16 Jun
2018
16 Jun
'18
10:01 p.m.
Hey hey,
the classification as ballad was probably unnecessary, with that title. Here
it is and some (remarkable) remarks below:
http://juliencoder.de/nama/kisses_dont_lie.ogg
http://juliencoder.de/nama/kisses_dont_lie.mp3
This is only an instrumental, should you be female with a good strong voice
and willing to give it a try: please get in touch.
This piece actually came to me in a dream. Well, I dreamt its chorus. It was
so strong in my mind when I awoke that I wanted to make it the perfect example
of a powerful love ballad. The dream title had been "Chocolate don't lie",
as
sweet as that might be, I decided the kisses would make more sense. :) The
rest of the song came easily, perhaps partly remembered from the dream, partly
obvious (to me), seeing that I wanted to create my personal clichee or essence
of that type of song.
Technically this song uses Yoshimi, LinuxSampler with a self-compiled acoustic
drumkit from parts of the Salamander kit, the AVLinux kit and one or two
extras. Also in LinuxSampler a proprietary acoustic piano and SSO strings.
This was further augmented by additional hardware synths of all kinds. The
electric piano is the real DX7 full-tines on a DX7. :)
Of course it needed tons of LADSPA and LV2 plugins, since everything was
recorded completely dry. Fons Adriaensen's G2Verb, the TAP plate, Invada and
Calf mixing tools and Fons' great four band parametric EQ.
Guitars were played and recorded by Joy Bausch on a non-Linux platform. Very
many thanks to him for such a wonderful and to-the-point interpretation of my
intentions.
If you have comments or feedback - particularlynice one :) -, please let me
know. But also don't hesitate to give the other kind of comment.
Best wishes and enjoy,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
I'm so curious, what do you think of me <3
(Britney Spears)
16 Jun
16 Jun
10:47 p.m.
On Sat, 16 Jun 2018 22:02:16 +0200 (CEST), Jeanette C. wrote:
This piece actually came to me in a dream. Well, I
dreamt its chorus.
It was so strong in my mind when I awoke that I wanted to make it the
perfect example of a powerful love ballad. The dream title had been
"Chocolate don't lie", as sweet as that might be, I decided the kisses
would make more sense. :)
I'm not aware of anything that hurts the reputation of chocolate in
any way, let alone that much, as the Judas kiss hurts the reputation of
kisses. Since there are no vocals yet, you still could revert to the
original song title ;).
10:51 p.m.
"you still could revert to the original song title ;)"
It perhaps should be "Chocolate doesn't lie" instead of "Chocolate
don't
lie".
11:05 p.m.
Jun 16 2018, Ralf Mardorf has written:
...
It perhaps should be "Chocolate doesn't
lie" instead of "Chocolate don't
lie".
...
Another reason why it's impossible. It doesn't fit the rhythm. So kisses
are better after all, and I'm not thinking of Judas or snakes. :)
Best wishes,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
I'm so curious, what do you think of me <3
(Britney Spears)
17 Jun
17 Jun
12:40 a.m.
On Sat, 16 Jun 2018 23:06:01 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
Jun 16 2018, Ralf Mardorf has written:
...
In any case, it is better than "Küsse ! lügen ! nicht !"
Cheers.
It perhaps should be "Chocolate doesn't
lie" instead of "Chocolate
don't lie".
...
Another reason why it's impossible. It doesn't fit the rhythm. So
kisses are better after all, and I'm not thinking of Judas or
snakes. :)
9:25 a.m.
On Sat, 16 Jun 2018 18:40:56 -0400, jonetsu wrote:
On Sat, 16 Jun 2018 23:06:01 +0200 Jeanette C. wrote:
Hi Jeanette, hi Jonetsu,
"Tränen lügen nicht" https://www.youtube.com/watch?v=QDS73rC4d8c
Deutsche Schlagermusik that was also an instrumental in the first place
https://en.wikipedia.org/wiki/Soleado . To claim that "Tears don't lie"
is a lie. The reason that people today still get paid for mourning
https://en.wikipedia.org/wiki/Professional_mourning is that tears are a
much used weapon for emotional blackmail and to underpin lies.
