cover of Entangled by Genesis by a robotic Chris Choir
When you're asleep they may show you
Aerial views of the ground,
Freudian slumber empty of sound.
Over the rooftops and houses,
Lost as it tries to be seen,
Fields of incentive…
Apologies to George but I love the song. Its shocking to find out that Paul and John rejected it until George dragged Eric to the studio one day. Imagine the White Album without this...
no effects of any type on this for good or ill.
Apologies to George but I love the song. Its shocking to find out that Paul and John rejected it until George dragged Eric to the studio one day. Imagine the White Album without this...
no effects of any type on this for good or ill.
Apologies to George but I love the song. Its shocking to find out that Paul and John rejected it until George dragged Eric to the studio one day. Imagine the White Album without this...
no effects of any type on this for good or ill.
Apologies to George but I love the song. Its shocking to find out that Paul and John rejected it until George dragged Eric to the studio one day. Imagine the White Album without this...
no effects of any type on this for good or ill.
The realtors always disliked showing the old Victorian house on Layton Way. It gave them a creepy, clammy feeling. Especially in the basement where mad whispers and the sound of metal working off in the distance could sometimes be almost heard…
The music is quite fitting in consideration of the description of the house for which this sound file is named -- and I love it! I enjoy a creepy, haunting recording when handled with taste and mix down mastery, as evident here. Truly enjoyed every spooky second, especially when the voice came in!
This is a little piece dedicated to the lost world island of Socotra that grabs a lot of instrumentation from across Asia with little discrimination - the melodic instruments use Afshari with the exception of the Jaw harps which use 9-tET Sorog.
This is an improvisation around a few chords I found when experimenting with two simultaneous tunings on my Fender Mustang run through the GR-20 retuned to Arabic 17 note Pythagorean tuning and also as-is through my DoD FX-7
The way this…
We forgot to mention that Reg visited Norm's place a little later and added some vocals. The video is a ride through the US state of Virginia. The Texas Tavern serves cheesy westerns (cheese, fried egg, burger, bun) in the downtown of Roanoke Va.
these are the dronishness effects going thru my mind at times..
I have the midi files saved if you would like them? although some of this is performance midi records If I can say that? ;)
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.
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.
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.
Well Reg is a touch concerned about his new love Lorraine who has been missing for last two days and she's not answering his calls and his getting a little touchy about it ....a little insecure to be truthful........................
Who do…
So I'm back at Caffe Lena on Thursday night gearing up for my two songs and a band called "Driftwood" takes the stage (banjo, acoustic guitar, fiddle) and blows everyone away.
Kinda gets me thinking...
And writing...
"Driftwood"
Coming down…
Good one! You have a way, like The Boss, of touching something about life in your songs that just resonates. And judging from the comments -- resonates with pretty much everyone who hears.
I wanted to see how much "music" I could get out of one chord and four notes. Sorry that it has a sort of cheesy 80s sound at times, but that's when I started playing guitar and it's hard to reprogram your brain. The chord is Bsus2 and the solo…
Fulfilling a request by Acid
The video is the whole point / show here. Please put into the comment section what you think the occupants of the car you see at 1:00 where thinking. Or alternately the kid on the bike at 1:20.
Can't Stop Myself by Chris (Vaisvil) and the Clones - Gothic Techno-industrial metal - ISDN stereo => from 1996
Can't Stop Myself
the thoughts they in my head
spinning around
the thoughts they eat my head
and rip me down
they want me to do…
This is a recording of Norm and me playing together a few months ago. I didnt have any percussion instruments so Norm was on a Roland electric trap set and I had a cello. I looped some of the stuff we did that night, and retrofitted the rest…
in a cool darkened lounge
floors above the cityscape
quiet laughter, clink of ice in glass
D min looks into the eyes of G min
a quiet romance begins
sometimes the best things in life are quite simple
(lots of rough sound on this,, not sure…
Comments on vaisvil's stuff
This is really good
Fabulous!
Nice keys mate a lot of mixed feeling in this.
Very interesting lyrics! I dig all the vocal tracks and how they work together. The pitch perfection is remarkable!
Agree w/ Gadz...GH was my fave. Cool version:)
George my fav Beatle who in my opinion wrote some of the best material ... enjoyed your take on a great song!
One of my favourite songs too. Nice version.
you produced this so well ... it sounds like two different people .. very nicely made. yes, at this point the dual voice harmony is so good.
Has that raw gritty rock feel to it! No cowbell needed. Nice!
I dig the Classic Rock sound and got a kick out of the lyrics, and the vocals were fun.
The music is quite fitting in consideration of the description of the house for which this sound file is named -- and I love it! I enjoy a creepy, haunting recording when handled with taste and mix down mastery, as evident here. Truly enjoyed every spooky second, especially when the voice came in!
Interesting -- intriguing, actually. Dark, bitter, thorny. I stayed tuned all 7 1/2 minutes, and I come back for another hearing -- it's captivating.
The Monks are loose.....
Loving this too....
Loving this one Chris.....perfect as I'm sat sorting photographs from yet another wedding not mine I might add....
Snoopy visits the Middle East!
A nice Celtic feel.
Very peaceful and interesting.
I like how you separate the pieces on 1:28 and add/take bouncy sounds. great!
Looking through i found this one i'd forgotten all about....we should get the gang back and do some more
Comments made by vaisvil
and the excellence of the music should be overlooked too.
Reg - you are one heck of a story teller! Have you considered writing a novel or short story?
Hi John, I like this one.
you should be creating music for sci-fi films!
I wish AT had a repeat button. I'm downloading this - great piece Norm!
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.
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.
This is beautiful! I love the bluesy feel. Would it be ok if I try to add to this?
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.
your vocal control amazes me - excellent story and song!
Good one! You have a way, like The Boss, of touching something about life in your songs that just resonates. And judging from the comments -- resonates with pretty much everyone who hears.
I'm liking this!
this is a cool rocking piece - but didn't you use B maj as a resolution of B sus in there?
yes I am. With *lots* of rosin on the hair.
naw, I have nothing to do with NMC or DJNS. I was a part of 2 star man and that was enough for me!
excellent - and great solo!
more than just paulstretch I'd say - or different. in any case a cool idea!
I like the groove you two get going on this.
and a lovely romance it was.
can't say I'm done 4ths - I'm usually fixated on 5ths - nice improv - did you play the synth at the same time?