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Radiowar

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Posts posted by Radiowar

    Max4Live + Super Audio Cart question

    in Music Composition & Production

    Posted · Edited by Radiowar

    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)

    Max4Live + Super Audio Cart question

    in Music Composition & Production

    Posted

    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?

    Uncharted 4 - For Better or Worse (instrumental rock / electronic)

    in Post Your Game ReMixes!

    Posted

    On 14/01/2018 at 4:26 PM, Rotten Eggplant said:

    This style of music may be a little out of my element, but I can critique that for which I can.

    Or rather, if I can. To be honest, I really don't find much that needs work. Maybe cleaning the EQ a bit, but it doesn't need much. I really enjoyed the atmosphere you created. Very good listen.

    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. 

     

    Uncharted 4 - For Better or Worse (instrumental rock / electronic)

    in Post Your Game ReMixes!

    Posted

    been a while since i've posted here 8O

    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)

     
     

     

    Pokémon Ruby and Sapphire Remakes Announced!

    in General Discussion

    Posted

    I kind of want this, mostly because 3rd gen was my favorite, but at the same time, they really have to offer something besides "hey, remember 2004? Wasn't that great?" with a fresh coat of new engine.

    The video says "explore a dramatic new world", which means...? Are we talking new as in they added a little bit more to Hoenn, or they completely redrew the overworld map so there are new areas and cities, or it's not even taking place in Hoenn any more? I'm actually curious to find out.

    Hopefully it will be a proper remake, even better than what they did with Fire Red/Leaf Green and Heart Gold/Soul Silver. Those ones kept all the great parts while managing to add in some refinements, even a few expansions and out-right up-grades. If Omega Ruby and Alpha Sapphire can exceed that, then it's going to be great.

    If this is just a remake with little to no new content, enough to justify the purchase... then fuck it.

    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:

    Cool/interesting chord progs, scales, cadences, etc.

    in Music Composition & Production

    Posted

    The big difference is of course improvisation. If you improvise sections in classical music (or any other genre), there is no real difference regarding theory.

    Except that styles of music other than jazz are generally more accessible to people who use their own homebrew intuitive kind of theory.

    all improvisation requires is an understanding of harmony and motive which is equally important in performing music which is entirely notated. (eg. fugues)

    Just noticed that the thread title contains "scales". What do you guys think about learning scales and their correlation w/ chords extensively?

    Imho, it's a kind of double edged sword. It's a good tool like anything else in theory, but it seems a lot of players sort of become slaves to basing all their playing around scale runs. It's like a phase people have to go through, and some never quite seem to emerge from it.

    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.

    Cool/interesting chord progs, scales, cadences, etc.

    in Music Composition & Production

    Posted · Edited by Radiowar

    in Jazz you are actively using theory while you play, whereas in classical it is mostly an analytical tool.

    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.

    Cool/interesting chord progs, scales, cadences, etc.

    in Music Composition & Production

    Posted

    That's definitely true in classical theory, but in jazz theory, that's not the case at all. A lot of those add notes aren't resolved until the next chord or even at all, but in classical theory, at least as I understand it, a non-chord tone is usually resolved during the chord it is sounded with.

    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. :P

    Cool/interesting chord progs, scales, cadences, etc.

    in Music Composition & Production

    Posted

    To an extent...but for the past 400 years a good number of composers have thought about harmony before they've thought about melody. Before baroque composers came around harmony was typically subsequent of two or more melodies put against each other. Since then, composers have thought about harmonies and common progressions (ii-V-I, I, IV, vii, I, etc. etc.) first, and added in melodies afterwards using passing tones, chord tones, etc.

    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.

    Cool/interesting chord progs, scales, cadences, etc.

    in Music Composition & Production

    Posted

    EDIT: What I'm saying here is that I've seen this conversation pop up numerous times over the years. All of these extensions, added tone chords etc. are all still based on simple major/minor triads which even simpler are based on their root notes derived from a scale. It's from the root notes of the chords changing that you perceive a harmonic progression. Like, we can all agree that if a bass just plays the roots of the chord changes, you'll still hear the progression as you would if there was full chords being played. When you add in those extensions and stuff, you're really just creating melodic interest between the changes and to n00bs, this just needlessly complicates things. Through the progression you (and others described) you could literally draw a line through the extensions etc, transfer it over to another instrument and get the same effect. So saying something like play "Gm7 - Gsus 4 - Gm9 - F" is really a convoluted way of saying you have a progression from G minor to F major. All the notes in between can be perceived as melody.

    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.

    NFL doesnt pay musicians, or its taxes.

    in General Discussion

    Posted

    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.

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