Bringin' it back!
If you could only own one sub-$1000 analog synth, which would it be and why?
could anyone explain to me wtf the difference is between analog and digital, sound-wise?
i dont understand the point of spending so much money on analog when we have things like U-he's Diva and midi controllers with plenty of knobs to fuck around with. and even with VA's, can people really even tell the difference after applying fx, eq and compression?
i don't get the hype
Emulation still isn't there, and it only gets the sound. A controller with endless encoders stepping through parameters isn't the same as a smooth pot interacting with a circuit. It just feels, interacts, and plays different, even if you've never actually had the chance to play an analog synth and thus can't tell in the difference of sound quality, you have to give it that.
Evolver or SEM
Because I've already got a moog, and a couple of other monosynths, I would need something vastly different. Might also just go for $999 worth of modular synth modules.
i'd get the bass station 2. i don't care what people say about VCO's being better than DCO's, i just love the sound of it for some reason. i mean, the huge number of features is really great too, but i actually just like it's sound itself compared to the ms20 mini and brutes. is that weird? just me?
hey guys I'm thinking of getting into audio engineering and keyboarding as soon as I finish my summer courses. I have some piano and reason 6 background so what do you guys think would be a good synth to start off with? I have some piano and reason 6 background
>jungle, garage, dubstep
what do you guys think
yeah, see, this analog stuff still confuses me.
all of that equipment and it's still incredibly fucking repetitive. it's always like, a single quantized sequence and some knob twiddling, even with aaallllll that equipment, for something that probably wouldn't be that difficult to emulate with a DAW and a VCF.
That would be running a digital synth through an analog filter. Not really the same as an analog synth. You still don't have pitch tracking, VCOs or mixer saturation, no envelopes or VCAs. You're basically getting a quarter of the analog sound.
anyone been checking in on the LXR drum machine?
Korg Mono/poly in shitty cosmetic shape, legit for 1000€ (fuck dollar)
also german sq 80 dude reporting in
I don't get why people would use that, why doesn't everybody just use the same exact plugins and all create the same exact music. All music sounds completely the same when you wash the. In the same Fx and compression plugins anyways.
>IMO more of a DIY machinedrum, way cheaper and with 7 available triggers!
I am literally enamored with this device. I have a decent amount of electronics and programming experience too. This looks fucking rad where do I get one.
Idc how cheap you got a Juno, the P5 has never been a sub $1000 instrument, they didn't see the same kind of price dip the junos did. I got so e crazy bargains on synths, but a P5 under a grand is only a pipe dream.
Okay guys, which should I buy a Moog Werkstatt or an Arturia Microbrute? They're both around the same price, but the Arturia has many more features that the Moog lacks. But then the Moog sounds like well, a Moog. Any advice would be appreciated,
The werkstatt is more of a /DIY/ mans instrument, sure it's piss easy to assemble, but it's not meant for that. It's meant to be modded and improved upon. Youre going to have a tougher time fitting it into most workflows.
daily reminder that the waldorf pulse 2 is the superior <$1000 analog synth, and that complaints about the lack of knobs is bullshit because you can assign up to 31 fuggen parameters to a MIDI controller, easily expanding that shit for those who want tactility.
>"Although pre-routed to VCF and VCA, it's possible to use them to modulate a number of parameters via the 8 modulation slots."
>"These slots have 24 sources including a definable MIDI controller, and velocity release, as well as some interesting mathematical functions, to 31 destinations"
The noise issue is just a characteristic of the Korg35 filter, same as on the version 1 of the original MS-20.
The MS-20 can be a pretty dirty sounding synth, very aggressive and the noise is part of that. You either learn to live with it and embrace it (or begrudgingly accept it) or save up for an original version 2 with the newer filter design - most people prefer the sound of the version 1 Korg35 filter. It's not like the noise is always audible, it's only when the cutoff on the highpass is pretty low so some of the smoother sounding patches have a little bit of white noise until the note has rung out and envelope has returned to zero. The noise can also be filtered out somewhat with some high cut on your mixer.
It's still a great sounding synth with near limitless sonic possibilities.
