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cruft
Oct 25, 2007

Am I the only person on the planet who thinks in "Mony Mony", Billy Joel Idol is somehow singing like 20 cents sharp in the non-chorus sections?

It drives me up the damned wall and I can't find any confirmation anywhere that anyone else hears this.

E: thank you hexwren

cruft fucked around with this message at 13:20 on Oct 14, 2021

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cruft
Oct 25, 2007

CaptainViolence posted:

i just listened to the studio version and i think the instruments are like 40 cents flat so maybe that's it. i can kinda hear what you're talking about now that you pointed it out, but i hear it in the chorus too. i don't think it's ever bothered me because it seems like just part of his slightly strained/gravely vocal style

Oh, you know what, maybe it's just an out of tune synthesizer.

Anyway it's like nails on a chalkboard to me, and I appreciate getting some validation that my hatred for this song, while maybe not entirely rational, is at least grounded in a peer-confirmed observation!

cruft
Oct 25, 2007

Pollyanna posted:

I suspect that what's happening is related to using the same instrument on all the tracks. The third track from the left has a delay effect on it, and it seems to be applying to the second and first tracks too. It's a sampled instrument, so my guess is that there's some sort of max (for whatever reason) on how many samples in the instrument can play at a time. Might be due to its keyzones or how its chopped up.

Max Voices was a thing, like, 25 years ago. I wouldn't expect it to show up now.

Just so we're clear, could you characterize the effect in words? Like, what you thought this would sound like, and what it sounds like instead?

To this oldster, it looks like you're using what we used to call a "tracker", and that there's some sort of "zero everything" command being issued at the start of every other frame. But I see these "note off" commands, so they should already be released... so maybe you have some sort of reverb effect that you're resetting every other frame?

e: or sustain pedal?

cruft fucked around with this message at 17:52 on Oct 21, 2021

cruft
Oct 25, 2007

Pollyanna posted:

I would expect notes on Backup Harmony to play as normal after the OFF signal has been received for Lead Melody or Counterpoint Melody. Instead, you get a short pop for that note - which is probably the attack TMA's talking about - and you're left with just the delay from the previous Backup Harmony note. Except for the final F, which simply cuts its entire track. Why, I don't know.

Speaking of, I would also expect the delay effect to only apply to Lead Melody, since it's applied. Instead, I also hear the delay effect on Backup Harmony when FX is turned off for its group. Delay is not present in Backup Harmony when FX is on for its group. It's possible that it uses the other group's FX for some reason. (Reverb and delay are different, right?)

Don't get me wrong, none of this is bad. It's a really cool effect! I'm just curious about why and how it's happening.

Reverb and Delay are very closely related (you can make reverb with multiple delays), but are typically shown as different effects.

So you're referring to the thing where suddenly all sound stops, then. My money's on some sort of "reset everything" happening at the beginning of the third frame, which I presume is repeated every other frame. MIDI has a command you can send that's like "EVERYBODY STOP EVERYTHING RIGHT NOW" in case a key up event doesn't get delivered: it happens sometimes. You may have something similar in your DAW at the beginning of that first frame. And I predict you're going to transition from "sounds cool" to "OMG just freaking stop" the longer you try to hunt this down ;)

cruft
Oct 25, 2007

Stefan Prodan posted:

I'm using FL studio for the first time and following a tutorial and my audio is like super crackly for some reason

I have tried upping the buffer to the max and it doesn't fix the problem. Also I have an i7 with 3.7 GHz so I feel like that should be plenty to run this without too much issue?

Information that may help:

My output is through a bluetooth headset (sony wh-1000mx4) which behave fine the rest of the time with no crackling. I'm not accidentally using the phone bluetooth mode that sounds awful either.

The crackles are the exact same every time, they aren't random. If I play a kick or something it will crackle the exact same way every time.

Some plugins/instruments crackle more than others but they all do to some degree

Any advice? It's a clean install and even before I installed other plugins it was crackly, I just thought maybe the default 808 sounds crackled for some reason, haha.

edit: nm I have no idea what happened but it works now, I didn't even do anything else but restart it again which I had already done

This description sounds a whole lot like something is clipping. Try turning some volumes down if it happens again.

cruft
Oct 25, 2007

Drink-Mix Man posted:

Anyone have a recommendation for a free or cheap sampler or soundboard app I can use on a Windows tablet? I just need something real simple with some pads to trigger a few sound effects and loops for a show.

