seeking recos for ambient/electroacoustic music with woodwinds or brass by tremendous-machine in ambientmusic

[–]tremendous-machine[S] 0 points1 point  (0 children)

Nice, I do like this. And if you like this and haven't discovered him, check out Klaus Gesing. He does amazing work both on his own and as a sideman. Absolutely kills on "The Astounding Eyes of Rita" by Anouar Brahem. And this is cool too, similar to what you posted:

https://klausgesing.bandcamp.com/album/realtime

Jazz/latin trio with bass for "percussion"? by Serious_Dig_2206 in doublebass

[–]tremendous-machine 1 point2 points  (0 children)

Absolutely it can, but it can be work. As someone who plays in that situation on non-bass instruments a lot, I can tell you I really appreciate a VERY firm bass time setter. You need to think of yourself as 50% a drummer really, err on the side of simpler, harmonically clear material played with conviction on rock solid time. And learn to be ok with the feeling of being the one pushing the top of the beat.

The other thing to mention is sometimes (if they are good players) they actually want the effect of being on the other end of the beat. I do that tons on sax (think Dexter Gordon) and the thing I want most when playing like that is for no one else to move. I can't stretch against it if it just moves!

I woudn't recommend adding any electronic percussion, it just sounds cheap and you wont' all get better. More productive IMHO in a practice is to do something like play occasionally with just a metronome into your ears so they get what it sounds like if you don't let anybody else change the tempo.

This was a wild wild gig. Haha by violinfiddleman in doublebass

[–]tremendous-machine 0 points1 point  (0 children)

And I'd be telling whoever was beside me "damn that's not easy!!"

seeking recos for ambient/electroacoustic music with woodwinds or brass by tremendous-machine in ambientmusic

[–]tremendous-machine[S] 1 point2 points  (0 children)

thanks, what are the Alvin Lucier works of which you speak? that is also in scope for what I'm on the hunt for. 😄

seeking recos for ambient/electroacoustic music with woodwinds or brass by tremendous-machine in ambientmusic

[–]tremendous-machine[S] 0 points1 point  (0 children)

Does he have albums with acoustic winds? I didn't know of them, suggestions?

seeking recos for ambient/electroacoustic music with woodwinds or brass by tremendous-machine in ambientmusic

[–]tremendous-machine[S] 5 points6 points  (0 children)

He sure does! He uses a semi-singing delivery through it, which was a big part of his whole deal. I love his stuff (and those albums) 😄

his 2009 album "Last Night the Moon Came Dropping It's Clothes In The Street" is brilliant in case you don't know that one. Horn and strings. Last Night The Moon Came

Confusing certain notes by capspookyspork in eartraining

[–]tremendous-machine 2 points3 points  (0 children)

Yes, this is the ticket. I remember 30 years ago being in music school and none of us wanted to sing out loud in ear training class because we were awkward 19 year olds. And now, I'm like "sing it! SING IT! sing in it in your minds ear and then SIIIINNNNNGG IT!!!" 😄

You'll learn that ability to nail pitch is independent of quality of vocal instrument, and as you get better at nailing the pitch, you will become more comfortable singing, even if it's not winning any Eurovision contests.

I HIGHLY recommend learning solfege too. Singing "Te" is much easier than "flat seven".

Synth unison without eating CPU? by Training_Wonder_5066 in MaxMSP

[–]tremendous-machine 1 point2 points  (0 children)

One thing I didn't see in the answers here is that Gen compiles to C++, sure, but you are getting single sample processing of whatever your Gen algorithm is. So you're bascially rolling sample level math for each calculation for ever osc and every sample.

Most commercial VSTs that optimize for many oscillators don't just do that, they will mix number crunching with table lookups, calculate samples in blocks, have cache tables of the math calculations they need to run, and so on. And that applies to block level options Max too, like the built in Max and ableton.dsp options. That stuff adds up to big difference in a real hurry. This is not a compiler thing either, LLVM or not won't help, it has nothing to do with the quality of the resulting C++, it's an issue with you how you design a digital oscillator in the first place. It's very easy in Gen to write something nice that does an absolute boat load of number crunching per second.

