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Insane synth I have it too

Phenomenally unhelpful tone generation. That said, a great and generous production

Please post links to youtube videos you include

3:36 Pantheon, not Parthenon.

brilliant. keep em coming

hey, thank you again. this series is amazing and I will watch it all again. I like to talk with you about Johan Gielis and gielis formula /super formula in music. I think it will fit where this series is going. I very much advice you to read, Johan gillies book inventing the circle. its all about the shapes we find in nature, and how they can be created by one formula. , its goes beyond the over perfection of the circle and in to living world. I believe in it is a way to heal the dissonance.

Good content, need to work on your audio editing, cut out when you are clearing your throat

Wow, what a gem. Thank you so much.

If your goal was to create something in your own, personal, modern style, then that's fine. But if your goal was to write something that can fit in Bach's style, then there's a number of problems with it. 1. Using a contrabass, rather than a cello, is a poor choice of instruments. No composer of the 17th, 18th and even the 19th century would ever do such a thing. Never use a contrabass on its own; it must always be paired with a cello. Typically, cellos and basses play in parallel octaves from beginning to end. There exist only a few exceptions, where cellos and basses briefly (!) separate from each other, and these exceptions only start to appear towards the end of the 18th century, and only in major symphonic works. There is good reason for why they did that: Having the bass line played by both cellos and basses in parallel octaves makes it clearly audible, provides a solid foundation for the harmony, and enriches its timbre with overtones. And if that was necessary 300 years ago, it is even more necessary in our time, where much music is consumed via laptop loudspeakers and their poor performance on bass frequencies. 2. A rule which Bach and all his contemporaries rarely broke, but which you broke twice, is that the middle voices should never cross below the bass. You did that in bars 2 and 29. You can occasionally find instances where Bach did something like that, but it is never towards the beginning of a piece. The beginning of a piece should be as "law-abiding" as possible, especially when writing music with a religious theme, such as Bist Du bei Mir. More liberties can be taken when writing programmatic music or musical comedy. The reason why crossing below the bass is bad, is that it falsifies the position (root or inversion), and thus the function of a chord. Making a chord sound as something different than what it was meant to be, is the musical equivalent of mispronouncing a word. You risk the listeners not being able to understand what you meant. 3. The most serious problem is the overabundance of incidental parallel octaves. When you set out with two instruments playing in parallel octaves from beginning to end, that's fine and even desirable. But when you set out with your instruments playing independent roles, like you did here, then allowing them to slip in and out of parallel octaves, is self-sabotage. I won't point out where you did that, because there are just too many instances of it. Bach used to refer to parallel octaves as "pigs". They are bad because they create the impression of two previously independent voices suddenly losing their independence. It sounds as if one voice briefly just vanished, or became subservient to the other. They are even more problematic when you only have three voices to work with, and you need all three of them to play different notes of a chord. In three-part harmony, the very existence of an octave means that you wrote fewer notes than the chord demands. Parallel octaves only make sense in the following cases: - If they persist for several bars, to strengthen a voice by pooling several instruments together. - If you intentionally want to create the impression of emptiness, like, for example, if the lyrics mention death or desolation at a particular moment in the piece. - If you want to create the impression of torrential impetus, like, for example, if portraying a thunderstorm, or a charge during a battle scene, or an emotional outpour. Naturally, this only works when the music is both loud and fast. - If it occurs in the last two notes of a final cadence, and then only if it involves the root notes of each chord. - If it occurs between disparate instrument families, like, for example, between the strings and french horns. 4. Another very serious problem is that you don't always resolve dissonances. All 2nds and 7ths, as well as all augmented and diminished intervals of any kind, are dissonances and must always resolve in a 3rd or 6th. If they instead resolve in a 5th or 8th, they sound cheap and hollow. If, instead, they continue to form yet another dissonance, they sound ugly and clumsy. The only satisfactory solution after a dissonance is either a 3rd or a 6th. There is only one exception: The major 7th naturally "wants" to resolve in an 8th. 5. You often forget that a chord needs to have a 3rd! A chord can live without a 5th. It can even live without a root, paradoxical as that sounds. But without a 3rd, it is dead. For example, in the very first chord, you write Eb in the viola. The bass already plays Eb, and the violin plays Bb. You should have written a G.

thank you for making this video, it's great - helps clear up a lot of things

Really loved the attention to detail and the gobs of sources. Can't wait to see the next one.

Muchos grcias!

Big shout out from DAVE IN ENGLAND 🤞

Godamn , this is really nice dude , keep it coming

Nicely done ✔️

What kind of pre are you running I noticed you said it was a cloud lifter clone but it seems like it works great !

Thank you, sweet video cant wait for next one

Good info, but you "think" it has something to do with VCV Rack? Sounds like you didn't read the page you linked us to.

❤

Jazz hands

14:27 "But you need a church" hahaha. Great video! Would love to see more on the low pass gate, functions, reasons to use and creative ways of using it!

Front 242, NIN, Netzer Ebb, Ministry, DEVO. Before a.i.

this reminds me of mortal kombat and the classic doom i don't know why

Definitely a Maroon 5 feel! Nice!!!

Sounds like it'd fit in perfectly in an underwater horror game. I absolutely love that! Sorry if you've been asked this but what keyboard are you using and what software/machines are you using to get that effect?

Wow. What is this?

You are soo good at that!

good stuff

nice kickdrums

killer patch

Have you tried this with other synths? I have done this experiment in the past and noticed some slight differences also, but never anything this drastic, which makes me suspect it might be a bug with this specific ableton synth?

record with tape

Get obs my guy, wanna hear that direct audio

Is Mr Finger the same person as Mr Fingers?

Top tune

This is smooooth....

@akmoyer17 lol "richard p james"

@chazwozzler. I saw the flying car too mate. What a topper track!! = )

Housemasterz:)

@chazwozzler I think you should stop using drugs for a while. Hahahhaha, I'm kidding! =)

anyone else see the flying car at 0:13?

@akmoyer17 true the combination of those deep strings and acid riffs is typical Larry Heard, what an innovator!

god.. what would i do to watch this video w/o stupid MUSICMASTERZ word. anyway- this tune rules.

WOW. this feels really good. Rep'n CHI!

sick track

i had the amnesia album when it first came out - the dti and police who raided the radio station i worked on took it , wankers

reminds me afx' analord series.. nice track