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Here's the section of Paintings at an Exhibition that relates to the picture at the top of the diary.
Mikhail Pletnev : BabaYaga-Gate of Kiev
And here's something (slightly!) more contemporary with interesting timbres. Note that their huge success was based around the two female voices (two different timbres, one softer one sharper--well, that's my take); and then in the background all the different instruments popping in and out, most people probably didn't notice at the time, but the people (Benny and Bjorn) who put them in knew exactly what they were doing.
Don't fight forces, use them R. Buckminster Fuller.
Timbre is the distinguishing quality of a SINGLE tone. It is what makes a note on a piano sound different to the same-pitched note on a trombone or a violin. Technically speaking, timbre is determined by the differing intensities of the harmonics or overtones produced by an instrument. An A at 440 Hz will produce the same harmonic series on both the piano and the trumpet but certain overtones will be louder on one instrument than the other.
Timbre is also how the overtones change with time. They're not static, and if you freeze an overtone series you get a rather annoying buzzing sound, no matter which instrument it came from.
Also, overtones aren't necessarily harmonic. Woodwind instruments come closest to having a reasonably harmonic overtone series. Pianos don't - overtones are sharp at the bass end and flat at the treble end, which is why it's so damn difficult to tune a piano and make it sound good, and also why the scales are slightly stretched. Most percussion isn't harmonic at all.
And finally - these things
...and some music from them:
First -- guitar bands were ascribed to me, so here is a rather special use of the guitar: beyond the usual stuff with the bow, watch out from 06:15 in:
Sigur Rós: Svefn-g-englar, concert version (11:12) *Traitor*, n. A benighted individual who perceives an illusory distinction between serving his nation and abetting the criminals who govern it.
Freddie Mercury: Tavaszi szél vizet áraszt, Queen Live in Budapest 1986 (02:01)
...and with an organ plus a few thousand throats:
Xavér Varnus: Tavaszi szél vizet áraszt, live in the Budapest Synagogue (01:49) *Traitor*, n. A benighted individual who perceives an illusory distinction between serving his nation and abetting the criminals who govern it.
And BTW, since I see your Queen singing Hungarian, I always wondered if German bands still sound German when singing English.
Who would have noticed? "If you know your enemies and know yourself, you will not be imperiled in a hundred battles." Sun Tzu
I hear German intonation in the refrain of this Tote Hosen song, but I'm curious too what native English speakers hear. *Traitor*, n. A benighted individual who perceives an illusory distinction between serving his nation and abetting the criminals who govern it.
I had the pleasure of fiddling with a new clone version built into a flight case recently. The only thing missing was the internal spring reverb (Well, I didn't find it anyway). The old VCS3 spring could be induced to do interesting things with a bit of phsyical resonance. You can't be me, I'm taken
(You'll need a VST host to use it.)
The VCS3 had a bigger cousin:
which was sold to universities and TV companies. The BBC had one. It did most of the sound effects for Blake's Seven.
Those panels at the front are the patch matrix, which has thousands of holes.
You'd have no trouble at all getting a modern laptop to copy all of the features of a Synthi 100. You could do it in Reaktor without even blinking - or near offer, because the envelopes on the VCS3/Synthi 100 are a little eccentric by modern standards.
Once upon a time I met the designer of the VCS3 - he said it had been built using some very minimal circuits 'because it was cheap.'
In the late 60s and early 70s, EMS, which was the home of the VCS3, had the the most advanced computer music studio on the planet.
You could do everything they're talking about there on a laptop too. But it would take a little longer, and most people don't seem to bother.
Any clips you can offer us?--I'd never heard of it before, but yeah--synthesised timbres make up an ever-expanding field. I remember this one from way back--(song starts at 00:11)
Jean-Michel Jarre: Aero (08:04)
Kraftwerk: Trans Europe Express (04:01) (Yea, I had to take this one...) *Traitor*, n. A benighted individual who perceives an illusory distinction between serving his nation and abetting the criminals who govern it.
Pete played around a lot with his VCS3, and he lent it to me to get to know also. But I don't recall it getting used much in released recordings - more as a kicker-off of ideas. The rest of the band were a little suspicious of what the technology might do for their roles. And they were right to be wary. There were enormous synching probems later live on stage which threatened the life of Mr Who sound, Bob 'Plum' Pridden
You can see photos, by my oldest chum Chris Morphet, of Pete's Tickenham 'home' studios featuring the VCS3 here. I spent many happy hours in that studio. You can't be me, I'm taken
Have several VCS3s Life should consist in at least fifty percent pure waste of time, and the rest doing what you please.
Percussion sounds in Messiaen's work (09:53)
(with a gong!)
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