Not that I want to compete with the piece by KrazyKatz, but it just triggered a memory.
http://www.samshuijzen.nl/sam/omgeven/1_somnambule_2.ogg
This is track 1 of an album I'm going to make concerning environments, called 'Omgeven' (A Dutch term).
Haha, I've started a trend :P
Certainly worlds apart from my piece. I figure this is more like Insomnia! ;)
Quote from: "Sam_Zen"Not that I want to compete with the piece by KrazyKatz, but it just triggered a memory.
http://www.samshuijzen.nl/sam/omgeven/1_somnambule_2.ogg
This is track 1 of an album I'm going to make concerning environments, called 'Omgeven' (A Dutch term).
Nice piece with interesting sounds. Variation of the delay might enhance the piece
This morning I awoke with a dream about composing a piece of music that consisted of three non-12 EDO chords that I sang with little, but some, movement, each held for a few seconds and then I put each 8 or 9 note chord into MPT to line them up properly against each other.
It was a vivid dream that I should make reality.
Later when awake it occurred to me that MUX may be your way of saying melody and harmony is dead... Long live rythmn and tone color!
I'll still find roots in western tradition but the point of view is different.
Insomnia.. LOL..
2 uncloned
Variation of the delay wasn't posssible, because it was done with a reel tape recorder without speed adjustment.
What's EDO ?
It's a rare occasion to get any comment on my MUX concept, so thank you for that.
But I'm not saying that music-things like melody or harmony are dead. It's not an OR situation, but an AND.
With the start of electronics new ways of expression have become possible too.
Your description of that dream is a very nice example of that.
It would be more proper to call this a 'technical plan' that a 'musical plan'. But it's still the base of a composition.
With electronics one can take the verb "to compose" more literally..
EDO equal division octave
I got so many projects now.... but that dream surprised me.
rare I get something so concrete
melody and harmony are... non-functional in pure MUX
Quite nice. By the way, what is that make with? It reminds me of some experiments I made some time ago, using just the reel noise and fluttering as material, but it seems that there is a lot more here.
QuoteEDO equal division octave
Agree with that. It's a part of physical, non-human laws.
Quotemelody and harmony are... non-functional in pure MUX
If I would be a purist, I would say yes, but I'm not.
It's just that I doubt things that are taken for granted. The whole harmony thing is developed in the western scene.
But musical developments elsewhere just stick to a basic ground tone, without transpositions, etc.
A step further is to have no basic frequency at all. The complex of sounds will create its own base frequency or harmony.
2 rncekel
You mean using the material one normally want to remove ? I thought about this lately, and it's quite interesting.
in theory class I was thought that the ear will hear the lowest tone as the fundamental and everything else in relationship to that.
however - this was in the context of the harmonic series and 12 tone equal temperament that is derived from the harmonic series...
I think the lowest doesn't have to be always the 'common denominator'.
There could be some basic low tone, with yet lower tones acting as harmonic things, just as tones above the basic one.
A haunting piece! I must agree with KrazyKatz that this is more like insomnia, but
Sam_Zen, can you shed some light on how you made these morphing cricket sounds? Are they different samples or manipulated in some interesting way?
As far as I can recall the cricket sounds were just a certain setting of the analog Synthi A as a source.
So no 'sample' idea involved. The morphing effect is done with the feedback settings in the tape-settings.
This is DroneschranzMUX :lol:
It has some elements of schranz, but it is slower and has no beats (bassdrum), on the other hand it is too fast to be drone. Anyway, I like it :)
Yes, I meant using these sounds that are usually filtered out; I used them sometime ago filter the rest and amplifying all this "spurious" frequencies until managing some audible sound, and mixing that with other things.
Quote from: "Sam_Zen"I think the lowest doesn't have to be always the 'common denominator'.
There could be some basic low tone, with yet lower tones acting as harmonic things, just as tones above the basic one.
This what I was referring to:
Spectra
The richness of a sound or note produced by a musical instrument is sometimes described in terms of a sum of a number of distinct frequencies. The lowest frequency is called the fundamental frequency and the pitch it produces is used to name the note. For example, in western music, instruments are normally tuned to A = 440 Hz. Other significant frequencies are called overtones of the fundamental frequency, which may include harmonics and partials. Harmonics are whole number multiples of the fundamental frequency — ×2, ×3, ×4, etc. Partials are other overtones. Most western instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other non-pitched instruments.
When the orchestral tuning note is played, the sound is a combination of 440 Hz, 880 Hz, 1320 Hz, 1760 Hz and so on. The balance of the amplitudes of the different frequencies is responsible for the characteristic sound of each instrument.
The fundamental is not necessarily the strongest component of the overall sound. But it is implied by the existence of the harmonic series — the A above would be distinguishable from the one an octave below (220 Hz, 440 Hz, 660 Hz, 880 Hz) by the presence of the third harmonic, even if the fundamental were indistinct. Similarly, a pitch is often inferred from non-harmonic spectra, supposedly through a mapping process, an attempt to find the closest harmonic fit.
It is possible to add artificial 'subharmonics' to the sound using electronic effects but, again, this does not affect the naming of the note.
William Sethares (2004) wrote that just intonation and the western equal tempered scale derive from the harmonic spectra/timbre of most western instruments. Similarly the specific inharmonic timbre of Thai metallophones would produce the seven-tone near-equal temperament they do indeed employ. The five-note sometimes near-equal tempered slendro scale provides the most consonance in the combination of the inharmonic spectra of Balinese metallophones with harmonic instruments such as the stringed rebab.
I'm not sure how much you know about the theory.
I suppose not much because I didn't study it deliberatly.
In the end I just think about frequencies with a certain value. So I consider this as a mathematical issue.
The content with a combination of harmonic frequencies of a certain note defines whether if it's a 'basic' note or not.
On the other end there's also the human feel of expression.
It's quite a known story, that if one adds a sound an octave higher to the bass, the impression will imply the existence of a octave lower sound.
So more 'heavy'. A fuzz pedal is a good example.
That whole thing gets into what is called psycho- acoustics - the perception of sound - such as your fuzz example
The point the Theory teacher was making was that the ear hears the lowest note as the fundamental to a single note that has harmonics.
I wonder if the overtone is what is called "inharmonic" if that is still true
Yep. You name it : 'psycho - acoustics'. We, as composers, should be aware of this, and take advantage of it.