This is a captured and then edited live performance using the Sonar Matrix view using various samples - some of which were paul stretched.
I'm liking this - if only they had the possibility to change the pitch live it would be like sticking…
Recorded for ImprovFriday - yes I flub some notes badly and that G minor had no right being there!! - that's the danger of a live improvisation, at least at my skill level. The guitar is an Epiphone C70CE classical acoustic with piezo pickup…
This is a captured and then edited live performance using the Sonar Matrix view using various samples - some of which were paul stretched.
I'm liking this - if only they had the possibility to change the pitch live it would be like sticking…
This is a captured and then edited live performance using the Sonar Matrix view using various samples - some of which were paul stretched.
I'm liking this - if only they had the possibility to change the pitch live it would be like sticking…
This is a captured and then edited live performance using the Sonar Matrix view using various samples - some of which were paul stretched.
I'm liking this - if only they had the possibility to change the pitch live it would be like sticking…
It took a bit of doing and a lot of learning - I've built my first guitar
I have a video of all of the stills I took while making the guitar with some demonstration music.
The music has mistakes - but it is the first time I played it - I spent…
well well, a bit of the CV magic goes a long way,,,first off i love it!! the softer somewhat understated approach is superb, is that clarinet in the main? love it's blue feel,,,, there's almost a slight klesmer feel to this (2nd listen),, you musta had a lot of fun doing this,,, the more i listen i, hear just how well you have orchestrated/put this together,, very very well done,, as always i am amazed by your broad range of skills and musicianship,, yours,,, Richard
Heh, I couldn't believe I forgot to share this with my friends here. Well here is the story. I'm sure you'll only listen once and probably not all the way to the end.
Year: 2008
Album:
Singles
Artist's description:
Many years ago…
Heh, I couldn't believe I forgot to share this with my friends here. Well here is the story. I'm sure you'll only listen once and probably not all the way to the end.
Year: 2008
Album:
Singles
Artist's description:
Many years ago…
this is too special for any words right now. the effects are real for art meaning and mind
can I say the cricket effect works like a scream ,, listening now best thing is the 4:33 min length of this.
nice work here. // the avatar I have now is an emo emu that has been warped a little in gimp :) these textures in my latest composition are from 2004 august 22 where i have layered the original tape recording after putting it on cd :) // you know I do not know this song by Firth but it is pleasant for a melodically worked piece. did you play this or just use a midi of the piece then orchestrate the work?
Freakin sweet! :) Have you heard the NESkimos?
http://en.wikipedia.org/wiki/The_NESkimos
Pretty cool band, only have one cd, and it's a burned copy, but they start one of their songs shouting the "extra lives" cheat code to the original Contra. Up,up,down,down,left,right.left,right,b,a,b,a start...haha...can't believe I remember that....
This is a piece using 2 keyboards, an M-Audio 88es (vocal choir) and Alesis Q49 (brass choir) in 17 notes per octave. The objective was to use some functional xenharmonic chord progressions. I would be interested in knowing if you perceive the…
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 makes me want to take some time and learn the OMPT too.
Nice one mate.
OMPT = Open Mod Plug Tracker - a program that turns your computer into a sampler.
Nicely done mate very cool.
Excellent stuff.....love the vocal adds tremendously to the madness........
Powerful Sound!
!!
well well, a bit of the CV magic goes a long way,,,first off i love it!! the softer somewhat understated approach is superb, is that clarinet in the main? love it's blue feel,,,, there's almost a slight klesmer feel to this (2nd listen),, you musta had a lot of fun doing this,,, the more i listen i, hear just how well you have orchestrated/put this together,, very very well done,, as always i am amazed by your broad range of skills and musicianship,, yours,,, Richard
Different and beautiful (full on effects) desecrating the beauty of all matter.
Well I love being in this lift. It can break down for all I care. Swoon!
Elevators never sounded so good!
this is too special for any words right now. the effects are real for art meaning and mind can I say the cricket effect works like a scream ,, listening now best thing is the 4:33 min length of this.
Lingerie, Kitchen Supplies and Ferret Cages all out ... going down?
nice work here. // the avatar I have now is an emo emu that has been warped a little in gimp :) these textures in my latest composition are from 2004 august 22 where i have layered the original tape recording after putting it on cd :) // you know I do not know this song by Firth but it is pleasant for a melodically worked piece. did you play this or just use a midi of the piece then orchestrate the work?
Freakin sweet! :) Have you heard the NESkimos? http://en.wikipedia.org/wiki/The_NESkimos Pretty cool band, only have one cd, and it's a burned copy, but they start one of their songs shouting the "extra lives" cheat code to the original Contra. Up,up,down,down,left,right.left,right,b,a,b,a start...haha...can't believe I remember that....
This is really fun!
rising up thru the air :) nice one - jesmiaus
Great song nice cover mate
Ha ha nice one!
and don't they sound good.........
Comments made by vaisvil
Reg - he did do something like that one day - and yes it was great!
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.