Chocolate could be your friend, when you hit rock bottom, while kisses,
brown sugar and similar could/would be frenemies. First several
musicians taste love and/or brown sugar and after that they lament.
Kisses, tears, brown sugar & Co. give music a cheesy taste, while
chocolate makes music hot.
Maybe words such as kisses, tears, brown sugar just fit better to
rhythms, than other words do, but I don't think so. I guess pathos is a
nice musical element of composing, unfortunately not for arrangements
or lyrics. For example self-pity of blues lyrics easily could give even
good music a bad taste.
OTOH especially self-pity of a musician could cover the self-pity of
the audience. It allows the audience to taken up in their own self-pity
https://en.wikipedia.org/wiki/Weight_(album) .
Grüße
Ralf
Jun 16 2018, Ralf Mardorf has written:
In any case, it is better than "Küsse ! lügen ! nicht !"
It perhaps should be "Chocolate doesn't
lie" instead of "Chocolate
don't lie".
Another reason why it's impossible. It doesn't
fit the rhythm.
18 Jun
18 Jun
1:22 a.m.
On Sat, 16 Jun 2018 18:40:56 -0400
jonetsu <jonetsu(a)teksavvy.com> wrote:
On Sat, 16 Jun 2018 23:06:01 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
Of course, that was as a reference to the classic:
https://www.youtube.com/watch?v=NcxvQI88JRY
Cheers.
Jun 16 2018, Ralf Mardorf has written:
...
In any case, it is better than "Küsse ! lügen ! nicht !" It perhaps should be "Chocolate doesn't
lie" instead of "Chocolate
don't lie".
...
Another reason why it's impossible. It doesn't fit the rhythm. So
kisses are better after all, and I'm not thinking of Judas or
snakes. :)
1:28 a.m.
Hey there,
that was funny and that is all well and good, but I was just interested in how
you all likedthe song, or not. :) The way conversation go, ey? :)
Best wishes and goodnight,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
Can't you see I'm a fool in so many ways <3
(Britney Spears)
6:36 a.m.
On Sun, 17 Jun 2018 19:22:26 -0400, jonetsu wrote:
Completely broken articulation, but it's not a job for a speech
therapist, somebody speaking German like this, even when from Bavaria,
seemingly suffers from a neurological deficit ;).
Apropos German: "Here's The Robots by Kraftwerk recreated with just one
synth, the Arturia Matrixbrute",
https://www.youtube.com/watch?v=9B8Xc7CbGs4 .
1:14 p.m.
Jun 18 2018, Ralf Mardorf has written:
...
"Here's The Robots by Kraftwerk recreated
with just one
synth, the Arturia Matrixbrute",
https://www.youtube.com/watch?v=9B8Xc7CbGs4 .
...
If this comment would fit anything, it would have been much more
on-topic for a song about Superbooth:
http://juliencoder.de/nama/a_song_about_superbooth.ogg
http://juliencoder.de/nama/a_song_about_superbooth.mp3
Also one-synth (Arturia MiniBrute) and vocoder.
Best wishes,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
Here I go, on my own now <3
(Britney Spears)
9:19 p.m.
Jun 18 2018, Ralf Mardorf has written:
On Mon, 18 Jun 2018 13:14:39 +0200 (CEST), Jeanette C.
wrote:
Yes it is monophonic,
so single synth and mono synth. :)
Also one-synth (Arturia MiniBrute) and vocoder.
Nice synth sounds :), but IIUC it's a monophone synth ;). _______________________________________________
Linux-audio-user mailing list
Linux-audio-user(a)lists.linuxaudio.org
https://lists.linuxaudio.org/listinfo/linux-audio-user
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
... About some useless information,
Supposed to fire my imagination <3
(Britney Spears)
1:38 a.m.
