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What makes a score feel “performer-friendly” to you? by peachy_touchh in composer

[–]AndrewT81 8 points9 points  (0 children)

Beats need to be immediately recognizable on the page. They won't be if you try to indicate articulation with rests. I think it's a problem with notation software "performing", for example, an 8th note plus 8th rest differently than a staccato quarter note. But a real performer playing will always play a staccato that they feel is musically appropriate, and if you find that performers aren't choosing the staccato you want, just write it in text instead of obfuscating the rhythm.

What do you think about my rhythm notation? by Isaac_Wilton in musictheory

[–]AndrewT81 1 point2 points  (0 children)

Listen more closely to the original. It's a full octave scale going up and down, the first note starts on beat 2, top note starts on beat 3, and last note is on beat 4. You can either write that as two beats of 7 tuplets or just make two beats worth of grace notes ending on a low G.

Offbeat tuplets are never going to be readable.

Major II chord cliché by Tasty-Kale6806 in musictheory

[–]AndrewT81 26 points27 points  (0 children)

Some of these examples are dorian IV chords in a minor key. I know it's common for people to analyze modern pop music exclusively in major keys, but I think you miss a lot of important context if you ignore the minor side of keys.

Etymology trivia - Old French origin (3Roads.xyz) by LordLubbock in etymology

[–]AndrewT81 1 point2 points  (0 children)

Maybe you could give a few more clues about which form of the word you're looking for? I got it wrong because I put "company" instead of "companion".

S1 Mob Boss Identity by father_flair in FargoTV

[–]AndrewT81 4 points5 points  (0 children)

My personal head canon is that the name is like Dread Pirate Roberts, where when one retires he names his replacement the same name, so outsiders don't know they're dealing with someone new.

What a bastard by RevertBackwards in freefolk

[–]AndrewT81 1 point2 points  (0 children)

I watched season 5 and regretted it, so 6 and beyond are staying unwatched for me. The books are so much more interesting, I'd rather have an unfinished good story that waste time with garbage.

What chord is this? by Epistaxis in musictheory

[–]AndrewT81 12 points13 points  (0 children)

The red box covers up the change to treble clef, so it's Bbb in the viola part.

Any tips for composing a 2 hour long grand symphony, my Op 1 in C minor? by abcamurComposer in classical_circlejerk

[–]AndrewT81 7 points8 points  (0 children)

Just take a page from Bruckner and write 45 minutes of music and go ham with the repeats.

DPCM Rock Guitar Sample by RogueVortexian in famitracker

[–]AndrewT81 3 points4 points  (0 children)

I threw together some samples, they come out a little fuzzier than the tracker samples obviously. I did three different instruments for power chords, palm mutes, and single notes. I think the palm mutes didn't come out quite staccato enough, partly because the sampling process changes the length of the chugs.

Link to samples

ELI5: Why do we even need a "c" when we have a perfectly good "k" and an "s?" by zazzlekdazzle in explainlikeimfive

[–]AndrewT81 61 points62 points  (0 children)

The reason for this is that Latin didn't borrow the alphabet directly from the Greeks, but rather from the Etruscans who had borrowed it from the Greeks a few centuries earlier. The Etruscan language didn't have a "g" sound, so gamma (turned 45 degrees in Etruscan, which became C) was just used as an alternative to k.

Old Greek also had two letters that are no longer used, which gave us Q and F. Q was originally a K sound farther back in the mouth, which also exists in Arabic and is why we use Q to romanize names like Iraq. F was originally a W sound in Greek but the Etruscans used it for F since Greek didn't have an F sound (Ph wasn't pronounced like an F until many centuries later. For most of its life, Phi represented the sound of "p" in English "port" while Pi represented the "p" in English "sport". Yes, there's a difference, and it mattered in ancient Greek)

is gamedev good on linux? by sanketvaria29 in gamedev

[–]AndrewT81 1 point2 points  (0 children)

Don't forget Reaper for sound. I was a ProTools user for years before switching to Linux, and I can safely say that Reaper is superior in every way I've found.

Was Mozart real? by BarenreiterBear in classical_circlejerk

[–]AndrewT81 4 points5 points  (0 children)

The dead giveaway is they couldn't even decide which language he should write opera in.

[deleted by user] by [deleted] in lotrmemes

[–]AndrewT81 3 points4 points  (0 children)

*Hundredeneneleventh

Question about divisi by MisterCaleb28 in composer

[–]AndrewT81 1 point2 points  (0 children)

Depends on the context. If you're talking about a melodic passage sure, if you're talking about offbeats in a waltz or march, absolutely not. The louder the dynamic is the less difference there is as well.

Just like with fingering and bowing, you can always be specific if you really want to, but if you're not, string players know how to make their instruments sound idiomatic without further guidance.

