u/iamnotlefthanded666

Hi all,

I have never gotten formal musical training. I learned guitar (and music) through metal/rock covers and reverse-engineering than I pivoted to DAW/MIDI technologies and gotten a further grip on the technicalities of music (dynamics, harmonics, phase, loudness maximization, etc).

While most music I write is in the minor scale (or in Aeolian mode? I'm not sure I'm properly using terminology here), my rock/metal background has equipped me with some magic tricks to cut corner within a scale without the music breaking and sounding off-key.

The most classical (classical as in "oh that's a classic" not as in "classical music" haha) trick I employ may be injecting the triton (Root+6st) in a blues-y way (usually gliding downward or upward to land on the 4th or 5th of the minor scale). This trick is used all over music I listened to from rock/metal to 2000s R&B/pop.

An even more daring trick is injecting the major 3rd (Root+4st) or I guess playing directly or indirectly the major chord of the key instead of the minor. The internet search led me to just one particular instance of this referred to as the **Mario Cadence**. In a nutshell, it comes to playing the following chords given a tonic X: (X-4)maj -> (X-2)maj -> Xmaj. It ressembles a famous chord progression from the minor scale 6maj 7maj 1 found all over western music. Yet it lands on an unexpected major chord rather than minor.

However, it is not the only way I gravitate towards playing that tonic chord as major instead of minor. I found myself also replacing the tonic minor chord with its major version in my favorite family of chord progression involving 1, 4th, and 6th (0, 0+5, 0+8) in various orders. It's also found all over western music, and it works so well but that's another can of worm I'll be ready to dig into one day.

Here's an example from a breakdown of a recent piece of music I'm working on.

The harmony, carried by the bass and chords, is more of a power-chord progression from A 1st to F 6th to D 4th. In my pads and chords, I throw the major 3rd (tonic+4st) into it and it doesn't break, one can even say it gives a dreaminess to the whole thing. If you have a more informed description of what you hear, please let me know.

I also noticed that major 3rd (+4st) doesn't break when the minor 7th (+10st) is still ringing. Which cannot be necessarily said for other minor-only notes (like the 3rd (+3st) or the 6th (+8st)).

I'm open to any leads I can follow in order to understand these maneuvers. I sort of learned by ear and observation. Over the years, I luckily stumbled upon some music that cannot be explained or understood through a minimal understanding of keys and scales.

Hi all,

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My first few weeks in TD (having a strong coding/Blender 3d/DAW experience).

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I got pretty comfortable with basics of TOPs, CHOPs.

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I made from scratch some CHOPs processing pipelines to processes multi-tracks, to get useful information/textures from audio spectral data: low, hi end energies, low scrolling spectrogram on subfrequencies reacting to kick and bass in EDM, some basic pitch detection using spectrum + analyze, ...

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I really like the particlegpu component found in the palette. I have few questions on its forces.

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1. How to prevent turbulence from stagnating (condensing particles in some pockets of space)?

2. How to use 2D textures to modulate forces?

3. What are other relevant points to keep in mind when working with audio-reactive particles (given particles live for some seconds, i found that colorizing them at birth is not snappy enough for audio reactivity for example)

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Thanks in advance for any answers. I'm failing in love with the software and the possibility it offers.

Hi all,

I'm an electronic music artist. I produce my own tracks and DJ at a very good level. However, I'm connected to 0 active musician in the Paris area.

I've got a ton of motivation and time in my hands. I also am very skilled in visuals (from still 2d graphics to moving music-reactive 3d).

I also have autism which somewhat complicates social interaction in general and initial contacts with people I'm interested in connecting with in particular.

I have a strange non-native french (non-native ways of expressing basic stuff, vocabulary hills and holes, ...) but very understandable nonetheless.

I wish there was like a directory of relevant artist collective that I can apply to. Obviously that's not how it works.

So here I am, open to any suggestions or tips regarding artist collectives, electronic music meet-ups or open-booths, connecting with other artists.

Thanks in advance, and have a good non-caniculled day

Hi all,

I'm looking for a plugin that delays or repeats input. I like feedback (w/ filter) so i might prefer it to be delay plugin in this aspect.

Changes to delay time (using a knob) must be grid-synced.

In other words:

If I start at delay time 1/4 and then move the knob progressively or chaotically to 1/32, I don't want the changes to be continuous in value or time:

- discrete in value: jumps from 1/4 to 1/8 to 1/16 to 1/32 without operating in delay times in between. (Ideally multiples of 1/16)

- discrete in time: the actual change of the delay time parameter is synced to the grid, i e. no change takes place in between causing elements to start falling of grid.

Moreover, I'd be down to make up an effect rack in Ableton but i don't have an idea on how to make a single knob controls which effect chain to send input to. It would require something like the max devices honeymapper or multimap to map knob values to multiple gain inputs. Multimap can do the work but right now I'm having issues saving my multimap patch after closing Ableton.

Hi all,

I know in EDM, we are often tempted to put the kick in our low-end/bass bus. It's reasonable, the kick contains a ton of sub frequencies, so it belongs there. It does end up sometimes like the kick and the drums are living in entirely different spheres.

However, I have also tried on some occasions to route a parallel HPF-ed kick track to my drum bus. It did have some interesting consequences. In this case, the compressor on the drum bus behaves differently because of the kick's transient joining the drums. The snare/sounded more "glued" to the kick.

This parallel processing is not risk free. My HPF-ed kick transient can phase-cancel my original kick (not good).

I wonder what you think about this whole dilemma and how approach this.