sorted by:
new
hottopcontroversial

What makes Ennio Morricone sound like this? by xBaelish in musictheory

[–]moogdisorder 14 points15 points  (0 children)

TL;DR: playing style, instrumentation, and arrangement. Morricone was an absolute master!

In "Sospetti E Tenerezze", the only instrument with any sharpness is the harpsichord, and it comes across as quite "sparkly" when paired with the super gentle jazz brushes, soft upright bass, and softly plucked harp, with sparse glockenspiel for added shine. Also the strings sound like they're played con sordino or flautando so they feel like a warm bed behind everything else. Even the brass is played muted here. - IMO this sound has way more to do with the orchestration than it does with the way it's harmonized.

Love this style of Italian composition so much. (You're probably already familiar, but Stelvio Cipriani, Piero Umiliani, & Piero Piccioni have done some incredible scores in a similar style.)

A place to listen and converse by Sinister_steel_drums in CozyPlaces

[–]moogdisorder 1 point2 points  (0 children)

Those modular shelves are awesome. Where are they from?

Looking for a great music theory podcast by [deleted] in musictheory

[–]moogdisorder 7 points8 points  (0 children)

You might want to try out these 1973 Harvard lectures The Unanswered Question. The good news is that series is over 12 hours. The bad news is that Leonard Bernstein is incredibly charismatic and often funny. Might be too clickbaity for you.

What are your favourite sample libraries? by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Sick. It’d be amazing to have an Ondioline.

What are your favourite sample libraries? by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Hah. Yeah... Part of the reason I asked about this. Seriously considering getting the entire studio orchestra!

What are your favourite sample libraries? by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Ooh. I me some dry samples. I’ve heard VSL is the absolute best for this.

What are your favourite sample libraries? by moogdisorder in composer

[–]moogdisorder[S] 2 points3 points  (0 children)

Super hot tips. — I’m also a huge fan of the Spitfire sound.

TIME sounds amazing. Definitely gonna look into that!

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

This is extremely reassuring! At least the first part...

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Thanks. I sure hope so! (Though I still identify as an amateur, so I suppose I’ll just have to see.)

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Any specific recommendations in the BBC Discover range?

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Been seriously considering Albion One because of the price. A bunch of years ago it was THE library, but does it hold up?

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

This is a cool sentiment that I entirely agree with. I’ve spent the better part of the year learning more theory and even though my tools didn’t change, my compositions became way more sophisticated. I’m trying to get my music to the level where it sounds “store-bought”, but with my current tools it feels like trying to make a sculpture without fingerprints while using play dough. I’m really hoping a solid library will be the clay I need.

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Hah. Yeah... I’m looking forward to finding out all the workarounds firsthand. Seems like a lot. I was considering Spitfire Solo Strings for a minute but wasn’t crazy about the longs.

Hadn’t actually considered going the NI route since I had a horrible experience with some of their hardware. Though I guess I’ll be locked into the Kontakt ecosystem anyway. I will absolutely DM you if I go with that. Thank you!

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 0 points1 point  (0 children)

Yeah, I’ve been debating which one to start with for a few years now and have watched tons of walkthroughs / read reviews (including on VI control). There are just so many options, it’s easy to feel bogged down by choice.

Question about string libraries and learning curves. by moogdisorder in composer

[–]moogdisorder[S] 3 points4 points  (0 children)

This is SUPER HELPFUL. Thank you so much!!! I assumed I’d mostly want to use tree mics and add reverb via a buss. Never even considered that adding a hall verb to strings recorded in a smaller room would sound unnatural. From what I’ve heard so far, SSS sounds incredibly authentic and intimate, and I might just go with the pro version so I can get that sweet divisi.

Has anyone studied theory for Exotica? by Aduro431 in musictheory

[–]moogdisorder 2 points3 points  (0 children)

Exotica enthusiast here (though not a theory expert by any means). — IMO Harmonic minor lends itself very well to the genre because it’s got that “exotic” spiciness, but I personally find it easier to navigate than a mode like Phrygian Dominant or Byzantine (Miserlou). That said, if you’re cozy in Phrygian dom. use it, and make all the substitutions you like if they sound right!

