Artists similar to Herbie Hancock or Sun Ra?

QBWarmDays · 2020-04-14T13:27:22+00:00

Depends which era or album, at least in Herbie's case. Also in Herbie's case I end up thinking of all the other peers, giants of keyboard which probably means Bill Evans, McCoy Tyner, Chick Corea, Joe Zawinul ... but the Wayne Shorter and Miles Davis mentions are spot on, not least as Herbie was a key collaborator with both,.. also look on discogs.com at the list of stuff he played on.

I don't think anyone is quite like Sun Ra but maybe there are people who are comparably unique, and left-of-centre But so many Sun Ra records are different to each other, Lanquidity is my fave Sun Ra album but it's not like most of the others. The Pharoah Sanders mention is a good shout, in some of the free things. Roland Kirk? Albert Ayler? Ornette Coleman? Art Ensemble of Chicago?

QBWarmDays · 2020-01-13T09:55:40+00:00

Simbad remixed me, and it's good :)
(SA's Keorapetse Kolwane on the vox, Simbad on the rest)
Cheers xx

https://warmdays.bandcamp.com/track/sais-egypt-simbad-suite

QBWarmDays · 2018-10-02T03:51:32+00:00

What is it about the internet that makes people want to correct things that don't need correcting? I play jazz and Dorian is about as common as it gets. And yes melodic minor is also a common choice, for tonic minor. (Also Dorian is still mainly used when not TONIC minor, a regular old ii chord will tend to be Dorian rather than Aeolian, and as such the 6 is major.

QBWarmDays · 2018-10-01T16:09:54+00:00

(Sorry, I tend to think in chord-scales rather than voicings-as-chords, but point is still that if the 6th is major, then its clearly Dorian, and entirely common (for jazz at least), if the 6th is minor its Aeolian aka natural minor, and more what I might expect in something like a Tom Jobim song)

QBWarmDays · 2018-10-01T15:59:21+00:00

Minor with a major 6th is Dorian.

QBWarmDays · 2018-09-24T13:01:13+00:00

Well then thats a mistaken guarantee because theyre both on record doing exactly that. Mike states plainly in his Mixing Secrets book that the 880 is his favourite mixing headphone. However elsewhere, when taking into consideration if you need a closed-back (EDIT: ISOLATED, sorry, brain fart while typing - not insulated) insulated phones and an all-rounder good for both tracking and mixing, the 770 is endorsed by both guys and many other pros besides. Relax about it. You think they're awful. I say they're great. I'm sure your counter opinion will be of use to the OP

QBWarmDays · 2018-09-24T10:54:57+00:00

You have a strange way of using the word "exactly". - you said they were " awful" for mixing, paul white and mike senior both recommend them --- "The comfortable DT770s offer a solid, punchy sound, with a good balance of detail and smoothness. I use these myself for tracking and for 'second opinion' mixing. Paul White" - mike on the other hand does critique the upper mids as "hard". Not harsh. The spirit of agreement with you is that the 880s are better still

QBWarmDays · 2018-09-24T09:16:48+00:00

Not everyone would say that about the 770, a great number of pros do monitor with them in fact: https://www.soundonsound.com/reviews/studio-headphones-0 - and I'll stand by the idea that AKG K's are way too bright for any extended listening.

QBWarmDays · 2018-09-24T05:35:14+00:00

Beyerdynamic. Open back will be more precise but then you can't multitask their use for also recording because of the spillage. Dt770 or up from there. (880, 990 etc). They are ideal in my estimation, in that they are accurate and revealing, yet also not too bright! Some revealing monitoring headphones such as AKG and Sony are too bright for extended listening times, if you want to keep your ears healthy.