I built a thing that lets you set up a playlist, and instead of auto playing the next item, cues it up for an external trigger to start. I made it for a dance show but it'd work well for the theater too.

https://github.com/nealey/playlist is the project. You have to edit HTML to set the playlist, currently, but if literally anyone else on earth used it, I'd probably add code so you could set the playlist from the running app.

cruft
Oct 25, 2007

Yeah you probably blew either the speaker or the amp.

I would go hunt down an old home stereo with A/B outputs. Then you can hook up to four speakers that you get from whatever, and not worry about impedance matching. And those can be garage sale discoveries too.

e: be sure when wiring it up that you always connect the red terminals to the red terminals. If you cross one over, then you're going to induce this weird effect where people directly in the middle will not hear much of anything. it's actually a kind of cool effect if you teach the physics of sound...

cruft
Oct 25, 2007

Hawkperson posted:

As for how notes are determined and what frequencies they are, the Wikipedia articles about them are pretty readable imo. This one is good to start with: https://en.m.wikipedia.org/wiki/A440_(pitch_standard)

You're gonna love how the modern western scale is determined: just multiply each frequency by 2^(1/12) to get the next half step up.

cruft
Oct 25, 2007

Hawkperson posted:

We still use different tunings in various contexts. A choir singing a capella sings in just intonation, they don’t bother trying to align with a piano unless they’re singing with one. It came up once in the music theory thread but I’m deeply curious if fretless bass players play in just intonation or not; I don’t see why they wouldn’t but if they’re playing with fretted instruments/piano then I imagine they would necessarily adjust.

When you learn a wind instrument at a high level you learn which notes on your instrument are built out of tune because physics makes it impossible to build one that fits ANY tuning system. That’s why clarinets have so many keys, it’s an attempt to work around it as much as possible, but the instrument still has some bad notes. Don’t even get me started on trumpets lol.

Anyway tuning systems are a fun rabbit hole just like most music things. I really want to learn more about ragas someday, the concept is so different from western theory and it seems so cool

I'm using just intonation for the electronic bagpipes I'm building, because I am a huge nerd and I think this sort of stuff is cool.

cruft
Oct 25, 2007

I heard the thread was looking for idiot composers?

Well, here I am.

cruft
Oct 25, 2007

Pondex posted:

Can anyone tell me what time this is in? Is it 5/4 or 9-something?

https://www.youtube.com/watch?v=iT8MVjkG-ao

sounds like 5/4 to me.

cruft
Oct 25, 2007

Earwicker posted:

i would express it as 10/8 because it sounds to me like its grouped into 6+4. or rather 3+3+4

The main song feels pretty clearly 3+2 to me, but this is probably splitting hairs. It's some multiple of 5, OP.

e: And yeah, they're dropping an 8th note at the end of the chorus.

cruft fucked around with this message at 21:45 on Jun 8, 2022

cruft
Oct 25, 2007

Laserjet 4P posted:

One can't argue about taste but a nice thing that made me think about taste was the McMansion blog - tastelessness there is often a matter of dumping a ton of "wealth signifiers" in a place without understanding their reason for existence - and thus their application and placement. I'm not sure what the musical equivalent is.

It's audiophiles.

cruft
Oct 25, 2007

When I was learning scales on guitar I'd just sit and watch TV and run modal scales (and scale variations) over and over and over and over and over. My thinking was that it would drill it into my muscle memory.

It kind of worked. I'm not completely horrible at scales now.

cruft
Oct 25, 2007

InternetOfTwinks posted:

Would be nice for some of the extra small questions here that I don't necessarily want to poo poo up the thread with.

Look at this goon who's stuck in 2005 and thinks there's still such a thing as "making GBS threads up the thread".

Frankly I'm enjoying that you stirred up some activity in here again. poo poo away, pal.

cruft
Oct 25, 2007

webcams for christ posted:

I think you're setting arbitrary barriers for yourself that aren't conducive to growth. having ambition and high standards is admirable, but a good instructor or coach will be able to meet you at any stage of a project. you don't need to be "ready"

I'll also plug this lovely quote from Ira Glass



I like this a lot.

I only do music as a hobby after switching majors to computer touching. And my stuff sucks. Like, really: it's bad and dumb. But it makes people laugh! I found a shortcut to getting a sense of satisfaction and all I had to do was completely compromise my artistic vision! But it's okay, it's just a hobby.

This absolutely describes my professional successes, though.

cruft
Oct 25, 2007

TooMuchAbstraction posted:

People need to stop thinking that art is only the highly-polished "professional" stuff. Seriously, this is one of the biggest problems with how culture is presented these days. You are making art! It's legit! It doesn't have to be designed for mass appeal, or to hit some kind of arbitrary quality threshold, to be art. It's OK to be the modern equivalent of a peasant with a flute, playing for friends and family at a small gathering.

