LimpyLoo Posted October 11, 2012 Author Share Posted October 11, 2012 presenting: LimpyLoo's TIP DE JOUR #4: Metric Modulation! Metric modulation is when the tempo appears to change, but doesn't actually. here's a very bad, very hurredly-done demonstration of metric modulation: http://soundcloud.com/limpyloo/mega-shitty-metric-modulation The high stabby (and very shitty) synth is plalying constant quarter notes. The apparent tempo is being modulated at rates of basic fractions (e.g. 1/2, 2/1, 2/3, 3/2, and 3/4). Don't let that math scare you, the application is pretty easy. All of this gobbledygook is acheived by treating different rates as quarter notes. So for instance, if you wanted the alter the percieved tempo by 3/2, you would treat quarter-note triplets as the "new" quarter note. So for every two bars of quarter-note triplets, it will sound like three bars in the new tempo. Also, for now we are gonna try to keep everything in 4/4; that will limit us slightly, but it will help us better understand the relationship between all the various rates. The new tempos are all achieved using triplets and dotted figures: for instance, 3/4 is simply dotted-quarter notes. And within that rate, dotted-eigth notes would be your new eighth notes, and dotted-sixteenth notes would be your new sixteenth notes, etc. And simple eigth-notes will become your new triplets. And of course acheiving 1/2 and 2/1 should be obvious enough. Metric modulation can be used in varying levels of drastic-ness. Maybe you simply have a melody or a bassline where the you group triplets or dotted-eigth notes in sets of four, simply hinting at a different tempo. Anyway, hope this was useful. Peace, LimpyLoo Link to comment Share on other sites More sharing options...
psn Posted October 12, 2012 Share Posted October 12, 2012 yeah. btw. this thread was the first time I ever listened to king crimson. musical orgasm. Glad I could help! Link to comment Share on other sites More sharing options...
SCONES TO DIE FOR Posted October 12, 2012 Share Posted October 12, 2012 I never knew metric modulation had a name, but it's very easy and fun to do with any xox style drum machine with a scale function. Link to comment Share on other sites More sharing options...
LimpyLoo Posted October 12, 2012 Author Share Posted October 12, 2012 Oh cool. I don't know much about TR-xox's beyond the sounds. I'm currently eye-balling a cheap 606. I like the 606's spitty snare the most out of all of them, I think. But then I saw a DR-110 and I think I like that slightly more, all things considered. Link to comment Share on other sites More sharing options...
SCONES TO DIE FOR Posted October 12, 2012 Share Posted October 12, 2012 As far as programming, the 606 is my favorite drum machine ever. It's really fun. The dr-110 has the handclap that the 606 should've had. Link to comment Share on other sites More sharing options...
LimpyLoo Posted October 12, 2012 Author Share Posted October 12, 2012 As far as programming, the 606 is my favorite drum machine ever. It's really fun. The dr-110 has the handclap that the 606 should've had. I'm tempted to get the 110 and then get it modded like this: http://www.circuitbenders.co.uk/newsarchive/dr110.html Link to comment Share on other sites More sharing options...
LimpyLoo Posted October 12, 2012 Author Share Posted October 12, 2012 Is there enough interest in this thread for me to keep truckin'? Link to comment Share on other sites More sharing options...
modey Posted October 12, 2012 Share Posted October 12, 2012 YES Link to comment Share on other sites More sharing options...
psn Posted October 13, 2012 Share Posted October 13, 2012 Keep on keepin' on! Link to comment Share on other sites More sharing options...
LimpyLoo Posted October 13, 2012 Author Share Posted October 13, 2012 YES Keep on keepin' on! Will do. Thanks, ch'all! Link to comment Share on other sites More sharing options...
Root5 Posted October 13, 2012 Share Posted October 13, 2012 Keep going. Link to comment Share on other sites More sharing options...
Guest EleminoP Posted October 14, 2012 Share Posted October 14, 2012 Oh cool. I don't know much about TR-xox's beyond the sounds. I'm currently eye-balling a cheap 606. I like the 606's spitty snare the most out of all of them, I think. But then I saw a DR-110 and I think I like that slightly more, all things considered. I got a DR-110 for $100 mint condition w/ case. Planning on adding midi control to control drum sounds and hits. I feel like this will result in something a lot more powerful than a 606. I like the sound better too. Just thought I'd let you know yo. Link to comment Share on other sites More sharing options...
ascdi Posted October 14, 2012 Share Posted October 14, 2012 I friggin’ love the sound of the 110. I had a half-broken one that I could not figure out how to fix, but now that you’re mentioning it I should totally get another. Link to comment Share on other sites More sharing options...
sergeantk Posted October 14, 2012 Share Posted October 14, 2012 Is there enough interest in this thread for me to keep truckin'? YES!!! and one day i will do that counterpoint write up i swear Link to comment Share on other sites More sharing options...
