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Knob Twiddlers
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Everything posted by ArtificialDisco

  1. Pretty nicely done. Good production, chill feeling. I wouldn't have minded some lead instrument playing a melody on top, but this is nice enough already.
  2. It's really midi sounding, and I don't know exactly how I'd go about that... maybe adding reverb and saturation and all that mixing goodness. I'm also not a fan of trumpet-y synth at 1:17. Maybe go with something moogier? That being said it's a pretty adventurous composition, with loads of different sections which is great! I truly appreciate someone going this valiantly at such a complex song structure and kind of pulling it off. Melodies are nice too and I'm also a big fan of the glitchy chaos that build up in the later half. Actually if you're thinking of something to do instead of vocals, you can try adding the melody again with different instrument. Or another melody that leads into the main melody (at 1:17, e.g.).
  3. I'd happily call this IDM. It's techno only in name, i.e. it ticks the boxes technically speaking, but it's much more mangled and weird, which makes it ten times more fun to listen to than a regular old techno track.
  4. An album I made. It was my entry into the RPM challenge this year. https://artificialdisco.bandcamp.com/album/look-at-that
  5. Was that the interview where he talks about the new chord he made for the Rite of Spring? Which is basically E major with a Eb major dominant on top.
  6. Hmm, that sounds like a very strange voicing for C minor to me. Usually the presence of b6 means you've moved away from the tonic, i.e. you're on a different chord. As a rootless F minor voicing it makes perfect sense, and even playing up and down the C minor scale over it sounds a little like playing in F dorian. Which brings me to my tip: Ditch that grimy old natural minor and use the dorian instead.
  7. Probably because every other sandwich is redundant and derivative.
  8. https://www.mirror.co.uk/news/weird-news/forest-gimp-black-latex-spotted-24945421
  9. I'm gonna call the whole thing in F# minor actually. icct.wav
  10. Great video. "Notes that share a large number of overtones sound consonant..." I think that was kind of the missing link for me personally. I was trying to figure out why a minor ninth sounds dissonant even if using sine waves, which have no overtones. Those sine waves might "fall into" each others overtones series, and be consonant, or they might not, and be dissonant. Actually this might also explain something that's been a mystery to me for years: Why does the augmented chord sound dissonant, while not having any dissonant intervals in it? It only has major third intervals (or inversions). I guess there just aren't enough overtones that all three notes have in common.
  11. You mean the AFX tune right? 😛 I haven't worked it through myself, to be honest. I might take a serious look tomorrow. I just noticed the familiar themes and feelings of the octatonic scale. There are sections that sound completely within the scale, like the one that starts at 3:14, but most of them only borrow from it. I think there is a score floating around, because I know Philip Glass did an orchestration of this. You could compare that if you don't want to wait for me to sober up.
  12. Maybe you guys will enjoy a few examples of my favourite scale, the diminished scale (also called the octatonic). I love the sinister, otherwordly sound it has and I have used it extensively - obsessively even - in the past. Three examples of Orbital using it brilliantly: https://www.youtube.com/watch?v=IoI5614r2ps https://www.youtube.com/watch?v=FEkrQPrE3Qo https://www.youtube.com/watch?v=bioFSUjkS5U One by Aphex: https://www.youtube.com/watch?v=cgJq7RI-kWA And one by Olivier Messiaen: https://www.youtube.com/watch?v=KNR-zDwuABg And I don't whether I should be tooting my own horn here, but whatever: https://soundcloud.com/artificial-disco/our-robot-think-youre-a-robot
  13. Haha, ok, maybe I was playing it up for the point I was making. But I mostly meant that the song basically is the bassline and guitar riff - which are a masterpiece of course. I never thought the vocals added much, personally and when the Sugarhill Gang did it, it added a whole new dimension to it.
  14. I kind of think that if there is creativity in it it's ok. Or at least then I respect it. Breakbeat chopping is an artform in and of itself because you can come up with beats no one would ever have dreamt up otherwise. I've been on an Amen Break bender myself for the last few months and I'm trying to ween myself off it, but the method of chopping is still something I'll keep doing. Sampling whole songs and just throwing your shit on top is a little... eh. Although there have been curious cases in the past. Like for example, the Sugarhill Gang sampling Good Times by Chic, which almost felt like a collaboration through the ages. Good Times is a mediocre song with a great bassline and groove and having the Sugarhill Gang rap over it was just what it needed. (Also, technically wasn't sampling but a recreation, but you know what I mean.)
  15. Haha, holy shit did that come out of nowhere! Good lord!
  16. Do you sometimes have dreams where it resolves to the major chord?
  17. I would just be better. Like if something is poorly mixed. We might overlook it because the music is really good, but it's still poorly mixed and every once in a while you'll go "shit, this is hurting my ears, I wish someone would have fixed this."
  18. Funnily enough I've seen it used in flippant way, similar to "who'd a thunk it". That'll learn ya! It does add that little bit of extra disdain I thought you were going for...
  19. Yes, sounds about right. And the tonic chord is the chord whose root is the tonic.
  20. Yeah, man, it's all good. You can use it for all those things. It's pretty dissonant in general, but I'd say that's a feature, not a bug. Sometimes you want that.
  21. It's a perfectly good beginning of a scale. If you add the fifth and the dominant 7 you have a pretty cool sounding symmetric subset of the diminished scale. In fact I discovered that four-note chord myself though my obsession with the diminished scale. I always thought of it as a 7 sus b5 chord. Like, when you're in regular major you can have a suspended fourth and move it down to the third, but if you're in the dim scale you have a augmented fourth instead. The move F7susb5 -> F7 was to me a very compelling sound and a sort of parallel reality version of the regular suspended movement.
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