Antanas Budriūnas wrote: That's ok. Modlys has developed from the first CD to this, and I'm actually quite happy about the new album. -- Atte http://atte.dk http://modlys.dk

Julien Claassen wrote: I've put some mp3 files here: http://modlys.dk/mp3/flow/ Since I decided to charge $5 for the album this time, it doesn't really make sense to have the regular mp3's just sitting there, so I'm gonna take them down eventually... But for now, enjoy :-) -- Atte http://atte.dk http://modlys.dk

Hi Atte! OK, now I had time to take a first listen. Admittedly I skipped a bit here and there. But a few pieces held my complete attention right up to the end. It's a mazing, especially considering, that you only had one month for it. Some very interesting and gripping sounds. One piece, that overwhelmed me soundvise was "langstom gengivelse 1". May I ask, how you created the choir sound? It reminds me so much of Tomitas version of pictures of an exhibition or the night on the bare mountain. "uden dig" was interesting to listen to, as there was the remix. Always interesting to see, what one can make out of one song. The heaviness of the remix is enjoyable, the bass is so killer in this context. If "der er stille her" hadn't been that repetitive I would have enjoyed it even more than I did now. The old fashionedness of the piece, especially amidst all the modern pieces was surprising. Overall, it is again well mixed and balanced. And there are sounds I'd like to have myself, if my setup was up to some good old electronic music with machine hardened preciseness. :-) I think I will revisite a few of these pieces again with pleasure. Maybe in between some baroque and some 70s prog rock. They'll make a nice change. :-) Kindly yours Julien -------- Music was my first love and it will be my last (John Miles) ======== FIND MY WEB-PROJECT AT: ======== http://ltsb.sourceforge.net the Linux TextBased Studio guide ======= AND MY PERSONAL PAGES AT: ======= http://www.juliencoder.de

rosea grammostola wrote: Hmmm. Since this implies you're getting a bit bored with my music I have to answer :-) I don't think the program sounds in any particular way, and I can't think of any "renoise tricks". But two things might make renoisers sounds similar: 1) The simple fact that people with similar musical goals are attracted to the program. Makes sense for a not-so-general-daw as renoise (I wouldn't record my jazz quintet with it, for instance). 2) The community is sharing their music, much like we do here, and although there's a lot I don't care so much for, there's some that really inspires me. It might work the same way for others. An example of something that changed for me it master compression. When doing the first album I swore I wouldn't take part of the loudness war, and no master compression was used. Now I realize that on most tracks on the new album, the sound I hear in my head involves quite heavy (for my standards at least) master compression. My involvement in the renoise comunity, might play a role in that. But it's not really renoises (or the communitys) fault, just something I picked up and decided had to be a part of my music. -- Atte http://atte.dk http://modlys.dk

Atte André Jensen wrote: :) It was better if I started a new thread about it, obviously [offtopic] marks wheren't enough to make it really offtopic. On the other side, it's not really offtopic, cause you use Renoise. But let me state clearly that I really appreciate your music, I listen to it and let others do so ;) It could be that it is time for me to listen to some Miles Davis records again ;) The non-electronic ones... Mmh yeah interesting how this might work. I often hear that 'American records' are mixed heavily and 'smoothly', while in Europe they tend to let the sound a bit more as it is. Maybe a lot of Americans use Renoise then ;) This might also be a discussion about Linux modular stuff compared to Renoise. It could be that it can be hard to let a recording/ mix made with Linux tools, sounds very smooth. In Renoise this isn't a problem at all obviously, but then the question is what you like best... I wish you many times of 'flow' Atte ;) \r

Frank Kober wrote: Thanks! I agree. These are exactly two places where I here and there had to settle for "good enough" in order to stay within the time limit. I'm not gonna mention the places I would change, since they might not be the same places you have in mind :-) Both "til kernen" and "genstart" was originally done with a quickly (and thus badly) looped viola, I believe from the free philharmonic samples. Anyhow, a friend of mine re-did them on viola, but I still liked some of what was in the sampled sound. So I ended up using a mix of real and sampled-with-bad-loop viola on both tracks. I actually liked the audible loop points, so I left them in there. -- Atte http://atte.dk http://modlys.dk

Excerpts from Atte André Jensen's message of 2010-03-07 21:28:39 +0100: Hi Atte, I'm listening to flow now, which is quite interesting. You're aware that Til Kernen absolutely sounds like it was a Venetian Snares song? I couldn't tell the difference. Regards, Philipp

On Monday 08 March 2010 22:58:36 Atte André Jensen wrote: Track ordering becomes irrelevant as soon as it hits peoples mp3-players... Arnold

On Mon, 08 Mar 2010 23:35:09 +0100 Atte André Jensen <atte.jensen(a)gmail.com> wrote: If I think an artist is arranging tracks in a specific order then I will always want to at least try that order. Apart from anything else this usually means they are telling a story with the music, and it would be daft to 'read' the end before the beginning. Sadly, I think too many times an album is really just a collection of random songs, and it doesn't matter at all what order you hear them in - or even if you only hear one or two. So people get used to that. -- 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.