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Musical Mathematics
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realtime
Started Topics :
5
Posts :
350
Posted : May 18, 2009 05:38
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more or less the basic parameters like BPM, timing signature and key define the world you working in ...
recently realized, that it's rather recommend to define FX timing parameters on the synthesizer relative to the track timing instead of absolute in milliseconds. this way you can change BPM without having the FX timings all over the place ...
even the midi step-designer is basically a 2D matrix ... one axis/domain is the frequency and the other one is time ...
and with every controller lane you define another dimension gets added to the matrix.
reminds a bit of relational SQL databases 
  http://www.myspace.com/realtimeproject |
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realtime
Started Topics :
5
Posts :
350
Posted : May 24, 2009 16:26
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Nectarios
Martian Arts
Started Topics :
187
Posts :
5292
Posted : May 24, 2009 16:31
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realtime
Started Topics :
5
Posts :
350
Posted : May 24, 2009 22:50
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Axis Mundi
Axis Mundi
Started Topics :
75
Posts :
1848
Posted : May 25, 2009 01:20
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On 2009-05-24 16:31, disco hooligans wrote:
Great for rock, jazz, whatever music, shite for psy-trance imo.
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I guess it depends upon how close to the psytrance formula you wish to stick to versus branch out of. Also where and when and how much you use said signature changes.
I think a lot of breakdowns/transitions (for example) could be easily rewritten in alternative timings and most people would never know the difference.
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vision dream
IsraTrance Full Member
Started Topics :
59
Posts :
218
Posted : Jul 4, 2009 04:12
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I like this kind of topics, because the truth is all related to mathematics, which may be the universal language, as well as the music, only that some employers connstantes or some variation of patterns can make good music, let alone psytrance or full on, music just another universal language, seems to be complicated or even easier?????
www.myspace.com/visiondream
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Kane
IsraTrance Junior Member
Started Topics :
23
Posts :
1772
Posted : Jul 4, 2009 07:09
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Quote:
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On 2009-05-25 01:20, Axis Mundi wrote:
I guess it depends upon how close to the psytrance formula you wish to stick to versus branch out of.
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Maybe, but one of the best parts of listening to psy for me is seeing what people can do with such a basic idea (i.e., 4/4 kick, 16th note bass, etc.). I can usually get into the sound design aspect just as much as rhythm and groove. When I first heard Procs and Koxbox I was amazed by the basslines in an aesthetic sense. The rhythms were nothing new, but the unusual articulation and tone still surprises me. But that could just be because I make music and I can appreciate the effort and precision that it takes to create such a unique sound..
I'm not trying to downplay technical experimentation at all, I'm just saying that I think a really complex bassline (in a rhythmic sense) with the usual VB1 preset could be much less interesting to me than a well done 16th note bass.
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