Techniques and technologies for writing music.
ZXNet echo conference «music.zx»
Hello, Voxel
Vox> I would like to hear who uses what techniques when writing
Vox> music. Example: Creating echo, reverb, pushing into channel two,
Vox> three or more voices (samples, ornaments), etc.
Vox>
Vox> Tell us and the world will remember you! :v2_clapp;
That is; reverberation? On AY? So it’s not there and it’s pointless to pervert here. A
external reverb please. Echo at the expense of polyphony is also no problem.
Hello Mike
Mik> That is. reverberation? On AY? So she’s not there and they’ll pervert here
Mik> makes no sense. And external reverberation - please. Echo to the detriment
Mik> polyphony - no problem either.
Maybe I overdid it a little... I meant technology and techniques
which are used when writing.
For example:
Note Volume
-+-
A-4 F
-+-
C-5 F
-+-
E-5 F
-+-
I will echo this piece like this:
-+-
A-4 F
-+-
C-5 F
A-4A
E-5 F
C-5A
-+-
E-5 A
-+-
A completely primitive example, but I think the point is clear. I want to see exactly
techniques, not empty reasoning...
Hello, Voxel
Vox> Maybe I overdid it a little... I meant technology and
Vox> techniques that are used when writing.
Vox>
Vox> For example:
Vox> Note Volume
Vox> ---
Vox> A-4 F
Vox> ---
Vox> C-5 F
Vox> ---
Vox> E-5 F
Vox> ---
Vox>
Vox> for this piece I will write an echo like this:
Vox> ---
Vox> A-4 F
Vox> ---
Vox> C-5 F
Vox> A-4 A
Vox> E-5 F
Vox> C-5 A
Vox> ---
Vox> E-5 A
Vox> ---
Vox>
Vox> A completely primitive example, but I think the point is clear. I want
Vox> to see exactly the techniques, not empty reasoning...
Well, it’s these examples that everyone has fun with; there’s really not much more to it than that.
do. This processor has already been squeezed out of everything unusual that it could give. To meIt would be more interesting to listen to a hybrid of this processor with analog filters.
Hello, key-jee
One day I needed to register triplets. If the SPEED parameter were set
if it were in “1” (by the way, how is this matter now? I’m a little off topic...), there would be problems
there wasn't. But Sound Tracker is a complicated thing =) I had to write three notes with one
sample, and vary the pitch of the notes with an ornament.
Hello Mike
The thread has been cleared. I advise participants to control themselves and their relationships with each other.
find out outside the forum topics!
Hello, Alex Rostov
Ale> I had to write three notes with one sample, and vary the pitch of the notes
Ale> ornament
absolutely the right approach! only the frequency could be changed directly in the sample. without
ornament. although the ornament is also ok.
Hello bugsy
there is a Nik-O module, I don’t remember what it’s called, the wrong one is registered there in one sample
for a triplet, but 2 bars of melody... all note shifts are written in the sample...
perverted, but interestingly done... and naturally in the offset ornament
halftone (roughly for a slide), and in the sample... hmm... seventones (semitones?),
i.e. You can write smooth slides...
and in general on the forum the most, IMHO, effects technician is Siril ' 4D... I think
he will tell you a lot of interesting things...
Hello bugsy
bug> absolutely correct approach! only the frequency could be directly in the sample
bug> change. without ornament. although the ornament is also ok.
And if you need different triplets (do-re-mib, do-re-fa, ..)? Then two or three samples
will need to be registered. And so - one sample and two or three ornaments...
Hello Gibson
Gib> there is a Nik-O module, I don’t remember what it’s called
Gib> and in general on the forum, the most techie in terms of effects, IMHO, is Siril '
Gib> 4D... I think he will tell you a lot of interesting things...
The nqe module is called "sonne" - remix rammstein.
and, by the way, I don’t know where you got the idea that Siril is a super-techie?? yes, he is forever
perverted, mostly experimenting, but a real techie is
the aforementioned nqe. no one else compares to him.
