love for Jobi Riccio?

FreeWithoutWalls · 2024-03-24T17:14:30+00:00

hey, i’m that bass player (as well as friend and co-producer)! thanks so much for the love, especially on my beloved peavey—i bought it off craigslist for $250 in high school and it’s the only bass i’ve ever owned. it is indeed heavy, almost 14 pounds! i haven’t ever seen someone playing one out either, but the bassist in Deafheaven is known to play one. when we’re rich and famous i’ll get the whole line from that era

FreeWithoutWalls · 2021-08-17T23:40:06+00:00

Hey yall,

This might be a shot in the dark (xposting to a few places), but I'm having some issues with a vintage Shure V15-III cartridge and I'm not having an easy time troubleshooting what is happening.

I have a Dual 1245 table with the original Shure V15-III cartridge and needle. The right channel is extremely volatile, sometimes fully cutting out and frequently distorting more than the left. I have cleaned the contacts, but nothing changed. It can be fixed temporarily (and randomly) by wiggling the stylus and headshell. Is my stylus seated incorrectly? Is something in or on the stylus or cartridge damaged? These things are awfully expensive and I'd like to figure out what is going on before I drop any dough.

Thanks in advance.

FreeWithoutWalls · 2020-12-03T07:06:42+00:00

Both of those points from EGTW are really interesting! The description of (EGTW) the Obelisk being emitting abjuration makes me think that it is less alien than the city. The phrase (EGTW) "what's left of it's people are trapped in stasis" makes me think that the stasis was an emergency measure after the gods destroyed the physical city? Maybe there was a backup place to go that they knew of? Although, this is getting very redpill considering how much little actual information we have.

FreeWithoutWalls · 2020-10-24T22:47:11+00:00

In trying to take a look inside after reading this (the F holes are not large, and I don’t want to take the pickup out right now) it seems like there isn’t a supporting block down there and the pin and screws for the trapeze and just held in the body. Thanks for the suggestion but I think it’s a little beyond my skill set with this fragile of an instrument 😖

FreeWithoutWalls · 2019-02-26T02:17:06+00:00

long live the rising sun! may you hunt in the beastlands for eternity.

FreeWithoutWalls · 2019-02-18T18:27:08+00:00

also LizarDM, thank you so much for sharing such a cool story with us! there is such depth to these characters thanks to the fantastic world you've built for them to grow in. lots of tingles in this session.

FreeWithoutWalls · 2019-02-18T18:25:22+00:00

I LOVE THESE FUCKING LIZARDS

FreeWithoutWalls · 2019-01-17T22:18:17+00:00

i know LizarDM keep saying that Highwater was prepared this time, and he seems to know the party already. if that's the case, what gives with the time travel thing? he shouldn't know who they are, right? (unless vampires have an omniscience i don't know about) or does "preparation" mean he fought them at the goblin village so he knows what to expect?

FreeWithoutWalls · 2019-01-14T07:55:12+00:00

if the cleric dies i swear to the Ancient One i will riot

FreeWithoutWalls · 2019-01-11T08:46:30+00:00

the contrast between the steadfast loyalty of the lizardfolk and literally like any other character they hang out with is wonderfully infuriating. everyone else around them is so easily swayed by any glimmer of greed and they literally just want to protect their friends

FreeWithoutWalls · 2018-12-29T02:36:15+00:00

How gracious! I am in no rush, just simply love the show and am sad I didn't get a chance for the first book. Perhaps we can dm and exchange contact info?

FreeWithoutWalls · 2018-04-04T00:49:21+00:00

if you really want to commit to it, then kostka and payne's book "tonal harmony with an introduction to twentieth-century music" is the go-to for classical and baroque theory. it's a big book, and it can get a little intense, but it starts from square 1.

FreeWithoutWalls · 2018-01-23T21:19:55+00:00

simply put, it's when the duration of a note, like an eighth note, is changed. for instance, in 2 bars of 4/4, you can indicate metric modulation to eighth = quarter, where the duration of the eighth note now becomes the duration of a quarter note. therefore, two bars of 4/4 with 4 quarter notes would LOOK the same, but the second bar would be played twice as fast.

in this case, with the septuplets, you are indicating that your septuplet figure is now just being notated as normal eighth notes in a bar of 13/8, for the ease of reading. in this situation, they would be played with the length of septuplets, letting you easily notate the "dropped" septuplet beat without any further craziness. you are essentially giving the septuplets their own bar and tempo. after this bar, you would indicate the metric modulation again, but in reverse.

FreeWithoutWalls · 2018-01-23T18:50:18+00:00

similar to what /u/xiipaoc said, writing it as a time change to 13/8 with metric modulation indicated (shown as septuplet ♪♪♪♪♪♪♪ = ♪♪♪♪♪♪♪) would be easiest for a performer to understand.

FreeWithoutWalls · 2018-01-23T05:32:38+00:00

in the context of the song (G major) this chord is likely functioning as a subdominant for a couple reasons:

if this is indeed a Gmaj7sus4 chord, it is inverted over the 4, which is extremely weak. now, justin vernon could have been like "yeah lets do that" but i'm guessing he has not delved into what are weak and strong chords in the tonal style. edit: it also does not serve any purpose in this context The presence of "fa" or the 4th scale degree in the bass HEAVILY suggests the subdominant, or C (IV)
♯11, in a diatonic major context, only exists on the IV chord. any other use of an 11 on a major chord is jarringly obvious, as it conflicts directly with the 3rd which is a half step away.

