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Showing posts with label music performance. Show all posts
Showing posts with label music performance. Show all posts

Tuesday, November 10

Constructing Trap House Music - the bunchie. [resonance; sourcing audio samples; music production].

In the context of producing a quality audio sound design and music composition based on Trap House music, the percussive development and intelligence in placement and sequencing of a standard motivic idiom - based on what might appear to be seemingly simple, yet which the pros would attest to: a four-on-the-floor beat is one of the most difficult drum tracking and drum session gigs to play out. Not only is the beat quite obvious, and naked, in its simplicity, rendering mishaps and slip-ups most apparent and uncomforting, to the listener. It is a bold and challenging rhythm, requiring much timing, insightful progressive design, in choicing the splices of the beat, as it develops, and stands, on its own. Drums and bass are known as the backbone of a song. Moreover, the drums and the bass are aught to live off of each other, and for each other, oftentimes picking up slight syncopations and touches upon one another, as bass can also lead several lives; sometimes, a percussive element about it. 

Good and well-placed drums and percussive elements, within a track, are notoriously difficult to pull off, given stock virtual instrument patches on a beat-making sequencer machine, drum synth, etc. - in general. For one thing, drums and percussive elements are tunable instruments. A live percussive or drum set has some give to it, in that the live instrument can be malleable in its tuning, given the nuance of the performer and performance that is played out. Somewhat similarly, yet less organically, designed drum beats and sequences can be tuned, with individuality to the notes, when using MIDI, and, as well, in audio, although pitch-shifting or transposing audio supposes a bit more of destructive editing and computing resource. In addition, having to tune a drum sound individually is a very non-present tense mind-mode activity - I find that the creative process is easily abandoned, or that it becomes an ineffable debacle of becoming bored, or apathetic upon the subject, this being the creation of a fuckworthy track dance music piece. 

Somewhere (recently), along the way, “bunchie” got introduced to me. The semiotics of bunchie are obvious, in common usage in higher analytical standard American English: its bunch, it’s an active, present-tense descriptor, it describes a subject, or topic - it’s easily adapted to the comically [attempt] insulting, yet for me, over a short while in tossing “bunchie” around, in my head, and that it had floated by others, in the confines of my mind, and here and there, I’d let it leak out that bunchie had been developing in other people’s | smells, etc., | eww, umm. BunchieApHff way off calibration meter, on this one. Take some care towards others; few things, at this point in time, are truly as hermitic as we might appreciate, given that “no man is an island” happened long ago, in literature, and we live in a techno trap house bwopp-down dance-off, at least sometimes, and it’s a hard to live down and abandon pop and electro scene musical form, and it gives rise to more advanced, more chill, more future, more fancy, through its simple and rudimentary primitivistic design and demand - a promise of a relentless four-on-the-floor bass kick, and a BPM that can be extensible, modular, and transient, and with mixtapes online being a significant distributor of musical supervisory taste and disposition on aesthetics and preference, a lot of ground can be covered, and trap house beats commonly set the feature of much of what I consider to be well supervised mixes. 

The bunchie, though, simple and dumb as it might seem, is actually a resonance freedom declaration, of a departure from octaves and A=440 Hz common and standard music theory: it is the sound of our anything; here, in my case, for my bunchie, I chose the bunchie of my recyclables-collection bag, with bunches of smushed plastic bottles, cans and glass in it, as I jogged down the beach boardwalk earlier this afternoon. It is the resonance of me, myself; I bunched up and smushed the cans and bottles, and the glass containers are made at a standard size that suits our Imperial system standards, our measures of our selves, as human form, and for that sake, there are elements of individuality, as well as community, within a bunchie bag of recyclables being jogged out, spliced up, and sampled, for bunchie scrum, of drum tracking in a basic trap house music beat, as the aspiration and inspiration towards a banger track. 

The bunchie carry-alongs of an of on bum.

My other source audio comes from the Metro train’s sounds, as I can appreciate the hums, chugging, whistling, poofs, and struggle of the great force of weight being compelled, via locomotion, as it were, of a massive and deeply resonant source sound element. 