>IMO more of a DIY machinedrum, way cheaper
considering the main reason i don't buy elektron stuff is the price, though i love the quality: how cheap are we talking, here?
i'm also a sophomore electronics engineering student, so if it's a build your own sorta thing and saves a lot of money while maintaining quality, i'd be very interested to build it as a side project.
What do you do when you've hit a creative slump? I went away from making music for a week and now I'm back in my studio and don't feel like making anything. I wanted to finish a few good songs by August but it seems like it's not happening
Didn't we already tell you to stop fucking shilling that thing so hard? The only thi g you've convinced me is that I do t need a pulse because it sounds so uninteresting.
>controlling an analog synth with a midi controller
I moved out of the box to avoid that shit.
I play in a band wih a minimoog and it's no problem. I'd have more of an issue with the pulse because I'd need a keyboard, knobby controller, and everything to power them and midi them up.
Btw, drift inst that bad of a problem, and there's tons of other differences between them and DCOs. Then again, how would you know without trying?
Can someone help me out on a key issue?
can somebody listen to the quarternote guitar that starts around 1:04 and tell me if its in key? im having trouble with the midi since ableton seems to not have an E# on the midi keyboard
the track is in c# major
thats what i was thinking and what i started to do since it sounded right but i just wanted to make sure. e and f are only a half step apart from each other where a to b is 2 half steps
I mean, it sounds in key. I can barely hear a guitar in there unless you're referring to the underlying chords. i'm too lazy to figure it out, but by ear It sounds like it might be diatonic.
>kind of sounds like a piano
yeah it does, I felt that way too. but the amount of side chain makes it kinda hard to listen to. this is just my opinion though. maybe sidechain fewer things in the ix? unless you really like the effect, it's cool I just dunno how long it could retain its value
its a remix of this track
i wanted to make it bouncier and more of a club track. I think the hard sidechain makes for a fun dance track
>ableton seems to not have an E# on the midi keyboard
I've never played a minimoog irl so i wouldn't know, but you need to power it by plugging it into something too, don't you?
Otherwise, all you'd really need is the pulse 2 and a controller with midi out to control it, all of which could fit in a backpack, which I'm pretty sure you couldn't say about the minimoog. Honestly not that big of a deal, plenty of really nice keyboard + knobby controllers in the $100 range that are portable and don't need a computer.
It's hard to pass up all of the modulation options you've got available, even with dco's. I personally think it's a fair trade for the price point, though I'm still debating between it and the bsii.
if i were going to go vco i think i'd rather go expensive rather than cheap, and get a sub37. i don't really think there are any of the sub $1000 mono vco synths are that great after listening to a shit ton of demos on youtube.
it's difficult, though, since i don't have anywhere near me that has these synths available to test irl. i constantly question whether i should actually go for the MS20 mini instead, or the slim phatty. each has so many limitations in favor of having dco's, though. pulse 2 has everything you could ever want in terms of modulation and build quality and features, even 3 oscillators, but in return it uses dco's instead.
i feel like if you use vco's you have to sacrifice a lot of features, or else pay a lot more money. feel free to prove me wrong, though, as to why i should choose vco over dco. i do want warm/organic/fat sounds (especially basses), which is why im getting analog to begin with, but i'm not interested in 80's cheese which i hear often in demos with this ms20 mini, which is unfortunate imo. makes me question whether i could get the sounds i want out of it if i owned one. the noise issue earlier stated in the thread also worries me.
lets talk mastering. finishing a project now.
favorite processors? analog, digital.
digital: Fab Filter Pro L
analog: GML8200 - which i do not own
listen to demos of synths of youtube, find one that makes sounds you like, buy it, and when it arrives at your house you plug it in, push some keys, twiddle some knobs, and maybe patch in some cables.
Fab filter is indeed awesome.
I understand analog synths, but I never really got analog processors. I just do all of my mastering in my DAW, it's the source sounds and analog filter that's the most important thing imo.
If you're worried about 80s cheese, why are you even considering the pulse? DCOs and OTA filters are so much more 80s sounding than the korg filter structure, which is much more 70s in circuit design.