:agreed:

It's sad what the phonograph did to the notion that singing is something ordinary people do.

At the end of the day, if I made two people smile with my dumb song about dog food, that's still entertainment.

e: I guess my biggest problem is that I adore well-produced music, LOL.

cruft fucked around with this message at 19:43 on Feb 23, 2023

cruft
Oct 25, 2007

e: I regret this post. I am going to turn the monitor off until the my liver is done with the maragarita.

cruft
Oct 25, 2007

stephen_falken posted:

Well I don't know about you, but I think that sucks balls.

It's probably safe to assume that any random person thinks leasing something in perpetuity sucks balls compared to owning something.

And buddy, have I got good news for you about what General Motors is planning. Where "good" here means "terrible".

cruft
Oct 25, 2007

Disco Pope posted:

A theory question, but more of a thought while in the bathroom at work.

Are power chords actually chords or are they technically double stops?

I thought I was in the electronics thread and was about to correct your spelling until I got very confused.

cruft
Oct 25, 2007

xzzy posted:

Commission a three string krappy punkrod and tune it to a power chord, play everything you need with one finger.

Isn't this the exact technique used by the guitarist from The Presidents Of The United States Of America?

cruft
Oct 25, 2007

I didn't want to throw in first because I've never done sound for an event this big, but now I feel comfortable saying what's most likely is that everyone is in fact going to the mixer, and they just turned a lot of stuff to inaudibly low.

They may have even done sound checks just in case one of the performers would get their feelings hurt if they were told what was going to happen in reality.

At least one of the performers surely knows what's up. Maybe Willie Nelson. Others might too, and they're still strumming just so they don't feel like a doofus standing around on stage. Backup singers have my respect, I'd feel way to vulnerable if I weren't behind an instrument.

E: and stand-up comics. Terrifying.

cruft fucked around with this message at 16:36 on Apr 21, 2023

cruft
Oct 25, 2007

At various points in my life, people have attempted to explain the difference in feel between 6/8 and 6/4. All the descriptions were pretty hand-wavy.

Is it just a notation difference?

cruft
Oct 25, 2007

Xiahou Dun posted:

Jigs would be difficult in 6/4. I mean as long as it’s a multiple of two you can kind of just divide wherever, I guess, but a lot of them are going to be a lot more legible than others.

But especially like a proper jig someone is supposed to dance to would be really god drat hard to write in 6/4.

The point of notation is communication after all.

So it's just a notation thing? There's no difference in how the music would sound?

cruft
Oct 25, 2007

Thanks for the time signature advice. It sounds like for people who don't read music, the bottom number is irrelevant. Like, dancers.

Except, wait...

TooMuchAbstraction posted:

The time signature affects how the composer and performer think about the piece's structure. While you can write any music piece in any signature, generally you choose one where the phrases and notes fit neatly into the measures. So I would expect a 6/4 piece to be fairly slow/meandering, since there's so much space in each measure to fit notes in. A 6/8 piece would be more conventionally-paced.

TooMuchAbstraction, if I wrote out Brahm's Lullaby in 4/4 at 80 quarter notes per minute, how would that be played differently than 4/8 at 40 quarter notes per minute?

I'm not trying to play gotcha, I'm seriously trying to understand this, because it's pretty much the same as what I've failed to understand for years.

cruft
Oct 25, 2007

Jazz Marimba posted:

6/8 is a compound meter (meaning it’s divided by 3, whether or not it can also be divided by 2), whereas 6/4 is a duple meter (meaning it’s divided by 2, whether or not it can also be divided by 3)

practically, this means 6/8 gets two beats, the 1 and 4 (ONE two three FOUR five six), whereas 6/4 gets six beats (ONE and TWO and THREE and FOUR and FIVE and SIX and)

say both of those out loud, with the all caps numbers louder. notice how it’s easier to say the 6/8 one faster, and it feels “round” or “bouncy”, whereas 6/4 is harder to say faster (not impossible, harder) and feels more rigid or square. those louder numbers are where you would step while dancing

everyone’s go-to example of 6/8 is House of the Rising Sun by The Animals. another example is Sing by the Dresden Dolls. try stepping to these as if they’re 6/8 (on 1 and 4). then try stepping to them as if they’re 6/4 (on 1, 2, 3, 4, 5, and 6). which is easier?

a good example of 6/4 is Electric Feel by MGMT. try stepping to this as if it’s 6/4 (on 1, 2, 3, 4, 5, and 6). then try stepping to it as if it’s 6/8 (on 1 and 4). which is easier?