Hello, risky
2 Riskej
no, not sonne, there was a pop Mouzon that took part in a competition from AlCo...
about Cyril... I wrote that on this forum!!! But Oleg doesn’t seem to be here
looks in...
Hello Mike
Mik> This processor has already been squeezed out of everything unusual that it could give. Me
Mik> it would be more interesting to listen to a hybrid of this processor with analog ones
Mik> filters.
Everything unusual will not be squeezed out of this processor for a long time. And there are already plenty of hybrids
a long time ago!
2risk;
nq; IMHO, AY finally does the impossible :) it’s a pity that he doesn’t come here :/
Hello Mike
Mik> This processor has already been squeezed out of everything unusual that it could give.
Correction: not everyone gets the usual out of this processor :wink; What; really
talk about the unusual. And for that matter, then squeeze out everything possible on ay/ym
difficult, mainly due to the weakness of music editors and laziness
"Spectrum-composers" :smile:
Hello, key-jee
Having scanned a huge amount of music (the entire Bulba archive at least) I made
the conclusion is obvious in principle - the quality of the melody does not depend on the quantity
“sophisticated effects” and not even from their presence in principle, but from the ability
use basic tools. Most of the most beautiful melodies are written
the most common samples in the most common editors, starting with the usual Sound
Tracker. Some are written with two or three samples in general, which does not interfere with them
be at the top of the charts. So, apparently, the main and most
a difficult-to-realize effect is the harmonious sound of the melody as a whole.
Everything ingenious is simple! :cool:
Hello, Alex Rostov
Ale> the main and most difficult effect to achieve is harmonious sound
Ale> melodies in general.
I agree. It’s just a pity that on the Spectrum stage it’s “showiness” that is valued, not
harmony of composition..
Hello new art
new> Who told you?
Compare what they did in the mid-90s and what is now exhibited at various
demo party...
Hello, key-jee
key> I agree. It’s only a pity that on the Spectrum scene it is precisely
key> "effectiveness", not the harmony of the composition..
Who told you?
Hello new art
Well, here we go :))))
It is important to understand the essence of the issue first. And since there is understanding (I see there is), then
everything will be alright, I'm sure. The main thing is that the creators are not lazy ;)
Hello, Electrician
Yes... what were we fighting with... I thought we’d still discuss the techniques, but not how and what
it was...
There really is a lack of harmony in many works, but for example
I personally don’t have enough technology... And I think I’m not the only one...
Look... many of the latest works by various musicians were written in
collaboration with Karbofos... Why??? Yes, because Karbofos is very
I have a good understanding of technologies and techniques and now successfully apply them...
Hello, Voxel
Vox> Look... many of the latest works by different musicians have been written
Vox> in collaboration with Karbofos...
You turned it down, of course - a little completely joint then.
As for the techniques, I almost picked them all up from other muzakers
Hello, Voxel
Vox> many recent works by various musicians were written in collaboration with
Vox> Karbofos...
Here's another thing.. It wasn't enough for me to write music together with the parodist :wink:.. (I
By the way, I only heard one track written by a duet with carb.. mostly
resort to cooperation with jeffie).
Besides, no one is stopping you from looking into someone else’s music and stealing a reception from someone else
the author, as the same carb or I did .. Only now, stupid borrowing
the technique will not add mastery - you need to get to that yourself, figure it out yourself
what's what. There would be a desire..
Hello, karbofos
Vox> Yes... what were we fighting with... I thought we’d discuss the techniques, but not how
Vox> and what happened...
Okay, I'm all for it. So, let's first consider the decentralization of channels.
For example, the drums are spread over two (or even three) channels, which is significant
adds volume to the melody and makes it livelier (not so flat), but also not
Tires one ear more than the other. The same with the leading melody and ornaments
- echoes of the main melody are written in the same channel and/or in neighboring ones.
The bass may begin to “fall apart” if it is stupidly scattered across the channels, but if
If you do this correctly, you can achieve amazing results.
Hello karbofos!
