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Cash's Thread O' Random Electronic Music (Page 2)
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besson3c
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Sep 10, 2010, 03:49 AM
 
Doofy: that's a very interesting point. I guess, one could say, that one of the charms of acoustic based music is the lack of trickery? Not to say that acoustic = better (I like both acoustic and electric/technological stuff), but I have heard artists share their opinion that an acoustic sound is more "intimate", at least for them. Your point sheds new light on that idea... Just you, them, maybe a mic and that's it. How many pop artists can survive in an acoustic setting where all of this gear is stripped away from them?
     
iMOTOR
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Sep 10, 2010, 04:05 AM
 
My criteria for a song having a melody, is if it, for lack of a better term, goes somewhere, otherwise it’s just noise or wanking. And most examples of electronic music I hear are in the noise or wanking category. Same goes for rock/metal/hardcore music.
     
Spheric Harlot
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Sep 10, 2010, 04:21 AM
 
Originally Posted by downinflames68 View Post
Importance of drum and bassline elements
The name "drum and bass" should not lead to the assumption that tracks are constructed solely from these elements. Nevertheless, they are by far the most critical features, and usually dominate the mix of a track.[citation needed]
The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9. Sampled basslines are often taken from double bass recordings or from publicly available loops.[citation needed]
In drum and bass productions, the bass lines are often subjected to many and varied sound effects, including standard techniques such as dynamic compression, flanger, chorus, over-drive, equalization, etc. and drum and bass specific techniques such as timestretched beats and the "Reese Bass", a distinctive synthesized bass sound comprising layered 'clashing' sawtooth waves. The term is a result of producer's Kevin Saunderson's notable use of it in his work under the Reese/Master Reese alias.[citation needed]
Of equal importance is the "808" kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.[6]
These bass techniques are fully appreciated in a club or rave environments where high quality woofers and powerful amplifiers are required to fully reproduce the eponymous basslines at high volume levels.[citation needed] This has led to the creation of very large and intensely loud touring soundsystems by producers wishing to show off their tracks, such as dubs from Soundman and dubs from Dillinja's Valve Sound System.[citation needed]
The complex syncopation of the drum tracks' breakbeat, is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.[7]
The Amen break was synonomous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride" and "Scorpio" breaks.[8] [9]
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. Examples of this can be heard on mid-90s releases including J Majik's "Your Sound" and Doc Scott's "Machines". A more recent commonly used break is the Tramen, which combines the Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.[10]
The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.[11]
[edit]
Nice quoting.

Exactly ONE of those criteria applies to the Ed Solo song you've posted:
The "clashing sawtooth" bass (the whoo-whoo sound that also appears on Mr. Oizo's "Flat Beat").

There isn't a single 808 sound on there, nor a single sample cut from the Ah-men break, nor even a syncopated breakbeat, let alone the tempo being anywhere NEAR D&B.

I'm really not too well-versed in style labels (they're increasingly becoming irrelevant anyway), but that thing is a downbeat or dubstep number.
     
Spheric Harlot
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Sep 10, 2010, 04:29 AM
 
Originally Posted by iMOTOR View Post
My criteria for a song having a melody, is if it, for lack of a better term, goes somewhere, otherwise it’s just noise or wanking. And most examples of electronic music I hear are in the noise or wanking category.
I used to think so for a lot of stuff, but it turns out that the "journey" and direction is set up for a far longer curve than just the four minutes of the song.

Much electronic music is composed to be part of a club evening, rather than standing on its own - so the dramatic curve or attention span is not intended for four minutes, but six hours.

Think of it as the modern equivalent of a Grateful Dead concert - nothing *really* happens during that six-minute guitar solo, but in the context of a six-hour show, it works perfectly well.
     
