Weeklybeats is a 52 week long music project in which artists compose and publicly release 1 song a week for the entire year.
Starting January 1st 2018 GMT each participant will upload one finished composition per week. Any style of music or selection of instruments are welcomed and encouraged. Sign up or Login to get started or check our FAQ for any help or questions you may have.

WB18_25

By Tri Angles on June 22, 2018 12:57 pm

almost halfway! it's become second nature by now.

morning meditative jam, same setup as last week and some sampla guitar; traveling this week so i have way less time than i'd like, but adventure calls!

This submission is licensed by author under CC Attribution Noncommercial No Derivative Works (BY-NC-ND)

  • Play
  • Download
June 25, 2018 6:51 pm

Wow, this one in particular is amazing.  Love the tempo.  I still don't understand how this is a guitar but not a real guitar.  Can you post a screenshot of how you are programming this guitar?  It sounds so good!

June 25, 2018 8:12 pm
orangedrink wrote:

Wow, this one in particular is amazing.  Love the tempo.  I still don't understand how this is a guitar but not a real guitar.  Can you post a screenshot of how you are programming this guitar?  It sounds so good!

sure, this one is 100 BPM. as for the programming it's just careful velocity/ note offsets to mimic a strumming pattern and the physicalities of playing a guitar. here's the midi data for a couple chords:

you can see how some chords are played more lightly (blue/purple) and the notes are slightly offset as a pick or strum would move across the string, starting with the lowest string on downstrums and highest string on upstrokes. maximum note polyphony will be 6. (6 strings) from there you just attempt modeling of physical characteristics of the particular instrument you are making.

for example, for pitch bends: when using a slide on a slide guitar to effect a pitch bend, you're going to be sliding/"bending" multiple notes simultaneously. on a guitar played "normally," people usually only bend one or two strings at a time in leads and riffs and shit. adding vibratos and slight detunes, or accidentals, or anything to add that feel of being "real." i find it is near complete when i can't tell the difference anymore.

it's just a lot of really simple, tedious work based on emulating a visualized performance of that instrument in my head. hope that helps!

June 25, 2018 8:36 pm

WOW!  Thanks so much.  By this point, it feels like it would be easier to just learn how to play guitar wink  But I must say, mission accomplished because this whole time I thought you were playing guitar.

I've never really understood how to use velocities for any useful effect - this really helps my understanding/appreciation of your work.  I got some hardware this year and hopefully it will help me with MIDI programming to make it easier for me.  Wow.  Thanks again.

June 25, 2018 9:33 pm
orangedrink wrote:

WOW!  Thanks so much.  By this point, it feels like it would be easier to just learn how to play guitar wink  But I must say, mission accomplished because this whole time I thought you were playing guitar.

I've never really understood how to use velocities for any useful effect - this really helps my understanding/appreciation of your work.  I got some hardware this year and hopefully it will help me with MIDI programming to make it easier for me.  Wow.  Thanks again.

it may be more straightforward in terms of getting sound out of a single instrument, but you will never ever EXACTLY replicate a performance played on any physical instrument, no matter how practiced you are. This method allows me absolute precision and perfection and repeatability over what I want, and allows me to emulate performances of instruments i've never touched with just a recording of a single note, as well as to inject "unplayable impossibilities" if they are called for.

i also harbour the  perspective that when playing an instrument in context of a song, it's just one "track." my full productions have like 150 layers. it's much easier to hold the large perspective of the greater project when individual parts don't have too much importance in my head tongue

like, this technique is the same one i use for piano, flutes, guitars, guzheng, harps, strings, etc. any physical, non-synthesized instruments. it's just tedious physical modeling.

June 25, 2018 9:34 pm

plus i can already play the guitar XD

June 25, 2018 9:48 pm
Tri Angles wrote:

my full productions have like 150 layers


June 26, 2018 12:05 am

i mean, its not terribly high if you take into account texture layers/soundscaping/foley/drum shaping, variations of each, sends/buses etcetera. the rabbit hole of production is pretty endless and it's very possible to overdo it, but i love it.

like, this one that is for an upcoming record has 93 tracks;

and then 44 aux tracks.

it gets tedious yo!

June 26, 2018 12:06 am
orangedrink wrote:


XD

June 28, 2018 7:00 am

This is nice. A nice, gentle western vibe, with some nice bends in there. I should try something like that.

I reckon you can reduce the number layers considerably if you pack a bunch of samples into one instrument, maybe using SF2.

I'm with ya on instruments, they are just one layer, but sometimes it's the one you need, and occasionally it's the only one you need. The imperfections can be ironed out by sampling, but some people like that acoustic stuff.

June 28, 2018 2:23 pm
Devieus wrote:

I reckon you can reduce the number layers considerably if you pack a bunch of samples into one instrument, maybe using SF2.

there is that approach, but a lot of the sculpting involves seperate fx chains for each layer of things, especially when working on seperated frequency ranges. being able to automate a lot of things at later stages in the process, like delays and reverb mixes to match with midi articulations, can be a lot harder to achieve on a multi-layered instrument. sometimes i'm layering processed audio back over the original midi instrumentation.

i do definitely still use them if i have, for example a sampler instrument im making that needs to be velocity sensitive and requires layered or multisampled recordings; soundfont, esx24 or similar work really well for that.

just got a lot of layers in full productions, where i've spent months exhaustingly editing. my weeklybeats if they're DAW are maybe 15-20, and if they're hardware then they're less than 10 including sidechain dummies and mastering chain.

don't get me wrong, i see the value in recording instruments; this is just my thing i do.


Devieus wrote:

some people like that acoustic stuff.

cool

June 29, 2018 3:14 am

super rich tones - cool effect!

You need to login to leave a comment.
Login Sign-up