August 02, 2006 (it was 10:53 pm then)
karbofos in his letter to All wrote:
k> and about the techniques - I almost spied them all from other muzakers
and there is nothing wrong with that. just like playing the guitar,
It is not at all forbidden to learn how to hold your fingers, how to build chords, etc. this is
There is no need to invent it yourself, because... This is a technique, a toolkit. without being
talented, even if you master the technique, you cannot write anything beautiful and catchy.
so it's bad to use someone else's melodies, but it's okay to use
someone else's technique to achieve the sound needed in your composition.
FIDO: 2:5030/1512 ZXNET: 500:812/19 E-mail: vega56@mail.ru ICQ: 144932679
Moderator of Ru.Baika, Moderator of Ru.Etymology, CoModerator of Ru.Masyanya
Hello Alex!
August 04, 2006 (it was 17:35 then)
Alex Rostov in his letter to All wrote:
AR> Okay, I'm all for it. So, let's first consider decentralization
AR> channels. For example, the reels are spread over two (or even three)
AR> channel, which significantly adds volume to the melody and makes it livelier (not
AR> so flat), and the bottom does not tire one ear more than the other.
You can also periodically change the channels in which the drum theme runs.
Completely different sound.
AR> The same with the leading melody and ornaments - echoes of the main
AR> melodies are written in the same channel and/or in neighboring ones.
Same thing. In different patterns, play the melody first in A, then in B, then in C.
AR> Bass may begin to “fall apart” if it is stupidly scattered across channels
AR> but if you do it correctly, you can achieve amazing things
AR> results.
What is “competently”? :) If you write a melody correctly, it will be
literate. The economy must be economical! :)
FIDO: 2:5030/1512 ZXNET: 500:812/19 E-mail: vega56@mail.ru ICQ: 144932679Moderator of Ru.Baika, Moderator of Ru.Etymology, CoModerator of Ru.Masyanya
Hello, All
Vla> What is “competently”? If you write a melody correctly, it will be
Vla> literate. The economy must be economical!
For example, doubletrack - when, for greater density, the bass is duplicated in different
channels, and not 1:1, but for example in one channel the bass is a normal note, but in
another - the envelope.
Hello new art
new> It would be very useful if all examples were illustrated in the form
new> track, otherwise it’s not always possible to imagine the result from words, so
new> more beginners.
Easy ;)
File: Test sample 1.zip http://zx.pk.ru/attachment.php?attachmentid=3574
Hello, Alex Rostov
It would be very useful if all the examples were illustrated in the form of a track, otherwise
According to words, it is not always possible to imagine the result, especially for beginners.
Hello, karbofos
kar> the most important thing here is not to forget that the main one in terms of noise is channel S. and at
kar> moving the drums to the left (C>B>A), the noise frequency will be set from
kar> channels that have higher priority. accordingly, drummers can
kar> will sound a little different, or even completely different.
Absolutely true!
Well, point 2 in this case - due to wave interference, you should not place
two signals identical in volume and frequency on different channels -
intermodulation will torture you :)
I think everyone remembers what the interference pattern of two coherent
wave sources...
Hello, karbofos
Sorry, I forgot to send an example. In MONO mode you can hear what's what best.
File: Intermodulation.zip http://zx.pk.ru/attachment.php?attachmentid=3591
Hello, Alex Rostov
>Well, point 2 in this case - due to wave interference, it should not be
>place two signals identical in volume and frequency on different
>channels - intermodulation will torture
>I think everyone remembers what the interference pattern of two looks like
>coherent wave sources...
:/
Hello, All
>Vlad Sotnikov (500:812/19)]Hello, karbofos!
>that's why it's bad to use other people's melodies, but it's quite normal
>use someone else's technology to achieve what is necessary in your own
>sound compositions.
[/QUOTE]
I completely agree
>For example, the reels are spread over two (or even three)
>channel, which significantly adds volume to the melody and makes it more lively
>(not
>so flat), and the bottom does not tire one ear more than the other.
The most important thing here is not to forget that the main one in terms of noise is channel S. and when transferring
drums to the left (C>B>A), the noise frequency will be set from the channels that have
priority is greater. accordingly, the drummers may sound slightly different, or
not even like that at all.