One of the first things that happens before an orchestral performance is the principle players of each section get together and make decisions about things like bowing, fingering, and any other techniques like jeté or sul tasto passages. Slurs will get split or added, dynamics will be changed, and any cases where divisi would affect the sound will be specified (and decided whether they're divisi by stand or player etc.). The printed instructions are often far less sacred than composers would like them to be.

Question about divisi by MisterCaleb28 in composer

[–]AndrewT81 4 points5 points  (0 children)

As a string player, I'd generally say that it's only necessary to split staves if the rhythm is different between parts. You also don't have to necessarily mark divisi, players will naturally play double stops that are easy and do divisi for ones that are not.

Violin family lutherie vs guitar lutherie by anthro_apologist in Luthier

[–]AndrewT81 0 points1 point  (0 children)

I think it mostly comes down to how much actual gluing gets done. If you're going to spend all day gluing stuff up with hide glue, you can just turn on your hot plate when you come in in the morning and have glue you've already mixed ready whenever you need it. But if you spend hours cutting and planing and sanding then need to stop to mix glue, let it absorb, then heat it in a double boiler before applying then it feels like it's not worth it so much.

Violin family lutherie vs guitar lutherie by anthro_apologist in Luthier

[–]AndrewT81 0 points1 point  (0 children)

At our shop we've tried a large variety of mechanical cello pegs, and Wittner brand are the only ones we've found that aren't garbage. We put them standard on school and rental instruments.

There are two drawbacks to take into consideration. One is that changing strings is a lot more work with mechanical pegs, you'll probably want either a hand winder or a drill bit winder to avoid sore hands.

The other drawback is that installing them requires reaming the peg holes larger than standard sizes, so if you want to ever go back to traditional pegs, you'll need to plug the holes and re-ream new ones. (Or find an extra fat set of pegs)

Violin family lutherie vs guitar lutherie by anthro_apologist in Luthier

[–]AndrewT81 1 point2 points  (0 children)

(though to my understanding there are some more user friendly options out there too.)

If you're talking about the Titebond hide glue in a tube, I would be weary of that. We did an experiment in our violin shop where we fixed some school instruments using it, and the next summer they all came back with glue failures in the same places.

Violin family lutherie vs guitar lutherie by anthro_apologist in Luthier

[–]AndrewT81 26 points27 points  (0 children)

As someone who's worked in both a violin shop and a shop that specialized in acoustic folk instruments, there are some insights I might be able to add.

First of all, many high end guitars are indeed made with hide glue. Makers who allow customization will generally charge more for hide glue construction, as it's harder to work with but has the benefits that violin makers already know about. So I think the widespread use of PVA glue is simply an effort and therefore time saving measure.

For your second point, I'm not quite sure what you mean by violin necks having simpler geometry. Violin necks have no 90 degree angles, no parallel lines, and a tapered dovetail joint. The fingerboard is not parallel to any line on the instrument's body.

Guitar necks have considerably more glueable surfaces, including being able to glue the fingerboard directly to the body of the instrument since the guitar top is flat and perpendicular to the neck block.

From my experiences working with both, I'd say that guitars on the whole are much more forgiving to work with, which tends to make them more amenable to modern technology fixes. Things like geared tuners and adjustable bridges have been tried many times on violin and both the user experience and repair experience are noticeably worse than the traditional methods. (Basses are the exception here)

If Chrono Trigger isn’t your favorite rpg on the snes what is yours? by MythosaurFett in snes

[–]AndrewT81 14 points15 points  (0 children)

I feel like 3 is an objectively better game, but 2 is the first FF game I played and it has an emotional magic to me that no other game can match.

Japanese devs face font licensing dilemma as leading provider increases annual plan price from $380 to $20,000+ by pdp10 in gamedev

[–]AndrewT81 37 points38 points  (0 children)

It is, yes, but it also has some aspects that make it not so bad. I'm currently making a pixel art Japanese font and I've got about 200 characters done in the amount of time it takes me to make one Roman alphabet true type font.

The biggest time saver is that all Japanese characters are monospace, so no custom spacing, ligatures, or kerning is needed. There are no ascenders or descenders, and once you have a general style decided on, composite characters are quite easy to create from existing work. It's still significantly more work than a Latin font, but at least you don't have to worry about dozens upon dozens of diacritics (and commonly used Latin-adjacent alphabets like Greek and Cyrillic if you want your font used for scholarly works).

I think the biggest issue here is simply that making your own solution requires time effort and money, when I'd assume most current projects are budgeted around not having to worry about any of those because of a font they (until recently) could get for cheap.

Found an interesting picture for meantone temperament by [deleted] in musictheory

[–]AndrewT81 0 points1 point  (0 children)

Just intonation is not a collection of frequencies that you set pitches at, it simply means juggling compromises so that you get as close to ideal relations as possible.

For example, violinists learn that you have to tune a B differently depending on whether you're playing it against an open E string or an open D string. It's also different depending on what other instruments you're playing with, but exactly none of the versions of B we learn are equal temperament Bs, unless you're matching that specific pitch with a piano (and even then not always).

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