Oh, so it's about subdividing the beat and when the downbeats occur in a measure.

Okay. This tracks. It reminds me of reading about Philip Glass's discovery that he needed to rewrite parts in 1/4 (I think) in order to get the musicians to stop playing downbeats.

cruft
Oct 25, 2007

Pollyanna posted:

Yes you can and it fucken rulez

I think we did it, everyone. We found Animal's alt account.

cruft
Oct 25, 2007

Anybody know where I can find that damned shakuhachi sample everybody and their dog used in the 1980-1990s? I just heard it in the Legend soundtrack, I think it's also on "Principles of Lust" by Enigma and probably Peter Gabriel used it, I dunno.

It's the one where if you hold the key down for a few seconds, it pops up an octave for a second.

cruft
Oct 25, 2007

Ruffian Price posted:

It was part of the Emulator II factory library and should be present in the Arturia version.

Wow, thank you. Another SA Forums success story.


Earwicker posted:

i know im a lazy poo poo but honestly, for most purposes, i'd just grab it directly from the intro to sledgehammer and stick it in any contemporary sampler

You know, that's probably what everybody else did, too.

e: just listened to Sledgehammer again. I think he messed with it too much to be easily usable as a sample. But I probably wouldn't have to look too hard to find a song that didn't.

cruft
Oct 25, 2007

I heard if you tip a bottle of rum when the tuner arrives, you can get that wildly detuned ragtime sound.

cruft
Oct 25, 2007

I need something with four footswitches I can stomp on, that will each play one chord. Does anything like that exist currently, or am I going to have to build it?

cruft
Oct 25, 2007

Xiahou Dun posted:

Can someone explain to me why we need E Dorian in a world where D Major exists? Really, modes just generally, why?

Modes are a way of talking about music theory. There are other ways: sounds like you like those better.

cruft
Oct 25, 2007

Xiahou Dun posted:

Okay. Let me rephrase.

What the gently caress does that mean?

I am trying to learn and all you’ve done is make me feel stupid.

You didn't sound like you wanted to learn, you sounded like you had an ax to grind with modes.

It's the difference between saying "play a G major scale with a flat 7th" and saying "play a C major scale but start on G". In the first case, you might expect the bass player was going to anchor on G. In the second case, maybe the bass player would anchor on C.

But if all you're doing is writing a MIDI file to play quarter notes at velocity 127 with no other instrumentation, then it's the exact same thing.\

It's just a way of thinking about the scale in the context of the music you're trying to make.

cruft
Oct 25, 2007

Xiahou Dun posted:

loving rear end in a top hat.

You're welcome?

I was trying to provide some simple explanations. I don't understand what made you angry.

e: Reading back, I think when you said "why [do] we need E Dorian when D major exists", it sounded like you did know what modes were, and wanted to understand why we used modes to talk about music. And then when you said "what the gently caress does that mean", it sounded like you wanted to know what the difference was between E Dorian and D major.

I'm sorry my answers made you angry. I was trying to answer the questions I thought you were asking.

cruft fucked around with this message at 00:54 on Nov 8, 2023

cruft
Oct 25, 2007

Xiahou Dun posted:

Okay. Let me rephrase.

What the gently caress does that mean?

I am trying to learn and all you’ve done is make me feel stupid.

Hey.

Normally this sort of misunderstanding doesn't eat at me like this, but I don't think I've ever had a post land so wildly wrong with anyone before. And that bothers me. I want to communicate clearly and not make people think I'm trying to be an elitist jerk. And I absolutely don't want to make someone feel stupid for asking an honest question.

I genuinely thought you were saying "I get what modes are, but why do they even exist when you can just talk about major scales". And, yeah, some very smart people talk about music theory that way. There are advantages to speaking about modes in terms of only major and minor scales: terms like "mixolydian" and "phrygian" can be off-putting, whereas "C major scale notes over a G major chord" doesn't take as much music theory lingo. That's what Otis Reddit was referring to in their post about old jazzers. I feel like there are some YouTube music theory educators who do the same thing.

As a matter of fact, I had to look up what Dorian was in order to post my second answer to you. I only have a minor in music theory, but still, that's more formal education than a lot of people playing music, so I feel like it's worth considering using language that's more widely understood.

At the end of the day, it's really only music theory people who care about terminology. Performers (especially improvisational ones) learn how certain modes sound, and work with that feeling. The names of the scales are just a way to talk about it with other musicians, and the names aren't even a universal.