Spheric Harlot
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Sep 10, 2010, 04:32 AM
 
Originally Posted by Doofy View Post
To create art without putting much thought into it would be a form of intellectual laziness, would it not?
I find it far more difficult to turn OFF the intellect when making music.
     
besson3c
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Sep 10, 2010, 04:35 AM
 
Originally Posted by iMOTOR View Post
My criteria for a song having a melody, is if it, for lack of a better term, goes somewhere, otherwise it’s just noise or wanking. And most examples of electronic music I hear are in the noise or wanking category. Same goes for rock/metal/hardcore music.
My definition: some recognizable pattern of notes arranged in song form that is comprised of several bars (and not just a repeating loop), often something you can hum. Otherwise, I think of the music as a soundscape.
     
besson3c
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Sep 10, 2010, 04:37 AM
 
Originally Posted by Spheric Harlot View Post
I used to think so for a lot of stuff, but it turns out that the "journey" and direction is set up for a far longer curve than just the four minutes of the song.

Much electronic music is composed to be part of a club evening, rather than standing on its own - so the dramatic curve or attention span is not intended for four minutes, but six hours.

Think of it as the modern equivalent of a Grateful Dead concert - nothing *really* happens during that six-minute guitar solo, but in the context of a six-hour show, it works perfectly well.

It's hard to think of a club evening as a musical journey, sorry. Musical journeys, to me, usually explore a variety of different emotions and human experiences.
     
Spheric Harlot
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Sep 10, 2010, 04:49 AM
 
"Journey", not so much - bad term. That can also easily be construed as a life-long thing, and it's certainly been abused by pretentious critics to place value in sophisticated concert experiences (that the rest of the audience may just have perceived as annoying wanking).

The term used by a friend was "Abendgestaltung", i.e. think of it not as "song structure", but "evening structure".

I would have thought that the Grateful Dead explanation would make it clear to people who've never been to a club.
     
Doofy
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Sep 10, 2010, 04:51 AM
 
Originally Posted by Spheric Harlot View Post
I find it far more difficult to turn OFF the intellect when making music.
That's because you have talent.
Been inclined to wander... off the beaten track.
That's where there's thunder... and the wind shouts back.
     
iMOTOR
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Sep 10, 2010, 04:57 AM
 
Originally Posted by Spheric Harlot View Post
I used to think so for a lot of stuff, but it turns out that the "journey" and direction is set up for a far longer curve than just the four minutes of the song.

Much electronic music is composed to be part of a club evening, rather than standing on its own - so the dramatic curve or attention span is not intended for four minutes, but six hours.
Alright, but you agree there is such a thing as noise and wanking, right?
     
iMOTOR
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Sep 10, 2010, 04:59 AM
 
Originally Posted by besson3c View Post
My definition: some recognizable pattern of notes arranged in song form that is comprised of several bars (and not just a repeating loop), often something you can hum. Otherwise, I think of the music as a soundscape.
So any recognizable pattern of notes that form several bars is melodic?
     
besson3c
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Sep 10, 2010, 05:03 AM
 
Originally Posted by Spheric Harlot View Post
"Journey", not so much - bad term. That can also easily be construed as a life-long thing, and it's certainly been abused by pretentious critics to place value in sophisticated concert experiences (that the rest of the audience may just have perceived as annoying wanking).

The term used by a friend was "Abendgestaltung", i.e. think of it not as "song structure", but "evening structure".

I would have thought that the Grateful Dead explanation would make it clear to people who've never been to a club.

I just don't understand how one creates these "experiences" in a club. It has always come across to me as a mix of different grooves, sort of a creative copy and paste job, but some sort of musical journey/experience/thread?
     
Spheric Harlot
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Sep 10, 2010, 05:05 AM
 
Originally Posted by iMOTOR View Post
Alright, but you agree there is such a thing as noise and wanking, right?
Probably, and there is certainly a bunch of talentless hacks going out and making worthless crap (just like there's always been).

It's important to note that you may just lack the context to be able to tell the difference, though.

You might not like or appreciate or understand it. That it doesn't work for you doesn't necessarily mean it's bad.

And vice versa.
     
Spheric Harlot
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Sep 10, 2010, 05:17 AM
 
Originally Posted by besson3c View Post
I just don't understand how one creates these "experiences" in a club. It has always come across to me as a mix of different grooves, sort of a creative copy and paste job, but some sort of musical journey/experience/thread?
You've obviously never seen a good electronic DJ at work.

