement off the tune as it appears on the OST and in-game. at the moment i'd say i have maybe two-thirds of the form sketched out. some of the parts (like the drums) and other instrumentation are placeholders for the time being. in any case, feedback is appreciated, thanks for listening (updated 2/1)
  10. lovely!! have always wanted to hear this tune done in that twangy style.
  11. no guys...hes saying its misspelled on the website and its true anyway...i dig this mix ! took a fun tune and made it SUPER FUn
  12. well...it isn't nothing, right? i mean you see drought and drizzle activate when they appear so if nothing else its a preview of far more dynamic battle sequences and environments.
  13. yeah i am curious about that as well. the introduction of mega evolutions alone should be enough to influence the story in some way. if nothing else there should be a new set of megas. they already did mega blaziken so there will probably (?) be mega swampert and mega sceptile...which would be nice because i missed out on blazikenite D:
  14. this is a pretty classic from one of the older sda marathons. back when jiano still played and OoT Any % was more than 18 mins long
  15. YAWN let me kno when you guys get this site in the 21st century with a properly functioning REMIXINATOR. my idea for a 9 minute epic crossover prog rock/dubstep/orchestral suite remix of the laser sound effect from space invaders has been stuck in my brain queue since 2006 and i blame it entirely on the permanent state of bureaucratic logjam around here
  16. all improvisation requires is an understanding of harmony and motive which is equally important in performing music which is entirely notated. (eg. fugues) it can also be useful to think of scales not as predetermined objects but as a way to define the collection of pitches being used at any given time (eg. the diatonic collection, the pentatonic collection, etc.). an awareness of pitch and interval relationships at the abstract level can help you come up with both harmonic variety and a greater degree of coherence.
  17. you keep saying this and i wonder what you mean by that. are you including just general notation practice in your definition of "jazz theory"? because realistically classical theory shouldnt be any less applicable to performance/interpretation than jazz theory.
  18. oh yeah absolutely. i have zero background in jazz theory though so i could not even attempt to speak to that. i was just responding to what i thought was a point about horizontal vs. vertical approaches to interpretation. i think that there are times when it makes sense to understand sonorities instantaneously, but it's also important to consider the bigger picture. otherwise we end up with an approach to music that is just stacking lego blocks on top of each other.
  19. i think youre misinterpreting my point. i was not saying that calling a chord a "sus4" or "add9" is incorrect because it's unnecessary, but that it's actually technically an inaccurate use of the term. unless your suspended tone is actually prepared as a suspension, it is most likely some form of accented non-chord tone. the point being that harmonic labels are only useful insofar as they correctly identify function, not simply the literal pitch content of a given sonority.
  20. There's a technical argument for what AngelCityOutlaw is saying here as well. Harmonies with suspensions are not "chords" but a consequence of voice leading. Which is to say, in order to have an Asus4, that non-chord tone must be established as a chord tone and "suspended" from the preceding chord. Aside from being "needlessly complicated," chord symbols/figured bass analysis generally wants to ascribe function to a given harmony, and if the aspects of harmony are not functional you're better off describing them as ancillary tones. The tonic/submediant relationship i think ectogemia was describing is a kind of chromatic mediant relationship, something you find a lot in Debussy (whose harmonic language clearly influenced a lot of jrpg composers), though not typically functioning as tonicization, but tonic extension.
  21. i havent tried out the friend safari yet, but i'd like to! i have no idea what i have so if anybody is up for a SAFARI ADVENTURE feel free to add me my friend code is 1263-7041-3359. i'll probably go back through this thread at some point and add people as well
  22. thats kinda sad. i got into watching mkwii clan wars a while back, and without knowing what kind of game mk8 is its gonna be like an entire game just disappears. does this also mean no more project m online? (not that i ever used it)
  23. that would explain wonder trade this morning. got a lugia () and several other interesting pokemon. wonder if there are more hacked pokemon floating around now though
  24. OCR and the NFL are two distinctly different organizations, if for no other reason than one is a non-profit volunteer organization and the other is decidedly not. i do think it is more than a little outrageous that the NFL doesnt pay musicians - perhaps somewhat less so for reasons people have mentioned, but still in principle - while making exorbitant amounts of money themselves. that doesnt mean i think OCR is taking advantage of me because i submit music for free. i volunteered it.
  25. oh dang i didnt realize it was almost the 7th, im definitely getting excited to try this game. need something to dislodge pokemon from my system !
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