On Sat, Jun 16, 2018 at 10:02:16PM +0200, Jeanette C. wrote:
If you have comments or feedback - particularlynice
one :) -, please let me
know. But also don't hesitate to give the other kind of comment.
Good production, really conveys some 80s feel (those thin vibes, slow
progressions). Big up for keyboard work!
1:50 a.m.
Jun 18 2018, Francesco Ariis has written:
...
Good production, really conveys some 80s feel (those
thin vibes, slow
progressions). Big up for keyboard work!
...
Thanks Francesco. I'm very happy to hear that, especially since the
production took a while and with so many tracks it was a little
intricate. :)
Best wishes,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
Can't you see I'm a fool in so many ways <3
(Britney Spears)
1:55 a.m.
On June 17, 2018 1:38:03 PM HST, Francesco Ariis <fa-ml(a)ariis.it> wrote:
On Sat, Jun 16, 2018 at 10:02:16PM +0200, Jeanette C.
wrote:
Keyboards rule! I made an "annoying sound" (according to my wife) using a
Yoshimi patch and virtual keyboard. Sent it to my daughter, who replied, "Did you
record your guitar and tweak it in an audio editor?"
:)
--
David W. Jones
gnome(a)hawaii.rr.com
authenticity, honesty, community
http://dancingtreefrog.com
Sent from my Android device with F/LOSS K-9 Mail.
If you have comments or feedback -
particularlynice one :) -, please
let me
know. But also don't hesitate to give the
other kind of comment.
Good production, really conveys some 80s feel (those thin vibes, slow
progressions). Big up for keyboard work!
2:07 a.m.
Jun 18 2018, David W. Jones has written:
...
Keyboards rule! I made an "annoying sound"
(according to my wife) using a Yoshimi patch and virtual keyboard.
...
Yoshimi is a fascinating synth. There is some Yoshimi in that song. Only
preset in this case, but since then I have started making my own, thanks
to Will's tireless efforts to make it accessible. It's the most powerful
prepatched softsynthI've ever had the great joy to edit. As almost every
synth it has its shortcomings, but you can always moan. :)
Best wishes,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
Can't you see I'm a fool in so many ways <3
(Britney Spears)
3:15 p.m.
On Sat, 16 Jun 2018 22:02:16 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
The production level is very good. The levels are very well honed.
The drums and percs do stand out as being very well rendered. Dynamics
are well expressed in the riff starting at 1:05. The electric guitar
sounds are very nice and adds a lively touch. The string pad washes
are excellent. The com
This said, in general starting at about 2:30 there's the feeling of a
linearity that's installed. Even though this is a backing track for
lead vocals, there's a feeling that things are going around in a linear
fashion. Passages are repeated. The last chorus at approx. 5:08 has an
effort in hammering a bit more the piano notes to break from the
linearity, but there's notmuch of a build up in terms of energy which
pretty much stays the same thorough.
I am also facing the same issues and I listen in amazement at how
linear some past pieces were. So I try to make it a point to vary
in sheer intensity. Maybe just a little, maybe a lot, maybe in
between, but to vary. To consider that a silence is as rich in
every aspect as a full band playing.
By pure coincidence I read something by Friedemann Findeisen a couple
of days ago in which he was saying that only changing notes does not do
it. Going from one chord to another with the hope that it will be a
"dramatic" experience on the listener's part does not work most of the
time. He continues saying that what's needed is a change in energy.
Of course Findeisen is preoccupied by pop music so it has to be taken
with a grain of salt. Everyone remembers poignant chord changes. But
do they happen always ? And when they are not, what happens instead ?
So again, the piece is very nice and sweet, very well produced. One
would hope to hear vocals. The addition of vocals could have a
modifying feedback on the music to make it rendered more at the
energetic morphing level.
Cheers.
3:27 p.m.
Hi Jonetsu,
thanks for this very detailed and critical feedback. I suppose I'm caught
between two chairs here: the tension and increase of energy - in some way -
and the current pop production and loudness war. Two sides not readily
consolable. :)
Thanks again for your thoughtful comments.
