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Fuck the Machine

Discussion in 'RedBanned TV' started by Mike Verta, Jul 12, 2017.

  1. I find myself agreeing with both you and Mike. I think putting constraints on what is or isn't "music" is problematic for the reasons you mentioned, and I hate to think of it in such terms -- there are pieces I love that are largely atmospheric, pieces I love that are highly technical and not really communicable verbally (not easily anyway), pieces that are highly dissonant, etc.

    However, I also find myself understanding Mike's perspective more and more. While there are many long-form classical pieces and scores I don't really enjoy or even end up finding boring, I see more and more the importance of understanding and applying these concepts broadly. As much as there are some "hypnotic" pieces I love that remain relatively static harmonically, most are a piece within the context of an evolving work. Though it's taking me a while to understand it, my favourite full works almost always tend to be those with memorable melody (or riffs acting as "melody"), horizontal movement, and an overall sense of cohesion. I really can't think of any genre where a composer wouldn't be better served by a strong understanding of these ideas.

    Ditto Greg's post, fantastic example. Star Wars is obvious as well, but the scope of The Lord of the Rings (paired with the analysis) makes it a little more obvious.
  2. Hours of explanation and discussion on this coming in the film School 101 class.
  3. I'm genuinely so excited that you are doing this. I constantly go on and on about why most people's mock ups suck (definitely me included) is because of lack of understanding of what the real instruments are capable of (forgetting decent composition and Orchestration for a second) and therefore write unrealistically. The same goes for films and understanding everything about how they are made. Learning this stuff is paramount and glad you are doing this.
    Steven Faile likes this.
  4. While I often think that instruments being used unconventionally tends to be interesting, I think doing this well does require understanding of how they work to begin with.
  5. Oh I definitely agree that it's interesting and am not saying don't do unconventional things with VIs. It's just if you are going for "realism" then doing things like, for example, programming drums and having a Kick, Snare, Floor Tom and two crashes at the same Time is impossible due to a human only having two arms. Or creating Double Stops on Strings for every note. Mighty sound interesting but it's not real and these sample libraries, especially Orchestral ones, need all the help they can get (if realism is the goal). If not, reverse that stuff, distort it,sidechain 16th string patterns to make things pulse etc whatever someone wants to do. It's music after all!
  6. Actually luke, if your drums are setup like most it's possible to turn your stick sideways and hit both snare and floor tom, would require a bit of tilting though. 2 crashes just have to be close enough

    But it would be impossible to play fast 16ths on the kick and intricate snare and hat work (though Derek roddy did have a song he double basses while manually opening and closing his hats with his left hand)
  7. Ok, three crashes, 1 floor tom, the high tom, Kick, Snare and a splash. At 300bpm.
    Rohann van Rensburg likes this.
  8. Challenge accepted
  9. Your video captures why I'm so much more creative with pencil and paper. Because I see that there's no melody there, or that I'm repeating myself with no development. If I wrote an "epic" track with pencil and paper it would look boring as hell, so I push myself a bit harder. Although I use more colors with pencil and paper than I do on a computer, including techniques and instruments not currently in my template.
    Rohann van Rensburg likes this.

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