One of my early collaborations with Norm.
Down by the riverside
Where all of the fish had died
I threw my faith right in
When I saw it, it was sinking
Oh don’t you go
Don’t you even dare
Don’t run away until you’ve heard…
One of my early collaborations with Norm.
Down by the riverside
Where all of the fish had died
I threw my faith right in
When I saw it, it was sinking
Oh don’t you go
Don’t you even dare
Don’t run away until you’ve heard…
Year: 2010
Album:
Strange Danger
Artist's description:
Frank wrote the lyrics, sang, played bass and drums. Chris wrote the guitar and flute (sample) and mastered the affair.
Contributors:
blowing leaves by FM
i like to walk on a day like…
A composition for 3 piece jazz band, tenor sax, fretless bass, and drums in 14 equal divisions of the octave and 5/4 time. This was realized using Garritan Jazz and Big Band sample set and Sonar X1.
I'm going to put this in my profile if it will fit.
the question of how microtonality is perceived and why is a hotly debated one on the tuning list. There seems to be, in general, but not in all cases, shared intervals around the world, like the 5th. However non-western cultures use, in general, microtonal tunings. !2 equal notes to an octave is a relatively recent invention in the west. 300 years ago it was common for what would be now called a microtonal tuning to be in common, everyday use. As best as can be determined the push for 12 equal was all about changing keys in a single piece of music. If you take the tuning of the middle ages, Pythagorean, you find you can't play in any key despite having 12 notes because the intervals between the notes are not equally spaced. As a result when you take a pure chord and move it up or down the octave with the same distance between the notes it could become something hideous. 12 Equal solves that problem at the expense of detuning all notes, some more than others.
Year: 2010
Album:
Strange Danger
Artist's description:
Frank wrote the lyrics, sang, played bass and drums. Chris wrote the guitar and flute (sample) and mastered the affair.
Contributors:
blowing leaves by FM
i like to walk on a day like…
great sentiment.. i feel this when i escape to the park in Autumn - brilliantly articulated. love the vocal delivery too. reminds me of something but cant think what.. eno? a bit? good stuff anyhoot :)
A composition for 3 piece jazz band, tenor sax, fretless bass, and drums in 14 equal divisions of the octave and 5/4 time. This was realized using Garritan Jazz and Big Band sample set and Sonar X1.
Hi Ricard, thanks for the listen and comment. It is probably hard not to hear 14 edo as out of tune since it so close to 12 but not quite there. I think then your sense of it being flattened and less bright is the result of the tuning.
A composition for 3 piece jazz band, tenor sax, fretless bass, and drums in 14 equal divisions of the octave and 5/4 time. This was realized using Garritan Jazz and Big Band sample set and Sonar X1.
Home made cannon in Just Intonation, cymbals struck by hand and bowed. (I don't own so many cymbals - I made a field recording while walking through the cymbal room at Sam Ash. A most exciting experience actually!) I did buy two cheap cymbals…
Home made cannon in Just Intonation, cymbals struck by hand and bowed. (I don't own so many cymbals - I made a field recording while walking through the cymbal room at Sam Ash. A most exciting experience actually!) I did buy two cheap cymbals…
Home made cannon in Just Intonation, cymbals struck by hand and bowed. (I don't own so many cymbals - I made a field recording while walking through the cymbal room at Sam Ash. A most exciting experience actually!) I did buy two cheap cymbals…
Year: 2010
Album:
Strange Danger
Artist's description:
Frank wrote the lyrics, sang, played bass and drums. Chris wrote the guitar and flute (sample) and mastered the affair.
Contributors:
blowing leaves by FM
i like to walk on a day like…
Year: 2010
Album:
Strange Danger
Artist's description:
Frank wrote the lyrics, sang, played bass and drums. Chris wrote the guitar and flute (sample) and mastered the affair.
Contributors:
blowing leaves by FM
i like to walk on a day like…
This will sound out of tune and very odd to most people... and certainly its not a "quality instrument". But it IS lo-fi :-)
I changed my $30 electric guitar from Just Intonation fretting to 14 equal notes per octave using cable ties, loaded…
On the three GR-20 pieces uploaded 6/8/11 this is how it works. In a nutshell - my guitar replaces a keyboard - but can do more.
