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.
Reg was sat below the cliff having a sneaky smoke and he couldn't believe what he was witnessing ......I recorded the acoustic with the mic then added bass then a bit of piano and string then the tele then I decided what the subject would be and…
A Richard Serra memorial performance by the tribe inside the Serra sculpture Vortex at the Fort Worth Modern Art Museum. A passerby provided some vocals.
Inspiration was seeing Kavin Allenson's pictures from his jam in the Fort Worth sculpture Vortex. I wasn't going to do in Pure Data but I opened PD to setup a base structure of oscillators to use to tune one of my modules. I got a stuck note…
got to listen to this today - it is excellent - I like how you layered and peeled back the layers to close. I a big fan of happy accidents and I'm glad you found this one!
I like the development in this. Nice work - you always pull out the unexpected from the synths you work with regardless of the format. I would not have guessed this to be Animoog!
from the album "FULL MINGO"
vocals Ash Reynolds
mastering Dave Storms
pain in my heart
it's probably nothing
song in my head
it's time to say something
living this life
it's got to be all
the time
chasing the dream
and i'm always…
This is interesting - there is this hint of Debussy in the chords and melodies (especially in the first half) but they come across in an Ivesian fashion - as though through shattered glass. Thank you for another fantastic piece !
Billy wanted a project for the 2023 Christmas holidays and asked some of his extremely talented musician friends to play on this track.
Matt Smith: Guitars & backing vocals
Paul Matthews: Pianos & organ
Naomi Daulby: Lead & backing…
Punny title to hint at the sound origin; the sounds left on a reel of tape (or in this case, two different ones) after it has undergone a bulk-erase procedure - placing it on a device that creates a strong electromagnetic field that scrambles…
Four different tracks of Roland SE-02 controlled via MIDI by a Casio DH-100. Choosing different voices on the Casio causes settings to change on the Roland, which were then tweaked a little. Submitted to Sound-In "Roleplay Improv" for 1-8/2/2024.
Three different versions of a similar line created using the onboard sequencer on a Roland SE-02. the different voices were created by changing settings on a Casio DH-100 digital horn attached via MIDI, and playing the horn. Submitted to Sound…
I'm working on a series of new pieces for an electro-acoustic album. As this one is most are done using Pure Data as a somewhat compositional playing in the process. I'm capturing real time playing to loop tables and then laying them into an…
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
One of your best compositions. It’s a strangely compelling story with the protagonist worthy of a Darwin Award.
Quite like this! - has such a nice sense of space and clear timbre definition.
I really liked this - the female voice really hit home - nice jam! Is she the passerby?
got to listen to this today - it is excellent - I like how you layered and peeled back the layers to close. I a big fan of happy accidents and I'm glad you found this one!
lofi and exotic - what not to like?
Another great piece!
I like the development in this. Nice work - you always pull out the unexpected from the synths you work with regardless of the format. I would not have guessed this to be Animoog!
nice work Kavin!
This is a really nice composition!
sweet ambiance
This is interesting - there is this hint of Debussy in the chords and melodies (especially in the first half) but they come across in an Ivesian fashion - as though through shattered glass. Thank you for another fantastic piece !
Definitely true to the original - very excellent work!
You always come up with inventive ways to generate sound and I admire that - this is quite cool as it sounds underwater to me.
another brilliant DH-100 application!
such a foreboding piece - were you thinking about it being an election year here in the states?
Nice pocket between ambient, EDM and experimental electronic!
I enjoyed your performance very much!
This is the most unique use of a DH-100 that I know of!
nice work!
Brilliant!