Best wishes,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
Here I go, on my own now <3
(Britney Spears)
3:45 p.m.
On Mon, 18 Jun 2018 15:27:29 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
thanks for this very detailed and critical feedback. I
suppose I'm
caught between two chairs here: the tension and increase of energy -
in some way - and the current pop production and loudness war. Two
sides not readily consolable. :)
As I progress in that field, it seems more and more that the loudness
thing has nothing to do with it. That loudness, and energy as mentioned
before, are not necessarily linked. Currently I'm amazed by what goes
on for instance in "Escape of the Hopping Rhinos" at 1:33: yes, one
keyboard level is raised, but other things are dropped. And then at
1:48 there's a clear feeling of setting back while still moving
forward, by the drop of the main drums and reverting back to the
electronic drums while the guitar gets thinner. These are currently
only but experiments. They happened almost just by themselves although
I realized what was going on and helped a little bit.
The main thing is that this go on within a LUFS context so to speak.
More and less energy in this context are not a product of loudness. I
think they are relative to one's perception. Like a painter would
arrange colours to give effects. The "notational" music in a piece is
only one aspect and not the only aspect to be interpreted/decoded by
listeners.
In a way like Michael White once said, basses are like the front of a
car one sees past a building wall. The onlooker will easily imagine
the rest of the car even though it is not seen. Basses are like that.
The brain can build basses from a tip being heard.
I would say that there's a lot more going on in music in the same vein,
which can be mostly out of the scope of notes and chords and rhythms
and melodies. Especially with the level of audio processing available
today, in Linux and elsewhere, and how it is possible to sculpt audio.
Cheers.
4:08 p.m.
jonetsu <jonetsu(a)teksavvy.com> writes:
On Mon, 18 Jun 2018 15:27:29 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
To add some data point from a marginally related field: I am playing
accordion and also have a first generation Roland FR-1b digital
accordion. The latter is bellows pressure sensitive but it's hard
finding any sensitivity setting that is satisfactory: changes in
pressure do too little, and on the little that they do, they do too
much. Basically working with bellows pressure feels like fiddling with
a volume dial: _only_ loudness changes. Now that's not entirely correct
since we are talking about multisamples here, but it feels like that in
comparison.
On an acoustic instrument, the sound is determined by chopping an air
stream into pieces with a metal reed vibrating through a reed gap in the
aluminum reed plate and powered by the air stream.
The amount of air an accordion will let through is limited so the
resistance grows with the pressure. Volume is proportional to the
amount of air going through, but the overtone content changes with the
amplitude of the reed which follows pressure more leasurely the lower
the reed gets. Also as pressure increases, multiple reeds sounding at
once for each note get phase-locked tighter. So something happens and
you can unfurl a tone or even a chord and the whole tonal and balance
between pitches changes with pressure.
The result is that you play around a lot with intensity while the
accompanying loudness contributes less than one would expect to the
overall change in character and tone.
At least in the comparatively early digital accordion model I possess,
this characteristic of an acoustic instrument is reflected in a manner I
find less than satisfactory.
And I find part of that lies with too much of expressive changes getting
reflected in mere loudness rather than something feeling like tonal
intensity.
--
David Kastrup
thanks for this very detailed and critical
feedback. I suppose I'm
caught between two chairs here: the tension and increase of energy -
in some way - and the current pop production and loudness war. Two
sides not readily consolable. :)
As I progress in that field, it seems more and more that the loudness
thing has nothing to do with it. That loudness, and energy as mentioned
before, are not necessarily linked.
4:31 p.m.
On Mon, 18 Jun 2018 16:08:00 +0200
David Kastrup <dak(a)gnu.org> wrote:
To add some data point from a marginally related
field: I am playing
accordion and also have a first generation Roland FR-1b digital
accordion.
Thanks for the comment which shows yet another aspect. You have a term
which is quite fitting, 'tonal intensity'. Less vague and misleading
than simply 'energy', 'tonal intensity' reflects clearly the overall
musical effect which sits within an audio loudness range.