The sound of a bunchie tracking design, or for a build-up or break-down development or bridge element in a song is well, when it’s tuned | appropriately |, yet it can stand on its own, with a complementary tuning, unique to the song itself, given that it resonates, or develops well, within its own context and for the other elements of a completed music production piece, or song. 

Bunchie just happens, in life, sometimes. The dance floor gets bunchie. People get bunchie, too, all on their own, although a bit less distasteful, of the preferably notion, moving on, in life. At some point, I’ll compose a new track with my new bunchie beat-making concept, fresh in my mind. Hopefully you’ll become inspired, as well, to exercise your musical intelligence and resourcefulness, through the node of bunchie. 

Sunday, May 20

Some geotag hash-caching of my recent past week; it was eventful and productive. Get a feverish au jour arts and culture inspiration slight travel shopping destiniaton frenzy of a within-walking distance destinations: DTLA day trip!

I come to the Stanley Mosk Courthouse front sidewalk concrete slabs over on to of the Grand Park Hill, as a homeless person at night, and sometimes during the day, to charge my device, and also because there are several possible free Wi-Fi internet connections available. Kendall’s Brasserie WiFi internet connection is the most reliable source of internet availability in that particular area.

On this night I was once again prolific on my iPigeon iPad Air and I planned some events on social media such as to perhaps attract some novel introverted attention towards myself, in that I announced that I would be playing a Chill Trap and Futurebass Mix Link to my favorite YouTube LP Mix in this genre (2) on my iPad in the early morning hours after the LA Times Food Festival and Patina Restaurant Group Kendall’s Brasserie pedestrian crowds died down, since I had brought my USB-powered 11 watt Go Groove speakers from Fry’s Electronics with me and the Cross DJ app I would be using was a new program that I had tried out using only a few times, at this point, although I found it to be immediately user-friendly and I had pulled off many several successfully delightful mixes, mashups, scratches, and transitions with Cross DJ. The performance was fairly bitchazzschazty, as expected, since the location is typically monitored and broadcast by night as an au jour locals walkthrough destination on the mornings after some slight yet recursively social-engineering needs-to have had you depravity occurs as a wash-up demographic on these high shores of Grand Ave. A civic center downtown Los Angeles (DTLA) destination at the center of commerce, culture, and process server taskbearers on top of Bunker Hill. The Los Angeles Cathédral, named Our Lady of the Saints,is right up and across the street, and several magnet schools are within walking distance. Needless to say, it’s one of the most paparazzi TMZ places to be seen in downtown Los Angeles, as far as getting a good and fair mix of what truly constitutes DTLA as far as pedestrians-passers-by.

I also spent a few hours on my iPigeon.Institute home exhibition « Au Jour Pigeons » in getting the ink brush illustrations (buy art supplies at Raw Materials LA, they have a rewards program!) digitally archived as original remakes from digital photograph by hand to get the images as rich vectors with a history from the original paper on my iPigeon iPad Air by using Adobe Draw from Apple’s iOS iTunes App Store which is a relatively simple program-as-concept, yet it is resolutely useful program beyond what it does, in and of itself. Combined with the Adobe Creative Cloud app, which integrates many aspects of ad hoc featuring and functionality of the other iOS app offerings within the Adobe suite of mobile programs. Adobe also offers the same app suite for the Google Android operating system in the Play Store. Apple’s latest offering of the 5th generation iPad is not only faster and cheaper, but also now allows users to make use of the Apple Pencil, which was previously only available for use on the iPad Pro. I made good use of the iPad Pro in action along with the Apple Pencil last year before my devices were stolen from me as a narcoleptic homeless person; a notable story during a time of au français personées développer to come, as I had recently encountered another young man as a washed-up DTLA narcoleptic. It had been a while since I had been laid upon true narcolepsy happenstance wherewithal. You can read about such similar occurrences; or perhaps much more delightfully, listen to them through iOS accessibility text-to-speech engine at various speeds, on one of my Tumblr blogs.

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