Everything you hear is driven by me playing my Fender Mustang in one improvised pass. Now, for each song the Fender Mustang by itself (or through an amp simulator) is heard - this sound comes from the traditional pick ups on the guitar. Besides that I have installed a Roland GK-3 pick up on my Mustang. This pick up has 6 tiny picks ups - one for each string and connects to a fairly large switch and then a 1/4" cable with some 11 lines - regular guitar output and 6 outputs for the GK-3. This cable connects to the GR-20 synthesizer / midi interface. The GR-20 first decodes, almost instantly, the note each string is playing. It then converts that to midi pitch information and shoves that out the back. More on that later. Also, since the GR-20 is a synthesizer besides, it takes the pitch information and routes it to an internal sound (if desired). The really interesting part is what happens when I route that midi output to my computer. At my computer Sonar lets me assign that midi data to any number of synthesizers / samplers/ what-have-you all at the same time. So, if I want a voice or strings or piano - no problem. As for drums - Kontakt has a really neat groups of sampled drum sets that are a combination of "one shots" and smaller loops. So for instance on one of the pieces when I played the C below middle C I got a snare roll, play the B below it I get the accent that finishes the roll. So, by playing many notes I get a complex assortment of drum sounds that are in time with my playing. I've used this technique before - I am learning how to control it better - and the response is different for each of the dozen or so drum kits packaged with Kontakt - and then consider the effect of different tempos - the result is a fair amount of variety.
a collaboration of Alister Flint - Carlo Serafini - Chris Vaisvil
so, Chris did this. Carlo did that. and i added some. for the technical stuff, see below. :)
This piece uses multiple tunings simultaneously and is the inaugural…
the theory of Bed Henkings posted in the AT forum at the request of coelocanth
http://alonetone.com/forums/making-music/topics/the-theory-of-bad-henkings
Caveat emptor: I did absolutely none of the drumming in this piece.
ANOTHER WORLD PREMIER! FIRST RECORDING OF THIS PATTERN - EVER!
My friend Kokou "Alex" Yemey delighted me with another visit this evening. He played "Aju" - all 5 tracks…
This is so complex rhythmically that I don't know *how* to play along. I'm not sure if one should - it stands on its own - wow. This is a lesson here. Please send Alex my regards for his skill and sharing his cultural heritage.
a collaboration of Alister Flint - Carlo Serafini - Chris Vaisvil
so, Chris did this. Carlo did that. and i added some. for the technical stuff, see below. :)
This piece uses multiple tunings simultaneously and is the inaugural…
Thanks for the listen and comment! Well, no, I was a short haired old man when that solo happened (anyone over 29 is old of course). I don't know what PiL means.
A short improv piece. I'm starting a new project, where I will post at least one improv video/recording online each week, and at the end of each month collate them into an album.
This is the first one. Since July is almost over, I figure I…
This is a tune that's been on the back burner for a bit. I was looking to get a dark Ultravox kind of sound. Anyone feel like puttin' on their Midge Ure hat???
Anyway, these aren't the droids your looking for.
Move along..............Move along.
Finally, the finishing touches seem to be put on this three-year-old song thanks to some very talented people.
The band is:
Liam (age 13 at the time of recording) on drums
A Girl Named Sam (she's no kid!) with the backing vocals
Genevieve…
A few of you know I accidentally wiped out one of my SD cards that had all my works in progress on it. I'm just starting to piece it all together again - A slow process. This was supposed to be a reprise to "In My Head", but ended up being in…
I have issues at my house, sometimes they manifest themselves in my tracks. In this case, the bassoon and oboe represent the mouse. The guitar is the peanut-butter.
this is one inventive piece! what a mix - are you sure you didn't grow up south of I-10 in Louisiana? You have that Cajun blues thing down and who'd expect you could get oboe and bassoon to work so well with it! wow.
Comments on vaisvil's stuff
Moody stuff! Cool early Nirvana feel, which is always a good thing.