My point about the minimoog is that drifting doesn't really make it harder to use in a band. Lack of a fine tune knob on the panel does because you're playing with people who tune strings by ear, not computers tuning to a frequency table.
hey /bleepproduction/, I hate to be the guy looking for production feedback but I figured you guys would give me some good criticism.
This is my bandcamp - http://arcadecity.bandcamp.com/
Can you guys help me out by pointing out any flaws or things to improve on as far the production? Any mixing advice? I'm using Mixcraft 6, which I'm in love with but what other DAW's do you think I should try?
If you guys could just quickly skim through a few tracks and give me any advice, that'd be great and I'd really appreciate it.
Also, do you guys know of any good tutorials on synthesis, or making my own synth patches from scratch?
Yeah, maybe you're right. I guess if I'm gonna go analog, I might as well go all the way, right?
Think I'm gonna order the ms20m and get hands-on with it for a couple of weeks, since 30 day return policy. If I don't like it, I can just return it, but I'm only going to be able to get the sounds I like out of it without the cheesy fucking retro techno shit everyone on youtube uses it for (I make trip hop) by using one myself irl.
I've heard some good bass examples thusfar so it looks promising. Hopefully the noise issue isn't TOO big of a deal, especially with basslines.
First the nu-vibe, now this? Fucking awesome. I hope guitarists will hate it too, because it's digital and not the same exact limitations as the original. Then I can get them for cheap.
What the fuck are these things called just listen
not the horn sample or whatever bass/synth is going on the background but those drum thing that go tick tick tick ticktick tick tick ticktick
That's like asking "what do I want in a car?"
Well? What do you want in a good midi controller? Do you want good keys? Do you want good pads? Do you want lots of knobs? Do you want sub par versions of all three in one?
New question what is this asshole using to make these sounds
not the regular beat but those glitchy sounding bbbbbbratrataratabbbfdbb sounds
literally impossible to explain, what the fuck are those things and where do i get some
What's better for New-Wave, DX7 or ESQ-1?
Best drum pad under 200 for New-Wave?
DX7 if you are prepared to learn how to program it. It's a mythical beast to tame, but nearly every single 80s New Wave band had a DX7.
The ESQ-1 is really good at making pads and softer leads (and is a hell of a lot easier to program) but I can't see it being particularly useful for New Wave.
Most didn't. That's why those patches are so passe now.
Patches can be saved on cart, but you get four banks internally. The multibank carts can be almost the price of a beater ESQ these days. Don't worry too much about finding one. It's practically the minimoog of button+slider interfaces. Extremely fast to use.
Not that I know of. It has an expansion slot for more storage but it can store 40 sounds internally.
It can be if you don't program it yourself, which 98% of people with DX7s in the 80s never did. The presets are notoriously super cheesy since they tried to replicate acoustic instruments (which works horribly with FM synthesis), but since programming it is so difficult most people stuck to them anyway.
The DX7 is possibly the most important reason 80s music is associated with cheesiness.
But you can get some very nice stuff out of it you couldn't get on anything else if you learn it. Brian Eno's album Apollo was made almost entirely with a DX7 and a steel guitar for example
what's your dream synth? pic is mine, might be modest but damn I'd be so happy to have one more than any other
Realistically? This baby. I know its so overused, but I'd be completely set for life with a juno-60, a nice digital like a DX7 or SQ-80, and maybe a monosynth on the side. I just have to hope the market shifts away from analog worship sometime.
ESQ is a fine choice though. Kurz K2000/2500 is great for replicating these sounds too. If you can find one with (or "find") the factory analog sound set they put out it's practically a who's who of new wave synths and they sound GOOD.
Actually, that was just to reduce tuning issues, as many musicians with insufficient forklift experience would set the CS-80 down too hard, thus knocking the trimmers out of alignment.
Kurzweil, used to be king of the sampling synthesizer. shit happened and they've been struggling a while. You can get maxed out flagships from them for very cheap now, it's great.
Nah it was well after that. Long story I'm not drunk enough to get into.
Basic K2k as VA with no samples, just the simple saw algo. Strong stuff for such a basic patch. VAST is, to this day, one of the best things in hardware.
drunk enough to forget the url
yeah, you only get a P5 for 1k or less because it's broken and needs a shit ton of work done to it.
