While listening to a piece of music, focus and try to “see” what the music portrays. If this, for example, is “The Seasons” by P. Tchaikovsky, then you may see an autumn landscape, a flying three, an awakening nature, a lark ringing in the sky. When listening to a song, one can always “finish” in the imagination what is more suitable for it: the wide expanse of the landscape, festivities …
Music, like any art, conveys the thoughts of the person who created it, the thoughts and feelings of those whom it depicts (in song, dance, opera, symphony). Compare the sounds in the music with the colors in the painting or the melody with the lines in the picture. And to make it even more interesting, draw what you Continue reading
Many may rightly argue that the great advantage of sampled, electronic drums is that they don’t force you to use ‘realistic’ rhythmic patterns or drum sounds. Most dance music, for example, is created using incredibly fast, accurate patterns and sounds that have only the most superficial relation to something that can be reproduced by hitting a stretched drum skin with a wooden drumstick. The ability to create rhythms by programming, layer by layer and step by step, of course, offers great scope for imagination and freedom from technical and sound restrictions imposed when it is necessary to play and record a real drummer.
However, it happens that the sound and feeling of a real drum part is required, and circumstances – time, place, lack of funds or lack of a drummer – force people who themselves do not play the drums to “rattle” something in the sequencer. And, although the sequencer part will never be a perfect imitation, there are many things you can do to make it seem more convincing. Continue reading
In recent years, technologies in the field of creating spatio-temporal effects have improved significantly, and we can talk about significant progress in this area. We owe this progress to scientific research in the field of acoustics and psychoacoustics, the development of new methods for synthesizing sound space and new reverb algorithms.
Reverb (from the Latin word re-verberatus, “re-strike”) is the process of continuing sounding after the end of a sound pulse or oscillation, due to reflections of sound waves from surfaces. Therefore, reverberation takes place only in enclosed spaces, although under special conditions some of its types can also occur in half-open space (for example, in a stadium, city square, narrow mountain gorge, etc.). We can justifiably attribute to indoor spaces such a natural formation as a cave – that’s where the reverb is so reverb! Continue reading