Nicely done
sickly syncopated , nice lyrics
I'm going to put this in my profile if it will fit. the question of how microtonality is perceived and why is a hotly debated one on the tuning list. There seems to be, in general, but not in all cases, shared intervals around the world, like the 5th. However non-western cultures use, in general, microtonal tunings. !2 equal notes to an octave is a relatively recent invention in the west. 300 years ago it was common for what would be now called a microtonal tuning to be in common, everyday use. As best as can be determined the push for 12 equal was all about changing keys in a single piece of music. If you take the tuning of the middle ages, Pythagorean, you find you can't play in any key despite having 12 notes because the intervals between the notes are not equally spaced. As a result when you take a pure chord and move it up or down the octave with the same distance between the notes it could become something hideous. 12 Equal solves that problem at the expense of detuning all notes, some more than others.
great sentiment.. i feel this when i escape to the park in Autumn - brilliantly articulated. love the vocal delivery too. reminds me of something but cant think what.. eno? a bit? good stuff anyhoot :)
Hi Ricard, thanks for the listen and comment. It is probably hard not to hear 14 edo as out of tune since it so close to 12 but not quite there. I think then your sense of it being flattened and less bright is the result of the tuning.
interesting piece, all the notes/sounds seems a bit flattened out (ie less bright, is that a result of the tuning?
pretty cool
pretty cool,,
Ha, wow, fascinating!
I enjoyed this, it's most interesting and compelling.
A jazzy little peach!
An enjoyable and delightful song.
Love the jauntiness! Nice Bryan Ferry touch to the vocal. Very cool.
Wow now thats cool great sound mate.
On the three GR-20 pieces uploaded 6/8/11 this is how it works. In a nutshell - my guitar replaces a keyboard - but can do more. Everything you hear is driven by me playing my Fender Mustang in one improvised pass. Now, for each song the Fender Mustang by itself (or through an amp simulator) is heard - this sound comes from the traditional pick ups on the guitar. Besides that I have installed a Roland GK-3 pick up on my Mustang. This pick up has 6 tiny picks ups - one for each string and connects to a fairly large switch and then a 1/4" cable with some 11 lines - regular guitar output and 6 outputs for the GK-3. This cable connects to the GR-20 synthesizer / midi interface. The GR-20 first decodes, almost instantly, the note each string is playing. It then converts that to midi pitch information and shoves that out the back. More on that later. Also, since the GR-20 is a synthesizer besides, it takes the pitch information and routes it to an internal sound (if desired). The really interesting part is what happens when I route that midi output to my computer. At my computer Sonar lets me assign that midi data to any number of synthesizers / samplers/ what-have-you all at the same time. So, if I want a voice or strings or piano - no problem. As for drums - Kontakt has a really neat groups of sampled drum sets that are a combination of "one shots" and smaller loops. So for instance on one of the pieces when I played the C below middle C I got a snare roll, play the B below it I get the accent that finishes the roll. So, by playing many notes I get a complex assortment of drum sounds that are in time with my playing. I've used this technique before - I am learning how to control it better - and the response is different for each of the dozen or so drum kits packaged with Kontakt - and then consider the effect of different tempos - the result is a fair amount of variety.
Peachy!
Jazzerremendous...........
I can listen to this all day! awesome!
Outstanding.
Comments made by vaisvil
this is Romanian reggae?
the theory of Bed Henkings posted in the AT forum at the request of coelocanth http://alonetone.com/forums/making-music/topics/the-theory-of-bad-henkings
I feel like I'm a beatnik scene with a scanner - very odd vibes - nice!!
This is so complex rhythmically that I don't know *how* to play along. I'm not sure if one should - it stands on its own - wow. This is a lesson here. Please send Alex my regards for his skill and sharing his cultural heritage.
wow! this weird! in the best way!! Is that your guitar beating away?
This was one of the better collaboration experiences I have had - I really like what we ended up with.
Thanks for the listen and comment! Well, no, I was a short haired old man when that solo happened (anyone over 29 is old of course). I don't know what PiL means.
love this video!
excellent! I love the percs and the mix of elements in this!
cool piece!
Nice and smooth.
nicely done~!
interesting ! What is your set up? It sounds as if you were recorded in a hall.
I especially like parts I and II - nice work!!
boy, are you ever going through a creative period - everything is sounding top notch - I love the percussion + ambiance style here. World electro?
interesting aggressive minimal electro
nice themes!
Sam sounds like one of the Indigo Girls :-) Very nice song everyone!
this is very good - like the solid vocal harmonies and leads.
this is one inventive piece! what a mix - are you sure you didn't grow up south of I-10 in Louisiana? You have that Cajun blues thing down and who'd expect you could get oboe and bassoon to work so well with it! wow.