I did manage to buy my p5 for $2700 though, which is less than what they usually sell for (3-3.5k), but that was the cheapest I've seen a working P5 go for, which is why I bought it.
Not at all, he's a loony but he surrounded himself with great engineers and musicians. Long story short, YC fucked them out of a bunch of money and for a long time the uncertainty preventing them from doing much R&D. Hyandai bought them years back and they've since settled up and have people doing real work in Waltham again. The new Forte looks incredible and is a new platform. I'm hoping that this means a new K is in the works but the people I know in the know are tight lipped about it.
same but because they're a douchebag
As much as I love Ensoniq the absolute only thing it has on the K2 is immediate ease of use. Sound quality, build quality, potential breadth of palette, sequencer, everything is worlds away better on the kurzweil. It's not really a fair comparison.
(Also the SQ8L vst, that is free, is easily the best hardware simulation I've ever used. Unless you're hardware-only, don't buy an ESQ/SQ80)
>the people I know in the know are tight lipped about it.
That usually means something good. I know a guy who was able to get a free K2000 fully loaded for "reviewing purposes", but he also works for Avid and can pull shit like that off.
I don't expect any NFR boards to be heading my way, but I'd fucking drive 100MPH to HQ to pick one up if I was :v
It is complex, however, it's also straightforward. Spend a few weekends with the manual and you'll be pounding the numberpad rather than scrolling with the jog wheel. The biggest thing is just get familiar with it, like anything.
To stay motivated there are still a ton of patches out there for download. Also a side effect of them becoming cheap is that there is a SHITLOAD of commercial soundware/samples for them in the music warez scene, since pirates in russia can now afford them.
I actually bought shit from Pyramid back in the day and lol if you think VSTs are expensive. We were buying disks and cards with 2-15 patches on them for $100. dannyglover.jpg
Who else praises Giorgio as god
not that much, the dude only made dance music. I like Patrick Cowley's stuff more at that, but I still really like Moroder's work. My mom often sings "I Love to Love You" and she doesn't even know who sang it.
Yeah it's great. If you can, try to find a K2VX, those came with the expansion ROMs and PRAM upgrade factory. You don't need those things but they're nice to have. You DO NOT need the sampler option to use your own samples. You can load them disk or MIDI SDS.
It's widely lauded to the point I wonder about it. I'm no piano player, that's why I ended up with the 76. I would probably go for a roland A80 just because they made so many more of them it'll be easier to find parts if/when it breaks. You're talking about ~thirty year old controllers at this point.
Thoughts on the Zoom Sampletrak as a cheap sampler for fucking around with?
KX is so bad I probably have a break somewhere. Kurz is good. They're both dogshit compared to my old EPS, wish I never sold that thing. Unweighted keys but super playable, probably my favorite board.
i do more productive things with my time and come back to check out this thread every once in a while :^)
idk about the other guy tho, who might have been the original too idk might have never come back or didn't feel like responding. there's at least two people responding to you i know that m uch at least, cheers m8
>EPS, wish I never sold that thing
Goddamnit. I feel the same way. That poly aftertouch was gorgeous, but the sampler outputs emitted a high pitched whine that gets louder the longer the machine is on.
The funny thing is the guy I sold it to has it up for sale again, but I don't have the heart to buy it back when the guy probably felt scammed. (I tried as hard as I could to tell him that it was broken) So now he has it listed without the output issue, and claims to be selling it because "my workflow has changed" or some other BS.
does anyone else use a vacuum cleaner to clean out their synths? I just opened up my poly 800, which was giving me some really bad modulation issues. whenever I played it the pitch would go wacky until it warmed up. then I opened it up and cleaned it with my vacuum and it's working good as new! I think I might do this to all my synths every half a year or so to keep them clean
Aww, that probably could've been fixed with a re-cap.
Please don't, they're giant static electricity generators. If you wrench on them, get an 3M ESD safe vacuum. They're very cheap second hand. I keep one in the shop and one in the car.
Otherwise go outside and use canned air
maybe i should review them and work on them, great i accidently put my pc to sleep with ableton open and now it doesn't want to load... I actually like going back and reviewing the music I made, these tracks really speak to me
I need help and I could get it here.