A good set will NOT come across as a disjointed mix of different grooves, but a unified flow - with breaks as appropriate. Usually, you won't be able to tell songs apart, because hooks, percussion, samples or motifs from either will appear in the other long before or after the actual changeover has occurred. The pieces themselves will often be arranged with long "ramps" (intros/outros) to get that effect, or the DJ will sample individual elements (many DJ mixers come with sampling capability now for this reason) as part of his set and build them into the music later on.

A good DJ will know when to use a "tool" record where very little happens to keep the mood on the dancefloor at a plateau, and when and how to whip people up or chill them down - much the way any good performer will structure a concert.

Add to that the fact that a lot of DJs play their own tracks, produced by themselves specifically to a certain effect, or actually have their laptops along to dynamically and dramatically arrange and rebuild their pieces on the fly as befits the mood on the floor…

I'm not a regular member of any "club scene", but I've seen some jaw-dropping sets.
     
besson3c
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Sep 10, 2010, 05:28 AM
 
Originally Posted by iMOTOR View Post
So any recognizable pattern of notes that form several bars is melodic?
The word "melodic" is usually used as a subjective sort of adjective, sort of synonymous with "melodious", do you agree?
     
besson3c
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Sep 10, 2010, 05:32 AM
 
Originally Posted by Spheric Harlot View Post
You've obviously never seen a good electronic DJ at work.

A good set will NOT come across as a disjointed mix of different grooves, but a unified flow - with breaks as appropriate. Usually, you won't be able to tell songs apart, because hooks, percussion, samples or motifs from either will appear in the other long before or after the actual changeover has occurred. The pieces themselves will often be arranged with long "ramps" (intros/outros) to get that effect, or the DJ will sample individual elements (many DJ mixers come with sampling capability now for this reason) as part of his set and build them into the music later on.

A good DJ will know when to use a "tool" record where very little happens to keep the mood on the dancefloor at a plateau, and when and how to whip people up or chill them down - much the way any good performer will structure a concert.

Add to that the fact that a lot of DJs play their own tracks, produced by themselves specifically to a certain effect, or actually have their laptops along to dynamically and dramatically arrange and rebuild their pieces on the fly as befits the mood on the floor…

I'm not a regular member of any "club scene", but I've seen some jaw-dropping sets.

But they're still taking music that was written by a variety of different people with a variety of different gear in different times and locations and melding it together, giving it that copy and paste effect. I can see how one can establish an overarching theme by doing this, but some sort of artistic trip seems impossible when the job is shared between so many different artists, and the manner in which the music is used is not defined by the composer.

I'm not knocking it, I just don't see how one can create these sorts of musical journeys the way that you can get from, say, a Mahler symphony.
     
Spheric Harlot
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Sep 10, 2010, 05:42 AM
 
And here we have somebody who's never even made a proper Mix Tape.

It doesn't occur to you that selecting the source material, having an EXTREMELY well-groomed archive, and knowing your source material EXTREMELY well is what actually distinguishes a good DJ from someone who just happens to beat-match pretty well?

Making it all fit together is PRECISELY the art. The performance is the technical skill and the feel for the audience.
     
iMOTOR
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Sep 10, 2010, 05:53 AM
 
Originally Posted by besson3c View Post
The word "melodic" is usually used as a subjective sort of adjective, sort of synonymous with "melodious", do you agree?
That’s exactly my point.

Are you up this late every night?
     
Spheric Harlot
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Sep 10, 2010, 06:05 AM
 
Also, this bit makes it clear that you've not understood anything I've said:

Originally Posted by besson3c View Post
some sort of artistic trip seems impossible when the job is shared between so many different artists, and the manner in which the music is used is not defined by the composer.
That's the whole point: The manner in which much electronic music is used IS DEFINED by the composer, because being used in a DJ set is precisely what it is WRITTEN FOR in the first place!

That's why so many pieces don't appear to work on their own - that's not the manner in which the music is intended to be heard!

