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have you ever had a non-existent corporate logo stuck in your head like an earworm? yeah man, me too / Ho / Brand switched on the gear, 3/4 of it cooperated, recorded that, it's getting too hot up there, that's my track for today. how r u? |
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The Goose Brandâ„¢ now has a slogan, a logo, an audio logo (just like Intelâ„¢) and Ansel Elgort as celebrity brand ambassador. The sky is the limit for The Goose Brandâ„¢ which only sells black hats, black poofy jackets, and acid house vinyl white labels [just because the sky is the limit doesn't mean you have to eat everything at the buffet]. Here is the (...along with the rest of track 9 as it sounds recorded through the computer instead of the tape recorder) |
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If it honks like a goose, and it dresses like a goose, then it must be The Goose Brandâ„¢ |
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1. â„¢ 2. the latter -- absolute murder, 181bpm dancefloor stomper. it's rough because i just switched all the gear on and did a take in a hurry before the attic overheated. it has some dave monolith mixing problems. but fuck off i did this in about fifteen minutes ...but, this one bit. on cans -- loud. sorry. start at 1:29 perhaps listen for thea macho backup dance squad constructed out of pure delay. perceptually, it's like 2 o'clock -- "GOOSE BRAND respekt, respekt." go-oose brand re-spekt at 1:54 "GOOSE BRAND!!" at 1:51 backwards macho backup dance squad thrown into a blender; cinematically reconstituted -- (2:00-2:08 goo-oo-oose, respekt, respekt, respekt) but you're fading -2:18 ~ a pause, a nod then a slap and wake up you marionettes i'm twisting the valve that keeps you upright all the way open because based on one promising segment, this could be an absolute banger if, next time, i have perhaps a half hour before the attic overheats. to fix the levels, and have a more coherent overall flow so i don't have to explain anything at all |
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Is it possible to make the one perfect thread that NO ONE will ever read? |
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I made it 3 lines myself. "hey / Goose / Ho / Brand" it included a link which I didn't click. the line made no sense at all, and every instinct said it wasn't worth parsing on any level, so I opted not to. Perhaps written in proper english? |
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given the 3 lines I read the thread is about imaginary corporate logos and something about a goose. there is a local restaurant in Menlo Park called the "Dutch Goose" which is really good. But not because of the name, rather, it's for the food. It's the kid of place where everyone carves their name into the table, even though their clientele rolls in with the newest Tesla after venturing their capital all morning. I truly hate Menlo Park, but the Dutch Goose is still aight. |
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nevermind. i fucking quit |
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The Goose Brandâ„¢ CEO steps down abruptly amid sexual misconduct allegations after tense online interaction. |
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i may go off topic, but i did at least talk about sushi rather than how i'm not clicking a link even though i saw it; we made a point of that. eat fucking shit, you tart. http://lstree.xyz/q/zilt/heyGooseHoBrand.flac it's still not the best version, i'm just trying to pull it out of the back of the mix. it's still hard. for you to understand |
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http://lstree.xyz/q/zilt/spektDaGoose.flac |
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lol, see you do have a command of the english written word at times. "eat fucking shit, you tart" was a good line. your problem is a THESIS one. I did not know what this thread was about. You went so far off beat at the start that you lost the audience. Had no idea you were spamming tracks based on what I was willing to read. Yes, I identified a link buried in your thesis statement... which was, ahem: "hey / Goose / Ho / Brand" This specific combination of words, spacing, slashes manages somehow, to uniquely roll of the eye and deter further reading. That was MY point anyway. You scroll down further and see more of this: macho backup dance squad thrown into a blender; cinematically reconstituted -- (2:00-2:08 goo-oo-oose, respekt, respekt, respekt) but you're fading and at that point all I'm getting is the aesthetic with no discernable content. A poem put through a machine, shredding and sputtering out its analysis and formatted like some html code or something. As for the link though, the light was already leaving my eyes as I hovered over it. Some lystree.xyz stuff that my brain put in the spam mail folder. .xyz? that can only be a virus. Turns out it's a song though, and I'll give her a listen later. |
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actually i need to take a walk around and stretch, I'll pop these on headphones now. I almost always have time for music, but less time for reading through nonsense, so the only context im really giving the music is this is your idea of corporate jingles or some shit. |
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this thread reeks of gay lol |
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lol |
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It was a good tune, I listened like 4 times. Nice kinda Gescommy drums. Squiggly bass a touch loud in the mix, drowns out a few of the other interesting stuff you have. Overall sorta reminded me of walking around in a crowded casino or arcade. No geese detected though the other track didnt work |