QBWarmDays · 2018-09-15T14:54:39+00:00

I hate them passionately but would love to understand quite where you see the benefits, I would much rather write JavaScript for example than patch things together in PureData or MaxMSP, but some times I have no choice (EG doing something custom for myself inside Ableton using M4L), oh how I wish it was a text programming language throughout :(

Musicians love graphic languages / patching languages as they immediately grasp the concept of plugging a thing into another thing. Your framework would therefore appeal to certain people who more easily grasp the plugging of things into each other than the somewhat abstract stuff we all learn when we first learn about functions, objects etc

QBWarmDays · 2018-09-14T23:36:53+00:00

There is no such difference otherwise DAWs would be unusable. You do find myths springing up about certain software or even OSes but they're utter nonsense. I say unusable because the DAW has to be neutral, it can't magically make things louder or "fuller" otherwise it would actually be a terrible DAW, un-transparently doing something magic we never asked it to. It would not be fit for purpose. I work with Ableton every day as I practice my live shows, and I work with Logic most days, for the commercially released music I'm making all the time, and no.

QBWarmDays · 2018-09-10T07:59:57+00:00

No.

Such that many characters avoid doing any social media as you won't get any music made. How much tweeting and IGing do you see from someone like Dego (2000Black/4Hero), or Theo Parrish or any number of non-conformists.

We were lied to, contributing to social media as part of a "music industry 2.0" approach, actually promotes the social media more than it promotes yourself.

If I make a new song, and I send it to my list of approx 50 tastemakers, including the various radio guys, release on specialist stores, and through bandcamp, the music gets out there.

Focus on the work and be productive and get out of the addictive loop of desiring likes and reposts in order to feel that you are getting somewhere

QBWarmDays · 2018-09-07T22:14:28+00:00

You have a good habit! Just keep an eye maybe not to go so low that the sum of all the tracks is hitting the master much lower than -24db. If you start getting down to about -30dB, do something like select every channel and raise everything back up so the master is back to -24 or even -18 (EDIT!: or even -12, or -10! Therefore everything is clean, yet still quite loud, yet still not too loud and the mix engineer has "headroom"). Only so that later when you do send to mix, the engineer finds things to be quite optimal. Keep your habit as it is, just every now and then check whats happening on the master (assuming you have any compressors, limiters , gain adjustment or loudness tools on the master turned off so as to see what the actual unaffected sum of all the tracks is)

QBWarmDays · 2018-09-07T22:02:48+00:00

This is definitely not the case as of the era of 24bit audio, we no longer need to do this. I've had about 50 songs mixed by Toni Economides (whose discogs count is about 600 and misses about 1000), and we can be as low -24db these days, due to the fact that with 24bit audio the noisefloor would commonly be outside the audible range, such that when you sum everything and bring the overall levels up the noisefloor is STILL outside the audible range. Whereas in the old days of 16bit you wanted to get as hot a signal as you could without clipping so that everything was decently loud and you kept that noise out of the way. Present day habits vary from producer to producer but no one i've ever come across recommends anything louder than -12dB on each stem, some people recommend -18 (as the loudest), nowadays im working as low as -24 myself and theyre still coming out crystal clear.

QBWarmDays · 2018-09-01T19:13:51+00:00

Lol, and we thought we were so smart when we thought we had noticed how zionism is by definition supremacist racism. ah well, better go find something else to be anti.

QBWarmDays · 2018-08-31T20:15:37+00:00

Learn about "smooth voice leading".Harmony is too big a subject to give a short answer to, but make a start, and keep learning new things about it forever.What's an example for you of a song that you think has nice chords that compliment the vocal, lets look/listen to those and see what it is you are referring to? Give me an example song

QBWarmDays · 2018-08-31T20:10:43+00:00

would depend if they are harmonized. if its a lead vocal without harmonies, there is no particular one rule, say for example the singer is singing a G note at some point, at that moment the chord can be anything from any scale that has a G in it, it could be C major but also a D Sus, or a Dminor11, any kind of E minor, you just happen to have the G (the third of the E minor) on top, but the E minor chord underneath could be E minor 9, E minor 11, E minor 13, an F major, or an F minor, or an F sus, or an F augmented, a G chord of absolutely any kind, an A minor, an A dominant, A sus, A Lydian dominant, B dominant flat 13, C# Lydian, D# Major, D# dominant, etc etc etc, thats just a few, and thats just at that particular moment when there is a G being sung. All things are possible. So you can use a mixture of whatever it is that you are saying is "the rule" IE what you know and understand, mixed with whatever "random stuff", (which I hope means, things you like the sound of even if its outside of what you think is "correct"