The EXACT context, of course, is beyond the artists' control - but that's *always* been the case, ever since the first recorded music hit the market over a hundred years ago. Generally, though, you can assume that a minimal house track will be played with other minimal house tracks, and rarely combined with, say, Aerosmith or James Taylor.
     
turtle777
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Sep 10, 2010, 08:52 AM
 
Originally Posted by besson3c View Post
But they're still taking music that was written by a variety of different people with a variety of different gear in different times and locations and melding it together, giving it that copy and paste effect. I can see how one can establish an overarching theme by doing this, but some sort of artistic trip seems impossible when the job is shared between so many different artists, and the manner in which the music is used is not defined by the composer.
You are really very confined in your thinking

Look at a conductor, directing a symphonic orchestra.

Does he add any artistic skill to the whole, even though the music is predefined by the composer (200 or more years ago) ?

-t
     
Spheric Harlot
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Sep 10, 2010, 09:27 AM
 
Originally Posted by turtle777 View Post
You are really very confined in your thinking

Look at a conductor, directing a symphonic orchestra.

Does he add any artistic skill to the whole, even though the music is predefined by the composer (200 or more years ago) ?
The problem is that he seems to think (like many do) that a DJ will simply play static pieces of music in order, perhaps with a tiny bit more sense than the iTunes automatic DJ.

That has nothing to do with the realities of an electronic music DJ.

A couple of extreme examples of what is possible (this is turntablism, though, and not regular "DJing" - but it makes clear what DJs can do):

DJ TigerStyle
YouTube - DJ Tigerstyle
Just reproducing prerecorded stuff, right?
This is a showcase, not a DJ set, so there's some disjointed style breaks in there.
(He's working with prerecorded playback from about 2:00, as well.)

YouTube - DJ Woody Flutine
(just watch that again and keep in mind what I said above about KNOWING your source material)

And this one should be right up besson's alley:
YouTube - C2C DMC 2005 (album coming 2011)
(custom dub plates - an example of what can be done if you create your own source material)

YouTube - Birdy Nam Nam - Abbesses

Keep in mind that these are showcases, not evening sets.
     
besson3c
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Sep 10, 2010, 02:01 PM
 
Originally Posted by Spheric Harlot View Post
And here we have somebody who's never even made a proper Mix Tape.

It doesn't occur to you that selecting the source material, having an EXTREMELY well-groomed archive, and knowing your source material EXTREMELY well is what actually distinguishes a good DJ from someone who just happens to beat-match pretty well?

Making it all fit together is PRECISELY the art. The performance is the technical skill and the feel for the audience.

I appreciate the art, although I don't see how this applies to what I wrote?
     
besson3c
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Sep 10, 2010, 02:03 PM
 
Originally Posted by turtle777 View Post
You are really very confined in your thinking

Look at a conductor, directing a symphonic orchestra.

Does he add any artistic skill to the whole, even though the music is predefined by the composer (200 or more years ago) ?

-t

How does this analogy apply?
     
besson3c
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Sep 10, 2010, 02:04 PM
 
Originally Posted by Spheric Harlot View Post
The problem is that he seems to think (like many do) that a DJ will simply play static pieces of music in order, perhaps with a tiny bit more sense than the iTunes automatic DJ.

That has nothing to do with the realities of an electronic music DJ.

A couple of extreme examples of what is possible (this is turntablism, though, and not regular "DJing" - but it makes clear what DJs can do):

DJ TigerStyle
YouTube - DJ Tigerstyle
Just reproducing prerecorded stuff, right?
This is a showcase, not a DJ set, so there's some disjointed style breaks in there.
(He's working with prerecorded playback from about 2:00, as well.)

YouTube - DJ Woody Flutine
(just watch that again and keep in mind what I said above about KNOWING your source material)

And this one should be right up besson's alley:
YouTube - C2C DMC 2005 (album coming 2011)
(custom dub plates - an example of what can be done if you create your own source material)

YouTube - Birdy Nam Nam - Abbesses

Keep in mind that these are showcases, not evening sets.


I think you misunderstood what I was trying to say, or else what I was trying to say was very awkwardly said. Perhaps I should shut up now at the risk of putting my foot further in my mouth.
     
Spheric Harlot
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Sep 10, 2010, 02:15 PM
 
Originally Posted by besson3c View Post
I think you misunderstood what I was trying to say, or else what I was trying to say was very awkwardly said. Perhaps I should shut up now at the risk of putting my foot further in my mouth.
Honestly, I'm interested in what you *were* trying to say.