I'm still not entirely sure what it is you want to know, but hopefully between the other posters breaking down what modes are, and this post explaining why some people use that terminology and others don't, you've got your question answered.

But nobody here is trying to make you feel stupid, we want to help. It might take a little back and forth before everyone understands how best to provide that help, but none of this is meant as a personal attack.

cruft fucked around with this message at 01:42 on Nov 8, 2023

cruft
Oct 25, 2007

Earwicker posted:

i have two standard keyboard sustain pedals made by On Stage Gear

i dont remember exactly when or where i bought either of them, but it was at different times from different places

a few weeks ago they both stopped working, pretty much at the same time

at first they were just kind of spotty, then stopped working all together, ive tried them in several different keyboards and with both onboard sounds and using the keyboard as a controller, its basically like the keyboards just no longer recognize input from either one

what are the odds of that happening to both at the same time? could there be some other factor? its weird

Man, I told you not to take that SeaWorld underwater gig.

cruft
Oct 25, 2007

Earwicker posted:

i have two standard keyboard sustain pedals made by On Stage Gear

i dont remember exactly when or where i bought either of them, but it was at different times from different places

a few weeks ago they both stopped working, pretty much at the same time

at first they were just kind of spotty, then stopped working all together, ive tried them in several different keyboards and with both onboard sounds and using the keyboard as a controller, its basically like the keyboards just no longer recognize input from either one

what are the odds of that happening to both at the same time? could there be some other factor? its weird

So the good news is that a sustain pedal is just a momentary switch in a fancy housing. Aside from repairing a broken TRS cable plug, this is the simplest electrical repair job possible. If the pedal is already useless, I suggest that before you throw it away, you take it apart and inspect it for some obvious problem with the switch. Feel free to PM me, or post here (there's not a lot else going on), I can help you with this!

cruft
Oct 25, 2007

Earwicker posted:

yea ok im going to do what my dad would do and take it apart. or i guess both of them at the same time just to see whats going on.

i saw a few tutorials on youtube, but none for this particular type of pedal.

im working on some other stuff right now and have a deadline so i will probably get to the pedal tomorrow but i will post pics of my progress or lack thereof

Taking photos is a pro move. Before you remove things, photograph where they were, then set them aside in little cups or something, in order of removal, so you know how to put everything back together, and can refer to the photo to see where.

You're probably going to find a very small green board with something sticking out of one end that goes clicky-click. That's the switch. When you post a photo of that, I'm going to advise you to check all over it for breaks.

I'm also going to ask you to check whether the switch closes a circuit. For that, you'll need a continuity tester. If you have a multimeter, that'll work. If you have a flashlight that you can take apart, and some spare wire, that'll work too. Or you could buy the absolute cheapest piece of crap multimeter from Amazon and you get a bonus battery tester and a couple other features you may use around the house in the future.

I don't know anything about the multimeter I linked, other than it's cheap and looks like it's probably garbage. All you need is two wires and something that beeps or lights up when they're connected, so a flashlight will work just as well if you can hot-wire its switch.

e: Ooh, Harbor Freight has an oddly similar garbage multimeter for a couple bucks less!

ee: blast from the past: I used https://www.amazon.com/dp/B07HGZKM3H/ for like 12 years. My dad gave it to me. I kept meaning to try to fix it, but now that I see it probably set him back $5 in 1987, I'll throw it away.

cruft fucked around with this message at 22:57 on Nov 28, 2023

cruft
Oct 25, 2007

MechaSeinfeld posted:

Partners looking to buy an electric harp from marketplace. Caveat is the seller says “amplified sound is not uniform (same pitch)” and that it might be an issue with impedance but he’s unsure. Looks like it’s just a modified piezo style pickup and I got dumb guitar brain so my first thought is it needs a preamp or it’s not powered properly.

Could be a lot of things. Might be a bad piece of wood used in the sounding board.

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cruft
Oct 25, 2007

pocket pool posted:

Unfortunately, no amps with multiple inputs - the lovely amp is actually broken, haha. (The volume pots are shot and it's a 20 year old Fender practice amp so it isn't really worth repairing or anything.)

Apparently my calling on this planet is to harass musicians to repair their equipment.

Potentiometer replacements are incredibly easy. If replacing the broken foot switch is a 1, and replacing a soldered chip is a 100, replacing a pot is a 2. If this is really an amp you don't care about, why not practice fixing it, so you'll know how to do it when it's something you actually want to keep?

If you decide you'd like to do this, start by posting some photos of the broken pots and as close as you can get to the insides of the amp where the wires go to the pots. I'm here to help!

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