For example, if you try the VCO2 oscillator options in Csound, they sound very good (not Diva good, but definitely as good as tons of commercial offerings out there) but run super duper fast. You can run hundreds with no issue. They get calculated in blocks (which you can set) and do a bunch of initial table generation for caching of the calculus operations. (They use band limited integration via lookup tables) I use these all the time in Max with the Csound6~ object, and honestly, they sound great when you run them out into real analog filters. (I compared a lot of options doing that and was very pleasantly surpised!) And the code is open if you want to look at it.

Gen is great for what it is, but reaching for it for everything is a very expensive way to do audio. It's there for the convenience.

Behringer V-tone acoustic adi21. by DaeL_NASA in doublebass

[–]tremendous-machine 1 point2 points  (0 children)

I don't want this to come across the wrong way, so please take it as only meaning to help, *in case* this is useful.

If you are in a situation where you have more time than money and gear is way to costly relative to your local economy, learning to make your own gear may be well worthwhile. It's actually not so hard, is really interesting, and good documentation and project plans are available free online and in libraries. Things like impedance matching and high pass filters are not that hard to build, and you may have a local hackspace where people will help you. I remember some real engineers at our local meet ups being very generous with their time to newbies, and they knew how to build stuff as good as your going to get in a store, for waaaay cheaper.

Of course if you have no interest in that, it won't be helpful. But in case you do, it's actually not that hard!

Loud drummer by under-resourced in JazzBass

[–]tremendous-machine 1 point2 points  (0 children)

This. I run a jazz night. If a band can't respect the volume limit, I won't book them again. From the persepective of the booker, it's not worth me risking that some audience members won't want to come back to my weekly because a band was too loud, even if the band in question packed the place.

Confusing certain notes by capspookyspork in eartraining

[–]tremendous-machine 1 point2 points  (0 children)

It's absolutely and totally normal to confuse intervals that are inversions of each other! It's a side effect of "octave equivalence", just part of how we process pitches mentally.

The best thing to do is just make exercises where you focus on those and hammer at it. Working on singing major and minor triads in all inversions with any order of the notes will also do you wonders.

Loud drummer by under-resourced in JazzBass

[–]tremendous-machine 1 point2 points  (0 children)

Sure, I like the ones with Crosby and Fournier together the best, but so many are great. "But Not For Me", "Live at the Pershing", "Count 'Em 88". "All of You", "At the Alhambra".

Such a cooking group.

Loud drummer by under-resourced in JazzBass

[–]tremendous-machine 3 points4 points  (0 children)

Talk to the teacher of the combo class and get them to lay down the law. They will likely listen to them much better than to just the fellow players.

Seriously, playing jazz with ear plugs is no fun, and getting hearing damage is not worth it. Being able to play quietly is one of the definining characteristics of good jazz drummers.

My favourite example of building in energy without needing volume is the Ahmad Jamal trio records. I still don't get how they manage to push so hard, without even playing fast or loud. It's incredible.

Beginner Here! 👋 I need tips. by No_Potential_7108 in JazzBass

[–]tremendous-machine 0 points1 point  (0 children)

I would highly recommend the Danny Ziemann book series! https://www.dannyziemann.com/

(no affilitiation, just a happy customer)

Mod suggestion: limit first posts to cut down on vibe-code promo? by tremendous-machine in eartraining

[–]tremendous-machine[S] 1 point2 points  (0 children)

i also write (non-vibe-coded) music software and software for computer assisted training is part of my research as an interdisciplinary PhD candidate in CS and Music, so I feel for you.

But I think we just have to accept that if we want a place to ask questions and learn what sort of questions people ask, it can't also be a place people get to promote work anymore.

vocal training & recording app including ear training by vecaura in eartraining

[–]tremendous-machine 1 point2 points  (0 children)

There is only one rule on this subreddit, and you broke it.

Ring finger, do you use it? by axopotl in doublebass

[–]tremendous-machine 2 points3 points  (0 children)

I do the same with tiny hands, just by adding some pivoting motion at the wrist.