working...
well, this is where i'll post all my notes for my REAL work this summer.
So far today, i've decided to write some sort of simple, haunting melody to play with the E-bow during the start of (Hate). Then, for the outro, i'll play the same thing on Violin. (Hate) will drone in, i think... I'm really in love with that idea.. perhaps It needs some sort of solid START, which can fade out and come back as a drone-in before the beat takes off and I go crazy with the sound effects (if that actually ends up working.... it's going to be a lot of work to set up, just to see if it's going to sound good at all.. which would be unfortunate if i had to scrap it in the end... oh well, just remember how many times I had to re-do junk for the Blowing Up School movie... the fucking roof... and the chairs... and the particles... stupid meshes)
Using a gate on percussion works ok, but I should try to use it on isolated samples only... not on fully sequenced beats... I'll build the beats out of gated samples, that way i can control how crisp each element should be. I wonder if there is some way I can build this junk non-destructively... perhaps i need to make nested folders for each song, with a root-level final mix full of loops, which are just exports of arranged component parts that i save into different categorized folders. each final track that is made up of a sequence could have it's own folder, with it's own final mix and all components saved within... then, if i needed to do a sequence of a sequence, i could just... nest the folders... like... parent-child... i get it, right?
fuck.
i need to figure out how to work my vocoder. i wonder if using the pitch of a keyboard melody and the volume of a solid tone (which i'd HAVE TO generate artificially) would work for making a synth-sound... as my keyboard has too much vibrato built in to every sustained instrument.
Also, I need to remember to do something with the E-bow and the Tambura, and the E-bow with the acoustic tuned really low (the A string seems to work better than the E for this). The acoustic got some interesting overtones and harmonics and beats (the physics, 2-tones-slightly-out-of-pitch-with-each-other kind) after a certain amount of de-tuning. I wonder if the violin bow would get anything interesting out of that.
Further... Next time I break a string... I have to record (hopefully by sticking a mic inside the sound hole) myself pulling the string apart... and.. playing with it... it sounds too fucking cool. The electric can also pick this junk up, if i do it right.
Would the Erhu bow do anything neat to the violin?
So far today, i've decided to write some sort of simple, haunting melody to play with the E-bow during the start of (Hate). Then, for the outro, i'll play the same thing on Violin. (Hate) will drone in, i think... I'm really in love with that idea.. perhaps It needs some sort of solid START, which can fade out and come back as a drone-in before the beat takes off and I go crazy with the sound effects (if that actually ends up working.... it's going to be a lot of work to set up, just to see if it's going to sound good at all.. which would be unfortunate if i had to scrap it in the end... oh well, just remember how many times I had to re-do junk for the Blowing Up School movie... the fucking roof... and the chairs... and the particles... stupid meshes)
Using a gate on percussion works ok, but I should try to use it on isolated samples only... not on fully sequenced beats... I'll build the beats out of gated samples, that way i can control how crisp each element should be. I wonder if there is some way I can build this junk non-destructively... perhaps i need to make nested folders for each song, with a root-level final mix full of loops, which are just exports of arranged component parts that i save into different categorized folders. each final track that is made up of a sequence could have it's own folder, with it's own final mix and all components saved within... then, if i needed to do a sequence of a sequence, i could just... nest the folders... like... parent-child... i get it, right?
fuck.
i need to figure out how to work my vocoder. i wonder if using the pitch of a keyboard melody and the volume of a solid tone (which i'd HAVE TO generate artificially) would work for making a synth-sound... as my keyboard has too much vibrato built in to every sustained instrument.
Also, I need to remember to do something with the E-bow and the Tambura, and the E-bow with the acoustic tuned really low (the A string seems to work better than the E for this). The acoustic got some interesting overtones and harmonics and beats (the physics, 2-tones-slightly-out-of-pitch-with-each-other kind) after a certain amount of de-tuning. I wonder if the violin bow would get anything interesting out of that.
Further... Next time I break a string... I have to record (hopefully by sticking a mic inside the sound hole) myself pulling the string apart... and.. playing with it... it sounds too fucking cool. The electric can also pick this junk up, if i do it right.
Would the Erhu bow do anything neat to the violin?
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