I got myself Ableton Live and I my main guitar vst is Guitar Rig 5.
The thing is, I got a track with 2 guitars. I want Guitar 1 to sound louder on the left headphone and Guitar 2 to sound louder on the right headphone, something like this:
Something like Guitar 1 80% on left side and 20% on right side, and Guitar 2 20% on left side and 80% on right side. I think this is called panning, not sure.
How do I do it? Please help.
Does anyone have much experience with Push?
I'm trying to use it for improvised stuff but I have a few issues. I've set up a bunch of custom instrument and effects racks that I want to use as my building blocks. Is there a way to make a folder that the browse button will default to so I don't have to browse through pages of useless presets.
if im not teaching a lot, ill spend between 3-8 hours a day working on audio. usually producing, sometimes mastering/mixing for other folks
i read tutorials in my off time at work or if im trying to do something specific and im not sure how
Never mind it was easy as fuck to google.
"Poly-Box is a pitch following variable chord generator controlled by your synthesizer and Poly-Box's own keyboard with built-in memory. Poly-Box takes a single pitch from your synthesizer and creates two banks of pitch sources. Each pitch bank contains 13 simultaneously available pitch sources at precise semitone intervals - covering an entire chromatic octave. The pitch banks may be in the same or different octaves, and can cover the range from one above to three octaves below the synthesizer oscillator."
I have no idea what this means. Seems to old to be sampling every note. Is it alternating between them rapidly like an old SID chip or something?
EML poly box. Takes an input, and turns it polyphonic by articulating square waves to the envelope of the input. So it doesn't sound like a polyphonic version of your synth, it sounds like your synth plus polyphonic square waves
Can you elaborate what you mean about signal flow. I think I have a decent understanding of how everything you'll find in a DAW works. Basics of electronics. I read all of synth secrets at least and understood it.
If anything I probably take my understanding for granted. I usually have to slow myself down when I teach people stuff.
I'm sure I have gaps in my knowledge though, I just don't know where they are yet.
Do you just do one on one tutoring for production?
finally bought the roland S-50
turns out the guy selling it was fucking Oneohtrix Point Never
I was born without a sense of smell, sorry. he had a water bottle that he was constantly sipping from
i mean audio signal flow, both analog and digital in relation to recording, mixing, and mastering.
i teach audio production/recording/mixing at a private college
I imagine he was sipping at it to avoid awkward small talk. That's what I do anyway.
Thanks for the article, looks good.
I'd love to hear way more about what you do and how you got into it.
i just teach a few classes. every teacher in a private/art school has a few classes they teach. i got into it by working a lab instructor job and then moving into teaching
ive been working with audio in a professional capacity since 2006
Any tips for improvising electronic stuff live? I'm using Push, BCR3000, minibrute, volca bass, a few pedals (memory boy, big muff, frostwave filter which is ms20 HP-LP filter in a box), a 2 input interface. Might get something with 8 inputs so I can use my gameboy and DS-10 though they might be a bit gimmicky. Might prefer a mixer though so I can use the filter and delay as sends.
Anyway, any general tips? I'm just trying to follow my ears and make any dramatic changes rhythmically at the start of a bar or build it up. I also forget to modify patterns once I have found something I like.
I'm happy to try and answer any questions or talk about pretty much anything.
If you're going to bother with a forklift...
How do you guys play live? I have played live with bands before but me alone on a stage playing electronic music, I have no idea how it's done. what I would need to plug into house speakers, and I guess I would trigger instruments of my songs with a launch pad or soemthing, and play leads with my synth if I wanted?
Is it an all ITB setup or what?
You should definitely have your own mixer if not. And either way, you should be plugging into a DI box that the house engineer normally supplies.
ITB setup should be laptop>interface>DI box
OTB setup should be gears>mixer>DI box
if you have a computer combined with that setup, run it through it's own DI or into the mixers tape input
You just have to find the balance between pushing play and actually manipulating as much as possible that you find the most rewarding.
You will probably need a mixer or some kind of interface to whatever gear you're using to output your mix.
Anything seems to be fair game but it is getting to be more fashionable and expected to have some kind of set up beyond a laptop and controller.