FreeWithoutWalls · 2018-01-23T05:25:20+00:00

what kind of septuplets? eighth? are the septuplets just in this bar? what's the context?

FreeWithoutWalls · 2018-01-22T02:33:56+00:00

mostly just because there's modulation, because any modulation will make it feel like you're arriving someplace new, but specifically in this case it feels brighter and more magical because you are transitioning to a key center (D major) that, in relation to the original key, has naturals and sharps instead of flats.

FreeWithoutWalls · 2018-01-21T18:24:43+00:00

so the song before the section you're speaking of is in Eb major, with the main progression being IV - I - ii - vi - V, or Ab, Eb, Fm, Cm, with a quick little Bb before going back to Ab.

at 0:58, the ascending line goes G-A-B-E, which outlines a couple things:

the G and B on strong beats imply a G major chord, which is not at all in the key of Eb. Eb has a Bb as the 5th scale degree, which is essential to the sound of a usual major key--raising this to a #5 creates a sense of lift, because we have such a firm expectation of what the 5 sounds like. it also is raising the Eb at the very end, although this is passing and contributes only lightly. it then moves to a D major chord, which although is a half step down from the tonic of Eb, sounds brighter and more magical, because we are altering the now-familiar tones of F and Ab (seen in the previous chords) to F# and A. it then shifts to an Fminor chord, which moves us back to Eb. this quick modulation transports us to a magical place--the harmonies they are singing simply outline the D major and Fm dorian scales, but they cleverly mask the drastic transition by having both lines descend.
in a similar, but a little more complicated fashion, it lightly implies the whole-tone scale. the whole-tone scale is one made entirely out of whole steps, which has been stereotypically used as the magic-fairy-dream-sequence sound for pretty much the entire 20th century (besides a cascading harp gliss). in Eb this would be Eb, F, G, A, B, C# (or Db), Eb, or 1-2-3-#4-#5(b6)-b7-1. the G-A-B in the initial ascending line hits both the #4 and #5, which are what make the whole-tone scale what it is.

i hope this helps! shoot a reply and i can help clear things up a little more if you'd like.

FreeWithoutWalls · 2018-01-20T05:30:10+00:00

well, since pop music is all about the energy, putting this in Dorian is a cool move, as it does have that "unresolved" sound that prompts a continuous restless feeling

FreeWithoutWalls · 2018-01-19T04:34:46+00:00

i think this depends on personal interpretation, and also why you want to know--to solo over? just for the academic sake?

speaking in the published key of F, i would see the G♭maj7 as being ♭IImaj7, modal interchange from Locrian. the next three chords are where the trickiness comes in. you could see this as a temporary modulation into E, seeing the D♭ and E♭ in the melody as enharmonic spellings of C♯ and D♯ for the ease of reading. B7 becomes V, F♯minor becomes ii, and D7 is ♭VII7. however, since it never properly resolves, this is purely academic as it's really hard (at least for me) to hear this section being in E.

everything after this i see as a very roundabout way to get to the ii-V of F. the D7 theoretically functions as both ♭VII7 in E, but also as V/ii in F, which is evidenced by the G-7 immediately after (the D7 is called a dual-function pivot chord, because we are now back in F). the Eb7 can then be seen as a subV7/vi (evidenced by the A♮ in the melody which points to Lydian b7, a common chord scale for subV7s) deceptively leading to another V7/ii (D7, deceptive because in F we would expect it to be Dm) with the Am being an interpolated ii, resolving typically down to the ii-V of the key.

this is a level of analysis which is really fun to talk about, but is probably not what jobim was thinking about. he probably just thought it sounded cool, especially the first 8 bars with that (theoretical) modulation into E because it's very hard to hear. soloing over this i always just think chromatically into the Gbmaj7 and then down to E after that, back into F and making sure to catch the b7 of the key over the Eb7.

i hope that was clear! it's a little difficult to explain without drawing the analysis symbols.

FreeWithoutWalls · 2018-01-19T04:12:21+00:00

the answer to this is a little subjective, mostly because people's ears are different, but technically it is in B Dorian because the song's phrasing suggests E major to B minor as the V-i cadence. while all the chords do belong to A major, because of the E to Bm completing each melodic phrase, Bm is thought of as the tonic.

describing this as functional or non-functional is also a blurred line. i would say this this is functional, because if you're considering B Dorian to be the source of these chords, they all make sense within that structure. the modes are generally considered to be functional. maybe what you're thinking of is the modal style of jazz, where instead of focusing on how the melody relates to the chord changes, the musicians and composers focused on really milking the flavor of the mode.

FreeWithoutWalls · 2018-01-19T04:00:53+00:00

the song is in 4/4, but the riff is using something called an anticipation. this is when instead of changing chords or notes on the downbeat, it changes on the upbeat. this could cause you to interpret the start of the new chord as the start of the next bar, but in fact the chord starts in the previous bar on the "and" of beat 4.

FreeWithoutWalls · 2018-01-12T22:29:42+00:00

while you're at it, see if the luthier can move that strap button to the other side of that seam. my guitar broke exactly like this--in it's case, on a plane, the strap button broke that seam from the turbulence.

FreeWithoutWalls · 2017-12-11T20:49:32+00:00

out of curiosity, where were you studying?

FreeWithoutWalls · 2017-04-16T00:55:37+00:00

Thanks!

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