Did you take a look at the YouTube vids, btw?
     
turtle777
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Sep 10, 2010, 02:27 PM
 
Originally Posted by besson3c View Post
How does this analogy apply?
You seemed to have dismissed that there can be skill in playing and arranging someone else's music.

All I'm saying is that a conductor of classical music does a comparable thing to a DJ.

-t
     
besson3c
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Sep 10, 2010, 02:32 PM
 
Originally Posted by Spheric Harlot View Post
Honestly, I'm interested in what you *were* trying to say.

Did you take a look at the YouTube vids, btw?

I haven't yet looked at those vids, but my argument has nothing to do with a lacking appreciation of the art form.

Let me try again then...

A single composition/album/symphony can have a distinct *design* to it. Not all albums are just a collection of loose tracks, although many are. Music is not always this way (it often isn't), but when it is, within this construct is a full expression of what the artist wants to convey - a musical story. This is perhaps best understood in the realm of classical music where a symphony might have, say, death and rebirth movements, and if you were to alter one you'd be conflicting with the design of the symphony as the composer intended.

The simple fact that the grooves a DJ works with are composed by different people, at different times, and for different reasons changes this. I understand that a DJ can take these samples and make them into something *new* with all of the above properties, but I would say that this relay-race, shared artist/composer sort of approach is a whole other thing. With this approach an artist can create an interesting musical collage. If that is your point, I take back what I said. I think I was not seeing how a collage could be a journey of its own.
     
Spheric Harlot
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Sep 10, 2010, 02:39 PM
 
Yes, that was my point. It might also be said that completely regardless of what music you create, it's *always* going to be some sort of musical "collage", as there really isn't anything that hasn't been done already (or rather, there hasn't actually been anything *new* in the past ten years).

The thing about club music is that much electronic music is written specifically to be PART of a newly re-woven tapestry of sound.

The relationship between the composer and the DJ is a special one, and it is a flexible one, as DJs both create their own music, and composers use samples or remix others' music, both on productions and on live sets.

In fact, a lot of DJs start producing their own music explicitly because they may not find exactly what they're looking for among the tool plates and "finished" productions available to them.
     
besson3c
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Sep 10, 2010, 03:11 PM
 
Originally Posted by Spheric Harlot View Post
Yes, that was my point. It might also be said that completely regardless of what music you create, it's *always* going to be some sort of musical "collage", as there really isn't anything that hasn't been done already (or rather, there hasn't actually been anything *new* in the past ten years).

But that's a different argument.

The idea of something new is a bit of a mystery, because even the music that we consider new would not have existed if not for the music that came before it. All music is a continuation.

It is still possible to not be producing something "new", but still to provide a different take on something old. Sometimes this take can codify, even become larger than its predecessor, sometimes it can have other influences. New or old, it is still the product of the individual artist. Artists all have their own voices, including DJs. However, an artist putting their own spin on something that isn't necessary new is not a collage, because it is still personal to them, they are trying to make it so in some way. I might grant an exception to those cover bands that try to recreate music exactly like the original, but for everybody else I wouldn't necessarily label their contribution to an existing genre as a collage.
     
Spheric Harlot
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Sep 10, 2010, 03:27 PM
 
Do take the time to watch those videos I posted above.

I think you will find that the distinction you make is somewhat arbitrary and anything but clear.

Take the DJ Woody Flutine solo. would it really be less of a collage if I played a sampled flute off a digital synth? Or that dreaded Shakuhachi sample with the overblown octave?

Is there really a difference between using a sampled/fixed sound and playing/manipulating that, and a sampled phrase that's played/manipulated?

What about if I take a three-note sequence (say 1-5-8) and sample that across a keyboard, so that I can then play that "instrument" pitched and melodically?

What I'm saying is that it's just a matter of scale.

Beyond the small-scale technicalities, it becomes a matter of arrangement.