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if you listen to â„¢ [link fixed] my "audio logo" at the start. you do hear that this says "Theeee. Gooose. Brand." yes? if you can't perceive that, stop reading. the rest will be useless. but i'm figuring you can. rest of the track, the melody keeps saying: "It's. The. Goose Brand! It's. The. Goose Brand!" -- but through melody and texture instead of words. maybe this is called a tone poem or something? not sure ...but i do this all the time. that you'll giggle once you see how all over some of my stuff it is. it extends into... count the number of ways i've made bits of melody honk and other things that exude goose-ness this is our baseline. me putting words into my melodies, synth patches, rhythms, because it's just how i do |
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a day or two after... ...recording Hey / Goose / Ho / Brand and instead of a "just a tone poem" it sounds like a group of people that don't exist are singing. i actively use pareidola in composing -- hear something in the mix, realize it wasn't there, and, hey, that's a good idea! and then deliberately put it in -- so i can tell you, this ain't that. not completely, anyways ...because when i listened to Hey / Goose next day, the singers were ALL GONE? ...then i managed to find them again, and at that point... i was completely unable to go back to how i heard it before, with no singers? [i mentioned 2 o'clock in the sense of stereo field, just a bearing to find it for yourself] so, curious, did a take for which i deliberately swapped the casio drums out -- to make the words different. because if this is as interesting as i am thinking, the backup singers should sing the new words based on the new drums. that resulted in ~ http://lstree.xyz/q/zilt/spektDaGoose.flac "...'spekt the goose! 'spekt the groove!" and holy. shit. now i am salivating and i need to get inside what's going on inside this. because it's awesome, and i need to figure out how to make it so you simply hear it, and don't have to hunt around the track based on my hints. so i thot: maybe someone has the answer? ... or maybe it's worth posting that i've been composing with words for so long that my gear has finally started to talk. someone call squarepusher |
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[hints for 'spekt The Goose ~ sounds like one guy at first, by 30 we have a squad... at this point, i gradually mix in some cheesy day-glo general midi. makes it easier to hear them until a certain threshold, so it brings out the voices a bit more at start, then gradually fades to being so prominent it destroys the illusion for a bit at 0:40 [according to this [proper IDM seeming] Diana Deutsch chick you might hear this differently depending on whether or not you're right-handed .... and i think: yes, this sounds like my stop on the art train]] |
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w/rt "not pareidola" when recording i'm listening to my backup singers, where are they at? i've just put them into the blender and now i need to [cinematically] reconstitute them. making live decisions on this perception. the day after. because, once i find where they live again, they are 100% consistent between takes, across days. so, "you got lucky somehow with the sounds and frequencies," no arguments. i have before. but not quite this oddly |
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so -- summary -- i presumed that TGBâ„¢ was so huge that it'd be like explaining a CVS; apologies. TGBâ„¢ not the point -- you don't need to know what TGBâ„¢ is [though it's on tap if you want to follow the submarine twits to the bottom of the ocean]. However, if you are "down" with The Goose Brandâ„¢ then you'll nod knowingly: well, this showed up at an apt time currently: i'm trying to reverse engineer this feedback network i've stumbled into, in which my usual "cheeky, clever, but still merely tone poems or whatever" went to "i have a hype squad, i can scale them anywhere from one to many, and they're saying: "goose brand, goose brand, respekt, respekt" they live somewhere around 2 o'clock in my perceptual field. more in the sense of "above you" 2 o'clock, but sometimes also inside your head, or your chin. [depending on whether or not you're left or right handed?] you might hear them somewhere other than 2 o'clock in any sense. very clear origins of their harmonics in some of the frequencies of the casio, etc. and more, but it's very liminal. it may require equally deep trickery to get your average ear to the right place, in the right way, at the right time. it's kind of like a magic eye illusion or something? in [previous few posts] i describe deliberately altering it and injecting a radioactive general MIDI tracer for study. objectics: - i'm looking for an explain other than "pareidola" -- because never once has pareidola responded to me handing out a new set of lyrics so professionally - can anyone else even find/hear it? where do they seem to live to you, in a stereo imaging sense? - obviously good cans are best. spektTheGoose will survive slightly better on speaker monitor monitors |
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gayer by the minute! |
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the intro of "Hey / Goose / Ho / Brand" they're singing something like: that groove. my groove. i got to stay in my groove. i've. got. to. stay. in. my per-fect groove i didn't write these lyrics, but i immediately recognize the style as of those manic japanese DDR songs i like. and, shit, this means i probably subconsciously based the whole track off of one of them, and my backup singers improvised appropriate lyrics. clever bastards |
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obviously certain frequencies correspond to, like a trio of male vocalists doing the backup/hype squad thing. there are plenty of EQ presets for this, even, which i've been studying fragments of the casio bounce around delay and eq and something something i've bodged up a primitive vocoder. that i'm programming in drums based on english language phrases, and the timing of the drums partially drives the time of the delay e.g. perhaps ~ 1. start with some "male backup vocalist" EQ preset harmonics and make it go "guh" 2. stuck looping delay in the middle ooOoOO 3. timing of drums running this all along; unstucks the delay Ssrh but you hear it as -se |
