DX=WVE, the second track of Int nearly didn’t make it to the selection of Monopolx’s EP. But a shortened version did, and here’s a lil video.
Oh btw it’s now completed.
Quantization is the process of correcting, or shifting, imprecise musical notes and beats to underlying musical representation or grid. To preserve more of natural human timing nuances, percentage of quantization can be applied to in many sequencers or DAWs.
While swing, in short, means a method of transforming straight grooves, by timing of notes, to shuffled patterns. And when it comes to swing, the MPC sampler series has an iconic status for its groovy musical timing. Its influence on electronic and hip hop music cannot be denied.
The MPC’s creator, Roger Linn, has claimed that he stumbled upon note quantizing and swing by accident when developing the Linn LM-1 drum computer: by only permitting 16th notes using 1 byte per 16th note, the sequencer program was correcting played timing errors, hence quantization. And by delaying the playback of alternate 16th notes, and by varying the amount of delay, the swing/shuffle feature was invented.
Linn’s implementation of swing applied to quantized 16th-note beats is merely delaying the second 16th note within each 8th note, or all the even-numbered 16th notes within the beat (2, 4, 6, 8, etc.)
Swing amount is the ratio of time duration between the first and second 16th notes within each 8th note. 50% is means both 16th notes within each 8th note are given equal timing, in other words no swing. 66% sets perfect triplet swing. Most useful swing increments are between 50% and around 75%. 62% will feel looser than at a perfect swing setting of 66%, while 54% will loosen up the feel without it sounding like swing, according to Linn.
Some riffs and motifs I’ve written are results of controlled randomization. Sometimes I’ve stumbled upon unpredictable yet musical outcomes, that I’ve set up for, but not composed in a more traditional sense. My work then has been more like being an active listener who identify and pick parts to use in a musically structured context.
Set probability conditions when programming sequencers. And combine with randomness, in this way probability introduces increasing amounts of unpredictability to the sequence. The probability parameter determines the chance of being true. For example, how often the randomness will occur.
Some sequencers allow for different aspects of the sequenced notes to be affected, such as playback order, steps on/off, velocity, gate time. Others set probability of the event, pitch, octave, length, rate, note direction and so on.
Anyways, you should really try this, it could also be a way of overcoming writer’s block.
(via https://open.spotify.com/album/5tEZY2gponLP35x6y742Og?si=NzqBCw8sQtStMlsMp0JtcA) Good morning. We’ve made some strange sound and music.
My band Monopolx releases “Int” on 30 November. Here’s a music video of the first track, “Cryptog”.
While I think it’s important to be monitoring music productions on several systems, this time it has become more of a biproduct of premisses in the making of my new recording.
Now my main monitors are the Genelec 8030A which sounds clear but lacks a little bass. And because the home studio is located in the bedroom (not acoustically treated) I also listen on headphones a lot. I use Sennheiser HD 25-1 II which sounds pretty balanced and good, although not too comfortable.
Sometimes I must to shift place (to the dinner table) and work solely in the box (meaning Ableton Live), and sometimes I mix, mala fide, on the classic Koss Porta Pro on ear headphones.
I’m playing the music on a smaller hi-fi home system (NAD C 320BEE amplifier and DALI Concept 2 speakers with 6.5” woofer/midrange) to get more bass, and to add a larger room ambience and noise to the experience.
I also listen to bounces of the mix on Apple’s muffled EarPods, extensively, because I want the music to sound okay there too. And when outdoors I listen on the wireless Bose SportSound (that aren’t noise cancelling).
I’ve also listen on the shitty laptop speakers of my MacBook Pro and on speakers of the iPhone, just do hear which frequencies are coming through hard and how the sub translate on tiny speakers.
And lastly, I try to listen not only focused, but also in the background with people talking, while cooking and such. This is not very scientific, but I sometimes hear annoying frequencies or other things in the music that I normally wouldn’t recognize.
All this monitoring aims to find a mastering sweet spot for music to sound as intend. That means, perhaps not the “best” from a technical point of view, but from at sound, mood and feel perspective. In music, I’m trying to communicate and achieve something that has not necessarily to do with audiophile correctness or fine sound reproduction. Controlled and uncontrolled dirt and noise are most welcome in my music.