A band leader might decide that the drum break is extended another sixteen bars, with the horns vamping over the last eight of those bars and the vocalist riffing ad-lib. Or the guitarist can decide to bring in a riff from another song. The DJ can do exactly that.
     
besson3c
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Sep 10, 2010, 03:30 PM
 
Originally Posted by Spheric Harlot View Post
A band leader might decide that the drum break is extended another sixteen bars, with the horns vamping over the last eight of those bars and the vocalist riffing ad-lib. The DJ can do exactly that

I'm not sure I understand this argument. Are you saying that a DJ can make music sound as organic as a real drummer extending his own drum break?
     
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Sep 10, 2010, 04:01 PM
 
Okay, fine, big guns:

YouTube - DIPLO VS SUNDAY GIRL Four Floors

If you guys still think that is shit, I don't know what to tell you. I was going to hold out on this gem, but ... if you're saying everything I posted so far is crap, take this. Awesome lyrics, awesome vocalist, awesome everything.
     
Spheric Harlot
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Sep 10, 2010, 04:03 PM
 
Originally Posted by besson3c View Post
I'm not sure I understand this argument. Are you saying that a DJ can make music sound as organic as a real drummer extending his own drum break?
Watch. The. Videos.
     
Spheric Harlot
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Sep 10, 2010, 04:17 PM
 
Originally Posted by downinflames68 View Post
if you're saying everything I posted so far is crap
Who is this "you"?

FWIW, that thing is not quite my style, but it's very effective.

Diplo's remix is certainly far better than the original.

The beat (mainly the claps/snare) remind me of this one, which I absolutely adore for its sheer *ambience*:

YouTube - Air - Electronic Performers

I get totally lost in that one.
     
besson3c
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Sep 10, 2010, 04:27 PM
 
Originally Posted by Spheric Harlot View Post
Watch. The. Videos.

I just watched DJ Tigerstyle, I don't see what you expected was to be revealed to me.

I will say that I was over-thinking the stuff I wrote above (I have a proclivity for over-thinking This is more of a collage of synthetic sounds than compositions, although a lot of it sounds that would probably be fairly meaningless on their own. The melding of all these is what makes this work. I don't really hear an overarching musical journey here, but...
     
CollinG3G4
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Sep 10, 2010, 04:28 PM
 
     
Spheric Harlot
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Sep 10, 2010, 04:41 PM
 
Originally Posted by besson3c View Post
I just watched DJ Tigerstyle, I don't see what you expected was to be revealed to me.

I will say that I was over-thinking the stuff I wrote above (I have a proclivity for over-thinking This is more of a collage of synthetic sounds than compositions, although a lot of it sounds that would probably be fairly meaningless on their own. The melding of all these is what makes this work. I don't really hear an overarching musical journey here, but...
There isn't one.

That's why I mentioned at least two times to keep in mind that those are SHOWCASES, not regular DJ sets.
You may also note that those are six or seven *minutes*, not hours.

They were supposed to provide an idea of what's possible.

Watch the Flutine solo for something more…melodic.
     
besson3c
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Sep 10, 2010, 04:49 PM
 
Originally Posted by Spheric Harlot View Post
There isn't one.

That's why I mentioned at least two times to keep in mind that those are SHOWCASES, not regular DJ sets.
You may also note that those are six or seven *minutes*, not hours.

They were supposed to provide an idea of what's possible.

Watch the Flutine solo for something more…melodic.

Just watched it, very cool!

We are obviously not understanding each other. Yes, a DJ has the power to extend a drum break, but my impression was that you were implying that the results would be identical to what a real drummer would do, that there is a direct comparison to a DJ doing this and an actual drummer doing the same. Did I misunderstand?
     
turtle777
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Sep 10, 2010, 04:57 PM
 
Originally Posted by besson3c View Post
Yes, a DJ has the power to extend a drum break, but my impression was that you were implying that the results would be identical to what a real drummer would do, that there is a direct comparison to a DJ doing this and an actual drummer doing the same.
What would be the point of that ?

Of course the DJ is doing something a real drummer couldn't just do. Otherwise, he just might get a real drummer and be done with it.

-t
     
besson3c
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Sep 10, 2010, 05:00 PM
 
Originally Posted by turtle777 View Post
What would be the point of that ?