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if the brand's name is the goose than why you call it the goose brand? do you call mcdonald's the mcdonald's brand? oh i tell you why cause it's gayer that way |
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you're effectively asking about the origins of The Goose Brandâ„¢ -- which, if told of, you would then declare gay as hell, and this is a setup, and i am not answering your question; GOOD DAY SIR |
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The illusion was discovered by Deutsch in 1995 when she was preparing the spoken commentary on her CD ‘Musical Illusions and Paradoxes'. She had the phrase ‘sometimes behave so strangely' on a loop, and noticed that after it had been repeated several times it appeared to be sung rather than spoken. you see? there are people like me out there and why does no one seem to want in on like i think you are all too busy setting up a signal chain of lights and mirrors so you can know THE MOMENT the manchester track moves off the truck from the vinyl factory and onto the giant shipping barge taking it to civilization. or something. poor bastards |
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Make sure that your sound system is set for stereo, and that the two loudspeakers are balanced for loudness. In a ‘phantom words’ demonstration, each track contains two words, or a single word composed of two syllables, and these are repeated over and over again. The same sequence is presented through both loudspeakers, but the tracks are offset in time so that when the first sound (word or syllable) is coming from the speaker on the left the second sound is coming from the speaker on the right; and vice versa. Because the sounds coming from the two loudspeakers are mixed in the air before they reach our ears, we are given a palette of sounds from which to chose, and so can create in our minds many different combinations of sounds. It works well to have a pen and paper in front of you, so that you can write down the words and phrases that you hear. Often people initially hear a jumble of meaningless sounds, but after a while distinct words and phrases suddenly emerge. It often seems that the left and right loudspeakers are producing different words, which sometimes appear to be spoken by different voices. So write down separately the words that you hear as coming from the left, and those that you hear as coming from the right. ...and i'm sure she's used recorded voices, but no reason you can't use a modular or such to generate similar, right? [or some delay pedals and the right balance of source material with a of EQ in the middle] since you can induce pareidola in a listener... can you pin it down? so there will be repeatability across listens and listeners? just kind of corner the mind so it's left with no conclusion but... whatever you want. like "CVS" because they are a client that'd pay well |
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i suppose it's true. the origin of The Goose Brand™ is the use of guided paredolia¹ and this is, perhaps, even more gay than canoes: i'm not sure if the contrapositive of NORMAL MODE is GOOSE BAND, but as i cannot rule it out, i have to rule it in that it was actually GOOSE BRAND and that would make much more sense, yes! that it started as a fuzzy blob. my brain eventually decided to perceive it as a goose. at that point i consciously take over and think: "it's a goose wearing a poofy jacket, it looks like a logo on a poofy jacket" and so then the part of my brain that made it a goose in a poofy jacket in the first place said, "oh, alright" and the text ...and it's The Goose Brand™ so it can nudge The North Face™ neurons in your brain... but Land's End uses a goose and a triangle... and the color scheme of the logo is from my 303. ¹ , but i turned on subtitles and rapidly clicked through the video timeline to finish it in five minutes instead of 37. |
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I'm indulging mermaidman so I have an excuse to explain: Indiana Jones "you're digging in the right place" to then start making an album called The Goose Brandâ„¢ and then promptly get wedged in this weird as shit crap where "what the fuck. this cannot be pareidolia because IT IS NEVER ANYWHERE NEAR THIS CONSISTENT" ...and I wasn't even sure why I was pulled into making this album like I accidentally stepped on a black hole until that happened and I'm reading about Diane Deutsch also the logo will look sharp on hats; people like hats. you can sell those |
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http://lstree.xyz/q/zilt/spektDaGoose.flac just mixed to be easier to find at the expense of everything else, effectively a demo so if that does not work, stop there. but this: http://lstree.xyz/q/heyHoSecondAgo.flac i have the geese up and running along with my backup singers, and the structure is more towards that of an actual track, namely: i don't use the singers throughout, just another part. which is the level of: this is more than a novelty, it feels like a stable wormhole, so let's doodle an actual track on a napkin next |
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g'nite. |