LimpyLoo Posted October 15, 2012 Author Share Posted October 15, 2012 presenting: LimpyLoo's TIP DE JOUR #5: Fun With Chord Voicings! (pt. 1: using minor-9th's) The minor-9ths inverval is some badass shit. It's not commonly found in chords, though folks like Squarepusher, Tortoise and Radiohead have all found ways to use it. When I do hear it, it's often in the form of a major7 chord with a 7th voiced lower below the tonic : C G E B Sometimes this is voiced in a single instrument, though Tortoise and Brian Wilson (among many others, of course) have actually put the 7th in the bass (written C(maj)/B). Radiohead fuckin' loves to do it with minor chords, though. A common Radiohead chord is: (A) F C A E A But they also use it between the 2nd and 10th inverval in a minor chord: C E B (A) It must be noted that some voicings simply sound like shit, though. But if one is bold enough, the minor-9th could be slipped into things like dorian chords (e.g. Dmin with B-C) or lydian chords (e.g. Fmajor with B-C). Anyway, happy braindancing to y'all. Cheers, LimpyLoo Link to comment Share on other sites More sharing options...
Redruth Posted October 15, 2012 Share Posted October 15, 2012 king crimson musical orgasm i've had this Link to comment Share on other sites More sharing options...
goffer Posted October 18, 2012 Share Posted October 18, 2012 Thanks Limpy, this is good stuff. Link to comment Share on other sites More sharing options...
Audioblysk Posted October 18, 2012 Share Posted October 18, 2012 re:high pass high passing delays and reverb is probably a good idea too Holy effing shit. I have never even thought of doing this. Oh wow. Considering how many different delays I use in my songs, this will clear up my low-end so much. THANKS GUYS. MY MUZIK SOUNDS BETTER ALREADY Link to comment Share on other sites More sharing options...
tokn Posted October 18, 2012 Share Posted October 18, 2012 THANKS GUYS. MY MUZIK SOUNDS BETTER ALREADY I never thought that this would have so much impact on the sound. Maybe I really should watch some tutorials after noddling around with electronics for five years without watching a single one Link to comment Share on other sites More sharing options...
Lucas Posted October 18, 2012 Share Posted October 18, 2012 THANKS GUYS. MY MUZIK SOUNDS BETTER ALREADY I never thought that this would have so much impact on the sound. Maybe I really should watch some tutorials after noddling around with electronics for five years without watching a single one I think knowing signal and mixing theory is more important than watching tutorials. Theory will give you a general approach where tutorials will most of the time give you precise (thus limited) tips. Which can of course be very useful and insightful, but the danger of tutorials is that they sometimes show themselves as rules of the thumb or something like that. Link to comment Share on other sites More sharing options...
modey Posted October 19, 2012 Share Posted October 19, 2012 I dampen the high end of my reverbs quite considerably as well. Works really well on guitar or percussion because without lowpass, the high end can get a bit irritating, imo. At least when using the decay lengths I like to use (ie. at least 4 seconds usually). Link to comment Share on other sites More sharing options...
LimpyLoo Posted January 19, 2013 Author Share Posted January 19, 2013 presenting: LimpyLoo'sTIP DE JOUR #5: Triad Voicings and Color Tones Sup ch'all. It is legend that everytime a root-position triad sounds, Ennio Morricone drops a slice of Digiorno's on his Goodfellas t-shirt. (Plus it gives my soul face herpes) So here are some alternates... The first way to approach it is to displace notes: we can drop or raise each of the notes an octave. Let's take a C-major triad and drop the 5 and raise the 1: from bottom-to-top we'll get GEC, a very "open"-sounding inversion We can then move it upwards diatonically and get a repertoire of exotic new voicings: GEC (C-major) AFD (D-minor) BGE (E-minor) CAF (F-major) DBG (G-major) ECA (A-minor) FDB (B-diminished) Another approach is to use "color tones." (Color tones is the shit; ch'all better recanize) In my not-so-humble opinion, the most innocuous color tone is the 9 (aka '2'). Drop that shit in a root-inversion triad and you get 1-2-3-5. That's a dense voicing, major or minor. One might consider removing the '1' and let the bass handle that shit (admit it, your bassline is probably a root-note drone), leaving us with a 2-3-5 voicing. An alternative would be to raise the '1' and the '2' an octave and get a E-G-C-D voicing. Then move that shit up diatonically and voile you know more shit: EGCD (C-major) FADE (D-minor) GBEF (E-minor) note: the minor-9th interval makes this voicing a bit dissonant, but it's definitely still useful ACFG (F-major) BDGA (G-major) CEAB (A-minor) DFBC (B-diminished) note: good luck using this piece-of-shit chord....actually, put a G in the bass and win a Grammy We've probably talked about 7th chords so fuck that shit. If you wanna take your compositional palette way-fucking-outre then try: b9 over a major triad (e.g. CDbEG or DbEGC) #11 over a major triad (e.g. CEF#G) #11 over a minor chord (e.g. ACD#E) #9 over a major triad (e.g. CD#EG or EGCD#) (To be continued...) Link to comment Share on other sites More sharing options...
LimpyLoo Posted January 19, 2013 Author Share Posted January 19, 2013 Does anybody on this forum care about this stuff? I'm starting to think 'no'. Link to comment Share on other sites More sharing options...
luke viia Posted January 19, 2013 Share Posted January 19, 2013 I like your theory tips. (the profanity is a little forced (are you ben folds?)... the actual content is good though, thanks for taking the time to write them up!) Link to comment Share on other sites More sharing options...
Guest EleminoP Posted January 19, 2013 Share Posted January 19, 2013 I like this thread. Particularly the production-related posts. Link to comment Share on other sites More sharing options...
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