Of course the DJ is doing something a real drummer couldn't just do. Otherwise, he just might get a real drummer and be done with it.

-t

A real drummer can make his solo as long as he/she wants, that's all I meant.

What I'm trying to get at is the organic vs. inorganic results of extending a drum solo, if your objective is to sound organic (assuming by "drum" you mean actual drums, electronic or otherwise, played by a person).
     
Spheric Harlot
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Sep 10, 2010, 05:01 PM
 
Well, a DJ might well be using breaks recorded by real drummers specifically for DJs - Bernard Purdie made a bunch, for one.

I'm not saying that a DJ would be able to drum like a drummer, or wank through scales like a pianist, nor would a pianist or a sax player be able to play breaks that a DJ can do. Nor would a pianist be able to play a growled sax note, for that matter, or a sax a polyrhythmic chord pattern.

They're different instruments.

However, a DJ - even using a turntable - is indeed quite capable of working melodically, or organically rhythmically.
(There is no reason why he couldn't bring along a keyboard or other "real" instrument and a laptop as well, though - many do!)

In reference to the drummer, I was actually talking about a larger scale - the act of re-arranging music on the fly.

Check out the C2C for some masterful arranging, and the Birdy Nam Nam for "organic" beats.
     
besson3c
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Sep 10, 2010, 05:17 PM
 
Originally Posted by Spheric Harlot View Post
Well, a DJ might well be using breaks recorded by real drummers specifically for DJs - Bernard Purdie made a bunch, for one.

I'm not saying that a DJ would be able to drum like a drummer, or wank through scales like a pianist, nor would a pianist or a sax player be able to play breaks that a DJ can do. Nor would a pianist be able to play a growled sax note, for that matter, or a sax a polyrhythmic chord pattern.

They're different instruments.

However, a DJ - even using a turntable - is indeed quite capable of working melodically, or organically rhythmically.
(There is no reason why he couldn't bring along a keyboard or other "real" instrument and a laptop as well, though - many do!)

In reference to the drummer, I was actually talking about a larger scale - the act of re-arranging music on the fly.

Check out the C2C for some masterful arranging, and the Birdy Nam Nam for "organic" beats.


Ahhh... I see. Rearranging on-the-fly is cool! Sorry, I just misunderstood something.

Right now I'm more into more organically created music and stuff with a little more melodic and harmonic content generally speaking, but I can appreciate the stuff you have shown me a great deal. It's very cool!
     
ShortcutToMoncton
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Sep 10, 2010, 07:36 PM
 
Radiohead - All I Need

Winnar. **** you all.

Out
Mankind's only chance is to harness the power of stupid.
     
Spheric Harlot
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Sep 10, 2010, 07:41 PM
 
Originally Posted by ShortcutToMoncton View Post
Winnar. **** you all.
Never heard of that one. Can't seem to find any "Winnar" tracks on YouTube at all.

Perhaps you mean this one?

YouTube - Archive - Fuck YOU - 720P (HD AUDIO)
     
downinflames68  (op)
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Sep 17, 2010, 05:20 PM
 
Okay, yeah, got another grand slammer here.

YouTube - All Saints - Chick Fit (Kissy SellOut's Excellent Adventure Remix)

Holy SHIT. I am having 'fits' myself, it's so ****ing rad. Makes me take corners way too fast, drive like an asshole, and break laws. Have to be careful with this one, when driving, it's like cocaine!
     
Oh Cubeoid
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Sep 18, 2010, 11:31 PM
 
Waldeck: Dance of a Piano Salesman
YouTube - Waldeck - Dance of a piano salesman
     
brassplayersrock²
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Sep 19, 2010, 02:35 AM
 
Originally Posted by Oh Cubeoid View Post
Waldeck: Dance of a Piano Salesman
YouTube - Waldeck - Dance of a piano salesman

Winner winner chicken dinner

/thread
     
Spheric Harlot
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Sep 19, 2010, 04:05 AM
 
Originally Posted by Oh Cubeoid View Post
Waldeck: Dance of a Piano Salesman
YouTube - Waldeck - Dance of a piano salesman
Not available in my country.
     
 
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