Rick's recent piece...

Rick (and list),

Very nice work on your latest suite! If those on the list haven't taken the time to listen, I might suggest:

"The latest thing I've done with Rhino is here:"
http://rm-and-jo.laughingsquid.org/temp/fbs-op45.mp3

BTW, it isn't a small file at all! Rick, maybe for something like this you could find a few excerpts, and do a small demo file with x-fades? In any event, it certainly shows the possibilities of Rhino, because you've done a very nice job of 'orchestration', allowing for a lot of variety in the sounds.

One of the problematic areas of the softsynths is finding a true 'character' for each, so that the mix of instruments in a piece doesn't just become flat. In a way, a couple of different instruments helps, if only because they might take different approaches to sound generation.

Would you expand just a little on your percussion use? You mentioned sampling around the house (it sounded lo-tech yet appropriate!), and I thought you said something about FXpansion?

In any event, it is really nice to hear some music for a change, with a lot of thought put into that aspect - beyond tuning.

Cheers,
Jon

`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`
Real Life: Orchestral Percussionist
Web Life: "Corporeal Meadows" - about Harry Partch
http://www.corporeal.com/
NOTE:
If your reply bounces, try --> jonszanto@...

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"

/makemicromusic/topicId_5248.html#5248

<JSZANTO@A...> wrote:
> Rick (and list),
>
> Very nice work on your latest suite! If those on the list haven't
taken the
> time to listen, I might suggest:
>
> "The latest thing I've done with Rhino is here:"
> http://rm-and-jo.laughingsquid.org/temp/fbs-op45.mp3
>

***Yes, this file was 22 megs and about 25 minutes in length, but I
listened to it in the entire.

Nice job, Rick! I agree that the sounds are superior, for the most
part, to the TX81Z FM sounds. What were the details of the
hardware/software setup again?

The only sounds I found a little questionable were the "rattly" high
ones. That sounded a bit like I had a rattle in my cans, a problem
that I actually *did* have at one point.

I would also recommend, Rick, and this you can take with a grain of
salt or disregard entirely, is more rhythmic variety in your
compositions as a whole. Everything is in 4/4! Of course, you can
reply that Harry Partch used regular rhythms. This he did, however
his use of tempi and registration were so ideosyncratic that he
could "get away with it" and still always come up with something
new. You don't want to end up sounding like an electronic
Hindemith... :) (not that there is anything particularly wrong with
Hindemith, but we've "been there, done that...")

Maybe just adding an "overlay" of another layer of sounds at a
different rhythm would help the piece immensely. What I *don't*
think you want is, plod, plod, plod, like we're walking through a
long and rather tedious woods...

But you may entirely disregard the above if you feel it doesn't apply.

Nice job and best wishes!

Joe Pehrson

P.S. Was this piece posted someplace else before?? If so, I guess I
missed it the "first time around..."