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in the end, this may not be quite what i hoped. i'm still not sure. but currently my thoughts are: my drums match my word-phrases so closely they could run a sock puppet making the mouth motions. 'spekt da goose, 'spekt da groove -- the breakbeat and the casio beat on top of them, stacked, match perfectly. it's not just the timing, it's the frequencies... spekt! largely hails from the snare on the breakbeat, while "goose" is more from the way the casio toms bleed into a smoother unified thing when you distort the shit out of them. then the more nebulous thing that i am still trying to pin down [so i can expand it to billboard size and make it dead obvious, no work for the listener] is that my delays are doing something that's stealing some of the right frequencies at the right time to -- as i suggested before -- construct a primitive bodged speech synthesizer by grabbing the right frequencies, getting stuck and holding them for a bit, at the right times. then the delays follow each other to the point where it's very hard to say anything for certain other than: they follow the drums as a basis. then they go off each other in timing and begin to do something that leaves me very confused about these liminal voices deep in the back corner of my mix. ...but i've based this all off of words, and, so, when i change the words, it makes sense that the illusion follows the change. that the core answer is "your stuff just stomps on words so hard they've come bleeding out of the machines" and "so of course the words change when you change the words the drums are saying to you" the panning is the deepest mystery to me. that i perceive it as living at 2 o'clock, but all the knobs are centered except a few left accidentally a tad to the left. the only stereo delay is the one built into the mixer. but then panning will go into... busses 3 and 4 are a stereo pair but are fed back into entirely separate machines and there's the maze doing this |
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someone -- indeksy -- told me that there are vocals in autechre's "dael" and i'm like: nahhhh you're messing with me. really? i've still never heard them, but i didn't actually go back to listen after that because... oh, ppf. i think i'll go put that on again now |
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> indeksy ...mm, no, i think russell, with indeks backing him up on it. and this was on discord? i think. so it was a while back |
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i still don't hear shit in dael except a sampled dog bark bouncing around an alley. sounds like a rough neighborhood |
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In this ground-breaking synthesis of art and science, Diana Deutsch, one of the world's leading experts on the psychology of music, shows how illusions of music and speech--many of which she herself discovered--have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns--differences that reflect variations in brain organization as well as influences of language on music perception. Drawing on a wide variety of fields, including psychology, music theory, linguistics, and neuroscience, Deutsch examines questions such as: When an orchestra performs a symphony, what is the "real" music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other surprising responses to music and speech. Why is perfect pitch so rare? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are we subject to stuck tunes, or "earworms"? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. ~ this does seem why i've arrived here. that i just do what it tells me. and it's very urgently wanting this Goose Brand album, and... i don't get it? but alright. and the point, i now realize, is for me to dig into pareidolia more properly, part of which was finding this lady |
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i mean i've never even heard of some of these! The glissando illusion is an auditory illusion, created when a sound with a fixed pitch, such as a synthesized oboe tone, is played together with a sine wave gliding up and down in pitch, and they are both switched back and forth between stereo loudspeakers. The effect is that the oboe is heard as switching between loudspeakers while the sine wave is heard as joined together seamlessly, and as moving around in space in accordance with its pitch motion. Right-handers often hear the glissando as traveling from left to right as its pitch glides from low to high, and then back from right to left as its pitch glides from high to low. |
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I've The Goose Brandâ„¢ to Riced Out Industries for an undisclosed sum. |
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riced out industries brand |
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hey man this is ok? riced out industries produces everything from dodgy art lamps shaped like birds to -- now -- jackets with bird logos. they have a shadowy operation in poland. their marketing department is a beast. however, riced out records seems to have been a victim of cost-cutting in recent years |
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these came on just now and... howhoevewhermany months later this be..... hey, i fucking like the shit out of these tracks myself. and now that i have some distance i really enjoy them now. you never know until... later. |
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in fact. people were on about the pink vinyl while i just uploaded flac'z of this calipur? i'm out of here |
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~ this owes a lot to time tunnel by ceephax really |
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i was dwelling on it just now and also bandito and the bongo artist by raymond scott, time tunnel by ceephax, i subconsciously ripped these off in pursuit of simply making it... goose brand... y... they were just necessary parts for the job. HONK |
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had a listen, guess im more the ronald mc donald type of guy. what commercial would hardcore esplanade suit? fritz kola maybe.. |
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hardcore esplanade? is that a phrase i came up with? i can't remember i haven't been doing music at all really. i turned on the behringer sh101 a day or two ago though and it's like... this just sounds so nice... it's like browsing porn, the way this sounds wanked around for a bit and shut it off and didn't record anything. what's the point |
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he means gay porn specifically |
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