I like that. The synth line could be introduced more subtly, and the whole thing (but especially the first part) could just be longer, but that is definitely interesting. I especially like the use of the sirens and the vocal samples.
Again, it's like Negativland having some kind of dance party with early Girl Talk in tow. Kind of wish you would use more triplets in your drum programming sometimes, but I really like where the beat goes in the latter half with those strange, mewling vocal samples.
Again, it's like Negativland having some kind of dance party with early Girl Talk in tow. Kind of wish you would use more triplets in your drum programming sometimes, but I really like where the beat goes in the latter half with those strange, mewling vocal samples.
As in three drum hits in a row? Don't usually care for them but it works for Pink Kokane stuff.
The section that comprises the beat is, what, two minutes max? That's too brief given how long the outro is. It feels incomplete.
I guess but that more tells me I should chop the outro than anything. I'm a short story writer, not a novelist.
I knew you were going to say that, and I have to disagree. Sometimes you have to let a groove ride a little. Have you learned nothing from the masters of the beat?
Also, I think Vanilla ate the second part of your response, sadly...
I don't really take much direction from DJ Shadow. Even less from say, The Orb. Not that I don't like them, it's just not the format I put my songs in.
There is also that I used to have a terrible habit of making songs in the half hour range (eg. Desert Burner), so...
Again, it's like Negativland having some kind of dance party with early Girl Talk in tow. Kind of wish you would use more triplets in your drum programming sometimes, but I really like where the beat goes in the latter half with those strange, mewling vocal samples.
As in three drum hits in a row? Don't usually care for them but it works for Pink Kokane stuff.
As in, when a beat is divided into three equal parts instead of two. That's how you put swing in a beat. Stick triplets over two- or four-beat rhythms and you have a polyrhythm. Slight three-against-two inflections on beats are what give them that slinky feel. Basically a cornerstone of 90% of hip-hop.
Again, it's like Negativland having some kind of dance party with early Girl Talk in tow. Kind of wish you would use more triplets in your drum programming sometimes, but I really like where the beat goes in the latter half with those strange, mewling vocal samples.
As in three drum hits in a row? Don't usually care for them but it works for Pink Kokane stuff.
As in, when a beat is divided into three equal parts instead of two. That's how you put swing in a beat. Stick triplets over two- or four-beat rhythms and you have a polyrhythm. Slight three-against-two inflections on beats are what give them that slinky feel. Basically a cornerstone of 90% of hip-hop.
This is you again assuming that I know music terminology because I make music.
I don't really take much direction from DJ Shadow. Even less from say, The Orb. Not that I don't like them, it's just not the format I put my songs in.
There is also that I used to have a terrible habit of making songs in the half hour range (eg. Desert Burner), so...
But sometimes it works!
Also, you are older and wiser now, with more skills and a greater acceptance of constructive criticism. You can create longer material if you want to.
I'm not saying it doesn't, but it's just not something I do often. I do do it sometimes (see: "The Other Line", which I designed with a very specific aesthetic in mind partly as an homage to very traditionalist trip-hop and partly as a sendup of Araabmuzik), just not often.
Again, it's like Negativland having some kind of dance party with early Girl Talk in tow. Kind of wish you would use more triplets in your drum programming sometimes, but I really like where the beat goes in the latter half with those strange, mewling vocal samples.
As in three drum hits in a row? Don't usually care for them but it works for Pink Kokane stuff.
As in, when a beat is divided into three equal parts instead of two. That's how you put swing in a beat. Stick triplets over two- or four-beat rhythms and you have a polyrhythm. Slight three-against-two inflections on beats are what give them that slinky feel. Basically a cornerstone of 90% of hip-hop.
This is you again assuming that I know music terminology because I make music.
It's pretty basic, like knowing what time signatures are—4/4, 3/4, 7/8, and so on. It's something that, ultimately, you should know if you make beats, even if you know squat about theory. In the end it's just counting: Cut a length of time into six parts, and have one thing hit on every other part and the other on every three parts. The shorter parts—the "ONE, two, three"—are the triplet, while the long ones—"ONE, two"—are a duplet.
So there you are. Even if you didn't know the words, you knew what it was. Now you have the words.
Sorry if that sounded condescending. I just think it's important that we're on the same page here.