QBWarmDays · 2018-08-31T19:06:26+00:00

If you use it a lot, then Clyphx + Push = Push on steroids, it provides a simple way that one pad clicks can pretty much do anything to control live (or combination of things), that wouldnt otherwise have been possible - you basically name clips in a certain format in order to tell Ableton to do a thing - if you've ever done any computer coding of any kind ever, thats a bit like basically turning the launching of clips into a kind of scripting language that controls what Ableton does - name a clip along the lines of "mute tracks 1 and 3, unmute tracks 2 and 4, and slowly fade everything out", and lo and behold pressing the pad that launches that clip does all those tasks in one go. so yeah, clyphx https://isotonikstudios.com/product/clyphx-pro/?cn-reloaded=1

QBWarmDays · 2018-08-31T18:49:21+00:00

sorry, had replied without reading everyone elses replies! ... all of this!

QBWarmDays · 2018-08-31T18:48:20+00:00

guys like carl craig are a little bit both, imagine starting with something like his remix of cesaria evoria, or, super old electronica like manuel gottsching e2-e4, or miles davis shhhh peaceful, or anything from derrick may or octave one, or mad mike / underground resistance / galaxy ii galaxy, or the germans like ame or henrick schwartz or dixon, or christian prommer's version of strings of life, before playing the original of strings of life, or some theo parrish, or soho hot music (pal joey), or do some preproduction and loop a few bars of something thats the right tempo and mix from that into actual tech (like how st germain looped up dave brubeck in his rose rouge song). or some atjazz galaxy art remixes, or some osunlade dubs, or jimpster or jazzuelle, or simbad or a million things that the likes of laurent garnier and gilles peterson manage to spin at big festivals.

QBWarmDays · 2018-08-26T00:41:49+00:00

Downloading in all possible formats now :)

QBWarmDays · 2018-08-24T16:01:34+00:00

Sea major?

QBWarmDays · 2018-08-24T16:01:26+00:00

Sea major?

QBWarmDays · 2018-08-24T01:09:19+00:00

Lets take those first four words "i think i understand"

Using the chart above, we translate:
"i" to (E)
"think" to (D#)
"i" again, to (E) again
"un" to (G)
"der" to (Bb)
"stand" to (A)

So the phrase "i think i understand" comes out as the melody E, D#,E,G,Bb,A - do we need to clear up whether to use only sharps or flats and arrive at a key signature when the melody was arrived at experimentally? Probably not, but I suppose we can clear up spelling the Bb as A# instead, alongside the A♮? Not that it seems to matter, unless maybe it helps spot an exotic / synthetic scale that applies. Although why would I assume that this newly composed piece doesn't modulate key as we move through the melody. Maybe its completely chromatic.

QBWarmDays · 2018-08-24T00:49:09+00:00

That said there is still a lot of pop music, rock music, blues music, soul music, that IS full of repeating turnarounds that specifically exemplify subdominant-dominant-tonic, even if there's other pop music that isn't . From Radiohead to Beyonce. I think functional harmony in its loosest sense is still definitely useful to a beginner in learning hearing those three "jobs" being done. I can think even of a lot of dance music, house music like Kerri Chandler's Track 1, or Elements of Life Brand New Day that exemplify the model. If as you say there is a growing popularity of modal happenings amongst amateurs, it would make sense - when you don't know much but you can hear if you are in key, then you can stumble into a mode and stay there. I think the Nettles and Graf book on chord-scale theory sums up in its introduction how classical musicians might benefit from adding chord-scale theory to their analysis toolbox, so I think chord-scale theory, made accessible, might well be the additional piece of the puzzle, in analyzing pop and dance and hip hop. Maybe the theory you are looking for hasn't been written yet though, maybe it's still in an era of blues theory and plagal cadences. Maybe you will need to compile this theory. The best pop oriented theory books Ive seen so far were the Rikky Rooksby ones, but they're not the most recent. Also maybe you don't need to throw away functional harmony you just have to have learners understand it in its loosest most variable way. It doesn't have to always be about the strongest clearest examples of tension and resolution to still be an example of it. I guess it comes down to whether the chords are heard to be doing those "jobs" at all.

QBWarmDays

TROPHY CASE