I think most guys just play with effects and parameters and try to vibe on the mix.
Slow volume swells. Slow filter modulation. Lots of delay. Very wet reverb with a long decay time.
If you're asking how to make sounds in general I'd try pirating Ableton. If your morality makes that a problem just play with demos or trial Reaper for as long as you want. TAL makes some good free VSTs.
okay this makes a lot of sense. I'm not trying to be fashionable yet, I just want to see if I can do it. it's mostly ITB but I could easily play parts with a controller or synth. I forgot about how popular it is to mess with fx and stuff live too. I dunno if I'd do that at first though.
I'd just try a bunch of ideas out, properly rehearse them and see what works and what is fun.
I think it'd be kinda weird seeing a guy push play and then just jam along on a keyboard though. Almost like keyboard karaoke. If everything else is sequenced why play the lead? Just my opinion though.
Chances are your mix will sound a lot different than you expect so being able to tweak the mix is a big plus.
Yeah, kinda like DJing I guess. You can gauge crowd reactions and work that angle. If something is dragging then move on. If people are into it you can hang around a bit longer.
That's a pretty vague question. Try concentrating on cool hi hat patterns and filtered guitar and slap bass samples. Syncopation too.
Why would I invest so much time, energy, and money into this if I wasn't proficient? I'm not one of those guys who got started making hip-hop beats on FL Studio and posting them to soundcloud. It started with a piano and a teacher.
My intentions weren't to find who the ones who can't play an instrument and talk about how shitty they are because they can't. it's just to see who can and who can't. with computers and DAWs, good songs are good songs no matter if you can play them with your hands or not.
also you shouldn't be ashamed to say no since it's all anon here. this is just for reference since this general is new
>It started with a piano and a teacher.
didn't for this dude
Is it normal if my DAW gets overloaded just by playing big chords on a Grand Piano with a MIDI Effect, as seen in pic related
I know my computer is average at best (Intel Celeron, 3GB RAM. 2.6 GHz), but can I get some tips on getting it to perform better
Are other DAWs "lighter" for shitty computers?
proficiently wasn't used in the question... but:
basically just knowing whats going on, being able to sit down and get some ideas across with a basic understanding of what you're doing.
i studied music privately for 9 years before I knew about DAWs or the difference btwn a synth and electric piano or a VST. there's good and bad aspects of playing at an advanced level in that you get a lot of people who can play play play whatever they're given but cannot create or listen intuitively.
I know i'm a bit late, but should I bother getting a novation drumstation, the 808/909 emulation. Person is selling around from 200-250ish. Been thinking about getting a hardware for my drums and I like the synth but the the fact that it is a rack sort of make me eh. I would love to find a relatively cheap drum synth with a nice sequencer like the 909 had or korg electribe.
do you even future
>being able to play instruments is bad
Are you that guy who spent that one thread trying to convince people that keyboards are bad, and that ableton's push was the future? While only providing demos of push making 12 tone music?
Even if you aren't, I challenge you to find any worthwhile music that isn't 12 tone.
It is pretty cool. Though, I can tell you're not that same guy. You have something worthwhile to bring to the discussion.
Ever since I saw the Tonal Plexus, I've wanted to place legos on them, even though they wont fit. Excellent instrument.
>Any one component of music is superior to another.
kek, especially when it's something as easy as rhythm
>related to 12 tone
as in the only tones are well within 12 tone equal temperament.
I challenged you to find music using tones outside of 12 tones, not just lacking them. You're basically criticising arrangement of pitches when you just plain avoid using tones altogether.
your allegedly all-encompassing music theory only has you fooled that playing 3 notes at the same time is difficult, evocative, and superior to rhythm because its insights into that field of music are so embarrassingly underdeveloped
>because its insights into that field of music are so embarrassingly underdeveloped
Ironic coming from somebody whose knowledge of music is so embarrassingly underdeveloped, to the point that he can only use ad hominem attacks on music theory, without any knowledge of what it is.
Music theory isn't solely about 3 voice chords. It's about voice leading. Understanding how voices move and what harmonies they create in doing so. Involving rhythm, pitch, and dynamics. Not just one of them.
