After All, Isn't it About the Music?


#81

#82

"For this album, I wanted to try a different stylistic approach to my work. Unlike my previous works, these tracks are in a 6/4 time signature, and have distinct melodies. "


#83

This is a good idea! I’m getting too locked into 4/4


#84

How do we do it correctly?


#85

I’m thinking changing the length of the sequence is a good place to start.


#86

I accidentally produced and mastered (not that I am good at that) a track last week. Something sounded off. It turned out I had my pattern at 60/64 or something. How does one know when it is okay?


#87

Definitely an open ended question with many answers.


#88

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#91

#92

I followed the link to the Ableton site and watched all the Binkbeats videos. The live workflow is what attracted me to Ableton and he certainly uses it like a master. It’s probably worth downloading his Max for Live plug-in if you use Ableton. I’m not sure if it will run if you don’t have Max for Live.


#93

Man that is a nice studio. I definitely wish I had space for a drum kit, a bunch of xylophones, and a minimoog stacked on top of a a rhodes.


#94

For those that aren’t familiar with it, this is an early classic exploration of non 4/4 time signatures. Well worth a listen:


#95

I had posted a performance but I feel like 4 ads in 10 minutes is just insane. Please enjoy this bit from Eddie Brown and another from Erick Walls instead.

With this stuff, it is the classy vibes that I really feel at home in, than so much trying to steal some music theory gem. Seems to me, Gospel, Blues and Jazz have this self-esteem.


#96

Binkbeats and Brubeck shout outs in the same conversation. Love it. If you haven’t seen it yet, here’s Binkbeats doing a live performance of a beautiful Amon Tobin tune:


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