I have heard that exact thing before and genuinely do not understand it mostly because I have no idea what "a length of time" is supposed to designate.
Mo, I don't know how to help you learn triplets, but there's a recording on the top-left of this wikipedia page that might help you.
OK well I've definitely heard that before but if you asked me to make one intentionally I probably couldn't.
How so? You have drum machine software. Most such software allows for you to program triplets.
I have FL Studio. Lazy as it may sound I pretty firmly work in grids of four, eight, or twelve, and little else. Just because I theoretically understand a concept doesn't mean I can actually translate it to FL.
It would really be quite simple. There are twelve full beats to a measure. Treat every set of three as a quarter-note in length—like the kick pulse in a four-on-the-floor beat. That way, every individual beat is a third rather than half the duration of the underlying pulse. If you subdivided it into smaller divisions—say, 24—you could overlay even more detailed rhythms and things.
I could probably explain this better if I weren't sleep-deprived and unfamiliar with FL Studio's grid system, but I get the feeling that it would be way simpler than you are making it out to be. And, once you did it, I think that you would open up a lot of rhythmic possibilities that you have inadvertently closed yourself off from.
every one of those blocks can either have a sound on it, or it cannot.
There's also a more complicated system called the piano roll but that's more for synthesizers and such than percussion.
Oh, that's pretty simple, actually.
Have the kick on and off for six (or three) little blocks each time instead of four. Then have the hi-hat or snare in fours or twos or whatever. Instant syncopation. You could switch back and forth between the two, too.
(By the way, a rhythmic note that is three beats long relative to a root rhythmic note that is two beats long is called a dotted note. It's the inverse of a triplet, and tends to sound rather curious. A lot of jazz drumming uses them in the cymbal work.)
Might work better if you had two of the three or so elements (say, kick and snare) land on multiples of three with just one (the hi-hat) providing the syncopation. Unless you like the more 3/4-timey feel of that beat, in which case, go for it.
Comments
Mo' said:and again
Again, it's like Negativland having some kind of dance party with early Girl Talk in tow. Kind of wish you would use more triplets in your drum programming sometimes, but I really like where the beat goes in the latter half with those strange, mewling vocal samples.
I guess but that more tells me I should chop the outro than anything. I'm a short story writer, not a novelist.
As in three drum hits in a row? Don't usually care for them but it works for Pink Kokane stuff.The longest song on Donuts is three minutes long.
I don't really take much direction from DJ Shadow. Even less from say, The Orb. Not that I don't like them, it's just not the format I put my songs in.
There is also that I used to have a terrible habit of making songs in the half hour range (eg. Desert Burner), so...
yeah it just kinda sounds like one line to me.
also dat noise
I dunno man I'm not good at things.
It'll probably make more sense to me when it's not six AM.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Mo, I don't know how to help you learn triplets, but there's a recording on the top-left of this wikipedia page that might help you.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Most of the music in the indie game is too active to be used as headache medication.
im really happy with my use of space here
I have FL Studio. Lazy as it may sound I pretty firmly work in grids of four, eight, or twelve, and little else. Just because I theoretically understand a concept doesn't mean I can actually translate it to FL.
I use eight more often.
But regardless I still probably could not do this.
every one of those blocks can either have a sound on it, or it cannot.
There's also a more complicated system called the piano roll but that's more for synthesizers and such than percussion.
I have tried doing that before and I usually mess it up.
And anyway, like I said it doesn't matter.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
?????????????
OK but this sounds real bad.
Maybe it'd sound better if I was using different samples. I tried to upload to soundcloud to show you but it won't work for some reason.
I was just following his instructions.
Actually the hi hats bother me the least, I'm used to tickers.
honestly if you had just said "put a kick every sixth instead of every fourth" I would've understood you sooner possibly. Or maybe not, I'm dense.
Thanks anyway.
Also my album is being released tomorrow woo.
I keep accidentally doing this.
these things should be numbered.
cool.
thank you.
RELEASE SCHEDULE
The Beta Tape -- Tomorrow
Pink Kokane Flow (as Pink Kokane) -- At some point
as yet unnamed Plateu of Leng project -- at some point
SUPER XCLUSIVE ALBUM TEASER
http://soundcloud.com/blixty-slycat/beta-tape-teaser