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 (nobody)...and 308 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613457 Today 3 Topics 127500 |
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I think it's a beautiful piece of music. |
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you made it? I like this a lot. |
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It's Paul stretch again you clueless fool. You can make your own if you have anything about you. |
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it's not paul stretch but i appreciate your determination |
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JivverDicker, you aren't funny. |
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lovely waveform |
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FUCK |
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Ladybugs sure are cute but they eat aphids. I bet the aphids don't think it's cute. |
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sweet |
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Yeah a lovely slug. |
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At the risk of sounding like a "before it was cool" hipster prick: Before the Bieber thing and Paulstretch being the 3rd* most overused audio tool in the world, I came across an early version of the tool. I played with it for a while and learnt it over a couple of weeks. I then got in touch with the author of the software and was discussing some ideas I had for the development of it. He explained that due to the way the buffers mapped to frequencies it'd be really hard to code. Based on what Paul had said, I worked out a way of doing it manually by filtering and splitting the source material into discrete .wavs and stretching them separately, then layering the resultant outputs together. I even did the maths and worked out a ratio that'd allow you to determine how much to stretch each band by, based on the relationship between the notes used in the piece. I borrowed a real piano (which I mic'd myself) to play the source material and to capture the percussive sounds created by various items on top of the piano, like a crude "prepped piano". The track was designed as an accompaniment to an abstract painting my father had done and I liked to think of the two working as an 'installation' together. It was altogether the most effort I've ever put in to a track. It resulted in one of the best tracks I've ever done and captured perfectly the existential angst and overbearing sense of imminent loss that I felt, at what was the lowest ebb of my life. Sure, as a track to other people, it'd just be 'another ambient track', but to me it was very special. I started saving to get a limited run pressed up on vinyl with a dub techno track I wrote as the B-side and have my Dad's artwork as the cover. And now the internet is full of stuff that sounds pretty much the same and the track doesn't feel very special any more. *compression and autotune, obviously. ---------------------------------- This track is lovely, mind. Irrespective of whether or not it uses paulstretch. |
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I understand what you are saying and your track is special regardless of anything sounding similar, it's personal. I was more calling this clown out for being an idiot spamming the living snot out of this messageboard with relentless rubbish that has zero expression and a monotone theme. It's saccharin crap in my opinion and I'm just expressing that. |
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really really awesome sounding, really like the atmosphere and like phresch said, lovely waveform haha |
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This makes me think of the history of electroacoustic and experimental music, where tape collage and many oscillators and ring modulation and such used to be an expensive and labor intensive affair, and now it's much cheaper and faster than hiring a band for the evening. I'd still like to hear your piece! |
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. It's quite long. I will try and get a photo of the painting that sort of inspired it and upload that as the artwork for it. ---------------------------- JivverDicker, I agree the sheer volume of Magliore's material seems to detract from my enjoyment of it. If it was just this one track of his [from this thread] in isolation and I hadn't seen the video to it, I'd like it much more. As it is, I can't help but imagine a girl doing something backwards in slow mo and several hours of stuff that sounds the same. |
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I am impressed, Ceri. You knew what you were going for and you achieved it. Lovely, haunting, elegiac piece. I like the structure... the second half evokes the fading persistence of life and memory. |
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ambient is the antiques roadshow of electronic music |
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Thanks fleetmouse. On of the things I really worked hard to achieve (Christ, that sounds like artwank, but it's true) was making it so that it didn't all sound too samey all the way through. It took a lot of trial and error early on to work out how to get a minute or so's worth of piano so that when it was stretched, it would sound like it developed and changed later in the piece. The painting of my Dad's that inspired it was about the brevity of life. It's mostly black (representing the void) and then there's life, which quickly fades and then the void again. |
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On = one |
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