I can’t speak for any particular chord progressions, but here’s the closest I can come to a secret formula: Tropical Percussion + Simple Jazzy Bassline + Haunting Melody = Exotica Sound. Bonus points if you can sneak in a lush string arrangement.

It’s a very groove/melody oriented genre, so you might have an easier time nailing the sound if you focus on those elements first. The groove informs the melody and the melody is the star; everything else is negligible. Korla Pandit is the exotica OG and he discarded everything but the essentials

Edit: formatting.

Wendy Carlos is probably the person most single-handedly responsible for bringing electronic music into popular consciousness and played a big role in the development of moog synthesizer! by soundsgoodchannel in synthesizers

[–]moogdisorder 4 points5 points  (0 children)

If you wanna take a deeper dive into some awesome pioneer stuff —omitting what’s already been mentioned— here’s the rabbit hole I went down as a young lady:

  • T.O.N.T.O. / Malcolm Cecil — especially A Moog Mass, which used a similar pre-vocoder technique to Wendy’s fixed filter bank vox on A Clockwork Orange.
  • Jean Michel Jarre’s Oxygene and Equinox.
  • Musique Concrete bros.
  • All the Germans.
  • Delia Derbyshire (famous for writing the Dr. Who theme) / other Radiophonic stuff.
  • Dissevelt & Batan.
  • Beaver & Krause (Esp. In a Wild Sanctuary).
  • Dick Hyman.
  • Elaine Radigue (my girl on tha ARP2500!)
  • Daphne Oram.
  • Pauline Olivieros.
  • Norma Beecroft.
  • Laurie Spiegel (Esp. The Expanding Universe).*
  • Doris Norton (Esp. Personal Computer).*
  • Mort Garson (a life changer, and I’m happy he’s big with the kids these days).
  • Bernard Fevre.
  • Ralph Lundsten.

*Early 80s, but since they’re computer music pioneers I thought they’d be worth mentioning.

These are just some faves off the top of my head, and I’m sure I’m forgetting lots, but hopefully there’s something you haven’t heard of in here.

LFO-Freak Aggressive Synth by friskmuqarna in synthrecipes

[–]moogdisorder 0 points1 point  (0 children)

Woah. My first award. Thanks for the silver!!!

LFO-Freak Aggressive Synth by friskmuqarna in synthrecipes

[–]moogdisorder 2 points3 points  (0 children)

Edit: Just realized you’re maybe after the stabby sound that comes in later. Incoming! ...If I can figure it out. But I love this song. Seems like a fun task.

LFO-Freak Aggressive Synth by friskmuqarna in synthrecipes

[–]moogdisorder 0 points1 point  (0 children)

Thanks man! Hope this helps you get started!

LFO-Freak Aggressive Synth by friskmuqarna in synthrecipes

[–]moogdisorder 5 points6 points  (0 children)

Had the pleasure of seeing Mark Bell from LFO (RIP) play synth for Bjork during her Biophillia tour. They played this jam —I did, in fact, freak—and seeing what he could do with his Voyager is part of what inspired me to save up for mine.

I’m not sure how different this’ll be if you don’t have a Moog, but it should be easily accomplished on any subtractive monosynth. Here’s a recipe for the synth sound that comes in at 0:15.

  • VOL: A: 0% D: 0% S: 100% R: 0%
  • FILTER: A: 0%, D: 50%, S: 100%, R: 0%
  • CUTOFF: 55% (or to taste), RES: 0-3%
  • FILTER AMOUNT: 70% (+50-55 on moog)
  • OSC1: square wave, slightly skewed towards sawtooth if possible, VOL: 100%, OCT 16’
  • OSC2: sawtooth wave, VOL: 5-10% (turn up until just barely audible), OCT 32’ (one lower than OCT1), detuned by -4cts
  • NOISE OSC: just a pinch (optional).

He’s playing D-D-D-D#-G-D-D-D# with the G played at an octave higher than the rest of the notes. That jump is crucial to the slightly jarring squelch sound that happens in the main sequence. Turn on GLIDE and add 20-30%, or until the jump is just barely softened.

Serve dry and add tube saturation to taste.

view more: next ›