At least you can easily show that you don't know what music theory is.
>Understanding how voices move and what harmonies they create in doing so
what does Music theory have in the way of how rhythms move? rhythmic "voice leading," how come there's no mention of that?
ironic because all music and sound is to do with signals and time, and rhythm and harmony both live on the same exact spectrum
>how come there's no mention of that?
Probably because you need to learn more about theory than a cursory google search? Voice leading couldn't happen without any rhythm, you'd be left with voices staying in the same place.
So are you agreeing that rhythm and harmony are equally important, or are you going to stay delusional and insist that music using only rhythm is superior to music consisting of variations in rhythm, harmony, timbre, and dynamics?
imagine the harmonic bits of music theory went like this:
>there's an A note
>there's an A# note
>there's a B note
>there's a C note
>there's a C# note
>there's a D note
>there's a D# note
>there's an E note
>there's an F note
>there's an F# note
>there's a G note
>there's a G# note
that's the entire treatment rhythm gets in "Music Theory." 1 chapter to explain the most basic of subdivisions and then leaves the rest up to you. you wouldn't be suckin its praises so hard if that's all it was?
>are you agreeing that rhythm and harmony are equally important
>are you going to stay delusional and insist that music using only rhythm is superior to music consisting of variations in rhythm, harmony, timbre, and dynamics
neither. i'll insist that emphasis on rhythmic development above all others is what makes the most compelling and communicative music. dynamic, timbral, and harmonic qualities are good too when they serve the rhythm
>that's the entire treatment rhythm gets in "Music Theory."
What evidence do you have of this? You don't seem to be well versed enough in theory to make generalizations as such.
actually, stay delusional was one of the options
>actually, stay delusional was one of the options
It's funny how he tries to come off smart but fails to make a convincing argument. He just relies on vague generalizations and straw manning music theory. He should just stick to regular petty insults, because that's a more appropriate level for him
>Voice leading couldn't happen without any rhythm, you'd be left with voices staying in the same place.
you can't have one without the other, that's a given: any unit of sound has A) a unit of time at which it vibrates and B) a unit of time for which it lasts. you can't have A without B because it would take up no time and thus would not exist within real time and you can't have B without A because if nothing vibrates for any period of time then nothing is heard.
yes they codepend on one another, but for all the development been done on chord colorings and assembling pitches in arguably meaningful ways, there is little work to match that on the other end. and virtually none of any meaning in the commonly distributed western theory of music.
Do you have any evidence that it's not imbalanced? Haven't heard even a bit of that either
lol ok i'll stay delusional, meanwhile you two stay ignorant
What work is left to rhythm then? You've already got mixed meters and polyrhythms, there's not too much to elaborate on. The reason theory doesn't cover rhythm further is that you need a solid understand of rhythm to even begin learning about theory.
If you insist that there's more to rhythm, then what is missing in western canon?
Also, what is so ignorant about saying that rhythm isn't superior to harmony?
>You've already got mixed meters and polyrhythms
where is the voice leading equivalent?
where is the chapter on juggling meters in an effective and resolve the movement in a not off-putting fashion?
why are there developments on harmonic rules for counterpoint but none for counter-rhythms?
there's so much missing and you can't justify that saying
>there are different durations of notes and you can place different ones on top of each other and you can change from meter to meter
because that states the basics and leaves it there
Oh, you're talking about cadences. Yes there rhythmic cadences, but you need to learn how to use your words to talk about music. Just because you don't know what you're looking for doesn't mean it isn't there.
Why should I read more? You ask and I provide the answers. I haven't asked you anything but what you think theory lacks. So far what you said it lacks, it doesn't, you just lack the conviction to learn about it.
What literature do you want about cadences? And what would it even stack up to? There's no other alternative. I'm not here to spoonfed you, you need to do your own research if you intend to criticize it's values. You can't simply rely on information I give you to argue against it.
>either way post some cadence literature, let's see If it stacks up
Apparently you still haven't found out what burden of proof means.
>I think it's you who ought to read more
Because he provided you with the words you did not know applied to the very concepts you thought didn't exist in music theory?
its a keybaord, innit?
you just love those fallacies, dont you?