And now tonal intensities are a creative field on their own. I
wouldn't be surprised to see that there are people who are experts at
that and not so much at music itself since tonal intensities are
perhaps the first wave to reach listeners, before the chords and notes
and melodies and rhythms do.
We have all the tools today to produce music that can go from the
softer pizzicato to the most amazing forte of classical music yet we
manage to stay within a range. And even worse, to compress that range
to extract all dynamics and offer a 'wall' of sound literally to the
listeners. The tools and techniques are all easily available to make
productions that will take the listeners on (short) journeys through
valleys and hills.
Cheers.
24 Jun
24 Jun
6:04 p.m.
On Sat, 16 Jun 2018 22:02:16 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
Hey hey,
the classification as ballad was probably unnecessary, with that title. Here
it is and some (remarkable) remarks below:
http://juliencoder.de/nama/kisses_dont_lie.ogg
http://juliencoder.de/nama/kisses_dont_lie.mp3
This is only an instrumental, should you be female with a good strong voice
and willing to give it a try: please get in touch.
This piece actually came to me in a dream. Well, I dreamt its chorus. It was
so strong in my mind when I awoke that I wanted to make it the perfect example
of a powerful love ballad. The dream title had been "Chocolate don't lie",
as
sweet as that might be, I decided the kisses would make more sense. :) The
rest of the song came easily, perhaps partly remembered from the dream, partly
obvious (to me), seeing that I wanted to create my personal clichee or essence
of that type of song.
Technically this song uses Yoshimi, LinuxSampler with a self-compiled acoustic
drumkit from parts of the Salamander kit, the AVLinux kit and one or two
extras. Also in LinuxSampler a proprietary acoustic piano and SSO strings.
This was further augmented by additional hardware synths of all kinds. The
electric piano is the real DX7 full-tines on a DX7. :)
Of course it needed tons of LADSPA and LV2 plugins, since everything was
recorded completely dry. Fons Adriaensen's G2Verb, the TAP plate, Invada and
Calf mixing tools and Fons' great four band parametric EQ.
Guitars were played and recorded by Joy Bausch on a non-Linux platform. Very
many thanks to him for such a wonderful and to-the-point interpretation of my
intentions.
If you have comments or feedback - particularlynice one :) -, please let me
know. But also don't hesitate to give the other kind of comment.
Best wishes and enjoy,
Jeanette
Well, it took me ages to get around to finding time to listen to this, but it
was well worth it. Very enjoyable with lots of dynamics, and a rich variety of
well chosen instruments.
--
Will J Godfrey
http://www.musically.me.uk
Say you have a poem and I have a tune.
Exchange them and we can both have a poem, a tune, and a song.
6:35 p.m.
Jun 24 2018, Will Godfrey has written:
...
Well, it took me ages to get around to finding time to
listen to this, but it
was well worth it. Very enjoyable with lots of dynamics, and a rich variety of
well chosen instruments.
Thank you and, also from this point, thank you for the
great access to
Yoshimi. It turns out to be a vauluable instrument in my synth-family. I
love these choir-like sounds and a couple of other nuances that Yoshimi
is very good at and unique in my ensemble.
Best wishes,
Jeanette
--------
* Website: http://juliencoder.de - for summer is a state of sound
* SoundCloud: https://soundcloud.com/jeanette_c
* Youtube: https://www.youtube.com/channel/UCMS4rfGrTwz8W7jhC1Jnv7g
* GitHub: https://github.com/jeanette-c
* Twitter: https://twitter.com/jeanette_c_s
I can't believe it's what I see
That the girl in the mirror
The girl in the mirror Is me <3
(Britney Spears)
2164
days inactive
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linux-audio-user@lists.linuxaudio.org
22 comments
7 participants
participants (7)
-
David Kastrup -
David W. Jones -
Francesco Ariis -
Jeanette C. -
jonetsu -
Ralf Mardorf -
Will Godfrey