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Ralph Nolte

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About Ralph Nolte

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    Electronic Music, Visual Arts, 3D Animation, FPS Games

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  1. Love that video breakdown of IO, but damn a DAW tutorial like that sounds annoying, I'm glad I've not come across any quite like that. Maybe it's not that common, but I've seen a whole series by one particular vlogger where he spends about 15 minutes building a track in one or other EDM genre - and all one hears for most of that duration is him previewing samples, copying them into the arrangement, drawing in some automation and blindly adding effects. The "completed" track is only briefly heard right at the end. I'm not sure if he was just showing off - or taking the piss... He certainly didn't seem the type of guy to listen to his own music all that much. (His name is Multiplier and he's on YouTube)
  2. Your story kinda reminds me of this video (especially 3 minutes in): Also (on a "related note" ) all these DAW tutorial videos where an "expert" plonks down patterns of MIDI notes in the piano roll - without ONCE hitting the playback button as his masterpiece takes shape...
  3. That's a very healthy approach to take - especially considering the hopeless state of today's "music business"...
  4. Yes. Yes. If I did not get that rush every once and a while, I probably would not be making music. Having to repeatedly listen and mix the thing does tend to kill it a lot though. I can relate to the above: Getting high on my own music usually only happens very briefly in the early stages of working on a track - and the feeling I got initially is usually a distant memory by the time I'm done with the final touches (days or weeks later) ... If I started really digging or feeling emotional about a part as I was working on it, that would usually become the main hook or central motif of the track. Doesn't always happen like that, though - often it's a long slog to get everything to "click" in just the right way, like solving a Rubik's puzzle... As for the main topic of this thread: I listen to my own stuff quite a lot once it's done - for me, it's the main reward after the often lengthy creative / production stages. I don't generally try to emulate a specific musician or style with my own music, so by re-listening I also try and establish as objectively as possible if a track actually works on its own merits. The older the track I listen to, the less I focus on technical aspects and start enjoying it in ways more similar to listening to somebody else's music.
  5. "Not that much" - ha, ha, bit of an understatement... If I find music I really like, I tend to listen to it almost exclusively for quite a while (on earbuds, headphones, different speaker setups, etc.) so working through that many albums would probably take me years... But good for you, I think it's becoming rare these days for people to enjoy music on its own merits - i.e. without eye candy music videos, or as the backing tracks for movies, video games. etc... I haven't really looked at putting stuff up on Bandcamp (or SoundCloud, for that matter) - so, only on YouTube for now.
  6. Stephen, that's quite a collection you've built up over at Bandcamp... Where do you get the time to listen to that amount of music?
  7. I must say, I find some of these tracks better than what the WATMM Featured Artists have been putting out in recent years... Hell Thug Gamer Objectivist, Surfing Amniotic and Symbolic Crack Pipe are bloody brilliant - well done!
  8. This is a collection of 18 electronic tracks I did in Ableton Live 9 over the last years & uploaded to YouTube. Click a pic to go directly to a single clip - or else use the links to 3 playlists (each containing a set of 6 clips). Electronic Tracks -1- Ralph Nolte Electronic Tracks -2- Ralph Nolte Electronic Tracks -3- Ralph Nolte ---
  9. When it comes to the question of "ethics & morals" in today's music world, there's this huge disconnect between the various players: consumers, musicians, middle-men - the latter being the "industry" that makes most of the money and exerts the most influence without really caring about the long-term interests of the other two... For music appreciation to happen all you need is artist and audience (could even be the same person, e.g. somebody just noodling on a piano for own enjoyment). For "music business", however, you need people willing to part with some money and somebody with rights to music that can be "monetized" - note that in this scenario a conventional musician is optional! The big labels and publishers are milking plenty of long-dead artists' catalogue and Spotify has commissioned no-name bands/performers to create music specifically for inclusion in popular playlists (with up-front payments for services rendered, so no royalties are involved). If this process were taken to its logical conclusion, streaming sites could eventually move entirely to AI-driven music that's created by algorithms to mimic various genres (this already exists, e.g. computer-composed music in a "Bach style" that's good enough to fool experts...) There'll always be fans interested in the artists behind the music - but for the masses who just want something nice to listen to according to their moods, anonymous and/or generative music might become the new normal. Imagine a day when everyone will just have a generic music app installed on their devices and (maybe) pay for subscriptions to continuously updated algo-packs - you'd then get an ever-evolving code base to keep generating new music in your favourite styles on the fly. One of the few remaining options for musicians to then make a proper living would be to work in this field: programming and fine-tuning proprietary systems according to consumer preferences.
  10. The joke here is that Spotify isn't even making a profit at this stage, so paying musicians more than a few cents for 1000s of streams isn't an option, apparently... Most of Spotify's subscriber revenue is used to pay for the mega-million $ deals negotiated with the big labels to allow streaming of their coveted back-catalogue (and hardly any of that money is passed on to artists themselves). I doubt that average streaming site users know (or care) how little income gets through to the people who actually create the music they listen to - and why should they feel guilty about this if they are not actively pirating? Also, why should they feel compelled to buy additional copies of their favourite music in outmoded media formats just to "sufficiently" support their artist of choice? A properly-functioning music marketplace should allow artists to be adequately reimbursed for what they create without having to rely on a lot of "extra effort" from a handful of hardcore fans. Maybe the reality is that music in its own right (and despite all its artistic and other merits) just isn't a very marketable product any more, unless it's wrapped in a "celebrity brand" of some kind.
  11. I recently read a long thread over at Gearslutz about how Spotify / streaming is affecting musicians in mostly negative ways - and an argument made by one guy was that nobody is "forcing" artists to put their music on e.g. Spotify for basically free. It's just a business proposition: small artists can get "exposure" on the big streaming sites without actually earning anything now, but they might make some money eventually if they become "famous enough". Of course, for most that will never happen - but by the time individual musicians realize how hopeless the situation is and maybe give up their dreams, they've added yet more content to the huge mountain of music that's already available. The result is that increasingly abundant music just becomes an almost worthless commodity (in a business sense) as the price people are willing to pay for it keeps falling lower and lower... However, if you're as big as e.g. Taylor Swift, you get to negotiate your own special deal re your latest album with Spotify et al. Business as usual (and no place for "morals" in any of this, unfortunately).
  12. And here's another one: Vangelis - Gantz Graf (this is fun)
  13. So I got inspired by this thread: I like the Com Truise track and its visuals are like a professional mini-movie. However, Gesaffelstein's "Obsession" popped into my head as having the right dose of paranoia to match the creepy visuals in that video... A quick Google search then produced this: Youtube Multiplier seemed exactly like the tool to play around with... Here's the result of my experiment: Gesaffelstein - Propagation For best results, make the left-hand video full-screen and fade out the sound manually when the credits start rolling (to avoid an abrupt loop at the end).
  14. OK, I read some WATMM search results and found the solution - paste as plain YouTube URL (NOT embed code): To recap: I think this (fan-made?) edit works better as a "Com Truise style" music video than the very pro-looking Propagation one. (Now, if anyone can clarify inserting offline images to NOT be attachments?)
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