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Messages - Altus

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I definitely dont what to get personal so no need for judgement here.  The topic is the issue and its implications not those of us discussing them, so hope I did not come across that way.
Not at all. :)

What upset me is they didn't have the murder off camera or a fast cut.  The girl was whacking a dummy in the head with a sledgehammer while blood spurts everywhere, including the girl.
While you didn't outright explain that in your original post, I suspected this was the case. Obviously, another great method to shock the viewer. By leaving the camera static, no cuts, it makes the viewer feel almost like a voyeur to a sick act. Add the child as the murderer, which is fairly taboo, and that brings it up a notch. Very often there will be no music. It's all very manipulative toward the viewer.

Anyway, I realize I keep taking this topic off base. Sorry about that. I enjoy analyzing films, and especially enjoy dissecting scenes that elicit a emotional response (good or bad). In your case, your reaction was so strong it took you out of the film completely. You were thinking about the real life implications of using children in these films. The reason I keep taking the conversation off base is actually my attempt to explain why parents would let their kids take part in these kind of films. I'm not saying they're great parents, but probably not as bad as you think. ;)

I still believe that both examples (kid bludgeoning mom and kids with guns) are harmless fun in a film-making sense. When on a film set or location, the whole situation is contrived and pulled away from reality. It's often hard, tiring work on-set, but ultimately from the kid's point of view, it's just playing, even if the end result is meant to be serious.

I'll check out Infernal. Thanks for that.

Everything and Nothing / Re: Casting little kids in sick violent movies
« on: October 01, 2015, 04:00:52 AM »
Mike this is a helpful look behind the scenes but the tragedy is as I understand drone on for creating this thread....why are we even in this place that we would pretend that death is a game....a game for a child that has not even had much of a chance to experience the game of Life....Im using your word to illustrate a point, not going after you.  :)
Violent films have an audience, and they certainly aren't for everyone. Is it exploitation to use a child in a film such as Drone described? In a way, yes. The producers did it to provoke an emotional response, and it clearly worked.

Is that wrong? It depends on who you ask. I put myself in the shoes of that child, and I would've jumped at the chance because it sounds like fun. Does that make me a bad person? *shrug*  ;)

Everything and Nothing / Re: Casting little kids in sick violent movies
« on: September 30, 2015, 04:25:09 PM »
For what it's worth, the process of filmmaking is very different compared to the finished product. The magic of post-production. Sorry if I'm stating the obvious, but it might help you understand why a parent would let their child work on such a film. What appears violent and gory is anything but while on set. In the case of the film you saw, they'd walk the child through the process numerous times. They would show how everything is fake, including the weapon in their hand (which would be made of hard foam). They would see where the fake blood comes from, and the crewmember who controls it. Doing all this takes away any brutality and realness, turning it sort of into a game instead.

I highly doubt the parents would let their child watch the finished film until they were older.

Out of curiosity, what was the name of the film?

Other Ambient (and related) Music / Re: Steve Roach - Bloodmoon Rising
« on: September 26, 2015, 06:50:23 AM »
Disc 4:  this sounds like looping the tail end of a track above so it's more like a billowy aftermath of previous intensity.  A bit boring but these are just first impressions.
You should definitely give this disc another listen. It starts dark and rumbling, but around the 26 minute mark there's a moment of silence and then shifts to an entirely different direction.

I've found these four discs to be a vast improvement of Steve's long-form work of late. Very dynamic, emotive, mysterious, inspired. I deeply enjoyed it from the first listen. A rare occurrence for me.

Other Ambient (and related) Music / Re: Steve Roach - Bloodmoon Rising
« on: August 18, 2015, 06:25:39 AM »
Yup, pre-ordered it last night. Looking forward to delving deep into this beast.  ;D

Everything and Nothing / Re: People proof CD jewel cases
« on: August 06, 2015, 03:59:34 AM »
Haha! I came across a double jewel case with this exact problem a few weeks ago. It great to keep things in place during shipping, but yeah, feels like you're gonna snap the disc in two just to remove it.

Thanks again for your support, Richard.  :)

Seren: I certainly stand in awe of those so comfortable with their instrument that they can play beautiful music and make it look so damn easy. That your friend could play something with non-standard tuning after just a strum is impressive.

Julio: Painting and drawing came to mind when I originally started this topic. I realize I never touched on it, but my topic mentions it. You answered a question I had about an artist's painting process. In your case, you pre-plan for art, but not for music. Very curious indeed.

In my limited experience in writing (words), I've found it best to pre-plan plotlines before setting forth. However, a number of times a writing session resulted in the storyline taking a different turn as I was writing it, similar to when I make music. I suppose spur-of-the-moment changes aren't that surprising though.

As you mentioned, creating patches from scratch can be demanding. That's a whole other world for me. Designing sounds obviously plays a huge role in music, and I know some artists are all about sound design. If it wasn't for them, we'd not have patches to work with. For me, it pulls away from the creation of music, and I end up spending my time fiddling with knobs and envelopes instead. ;) To keep the momentum, I prefer to take existing patches and alter them to my needs. I've only dipped my toe in the world of building patches from scratch, and I can appreciate the work and time involved.

These are all great insights.

Forrest: your mention of formal training is the main reason I never pursued it. Even though I've been doing this for over 20 years, I still consider myself naive in the creation of music. I'd worry that knowing the rules could stunt my creations. The rules I've learned have been purely from producing my own creations and listening to music intently. When playing a chord, I have no idea what that chord is called, but does that really matter? I would think that limitation only matters if I'm trying to work with other musicians. I could never work in a live scenario with others due to my lack of knowledge.
I'd like to think that naivety sets me free, in that I can pursue music in a way that would make a very formal musician cringe. Not because the music is bad, but because it's not following the "rules".  ;)

Seren: We are alike in that a title can be a huge form of inspiration. I have a long list of titles that are waiting for music to accompany them. Some are track titles, others are album names.

As I suspected, many of us improvise, enjoying the experience of creating without specific intent. Everyone has their own process of creation, but there's certainly a overarching theme across all of us.

I'd still love an "audio out" from my brain though.  ;D

While this isn't "tech talk", I figured here was the best place for this post.

Something I've been musing about recently is my process of creating music. I've found over the years that attempts to reproduce an idea I hear in my head often ends in failure. I can usually get it out of my head and into my DAW just fine, but in the process, the magic is lost.

There could be many reasons for this. The simplest answer is the soundsource. Either modifying or creating a patch from scratch just isn't cutting it. Another could be the fact I have no formal training in music theory, nor any training in playing an instrument.

In the end, what works best for me is to noodle on the keyboard. Once a seed has been created, the music often writes itself.

One last thought. I have no trouble creating a specific mood in my music. If I'm feeling sombre, I can sit down and produce something that reflects that feeling. I find it strange that I can reproduce something so nebulous into musical form, yet attempts to reproduce a melody or chord progression ends up falling flat.

Returning to my original question: Are you able to sit down with an concrete idea in your head and successfully turn it into a song?
Another way to put it: I'd like to hear your own findings regarding what your intent is when you sit down to create, and what the outcome is.

The music Conelrad is able to produce from Buzz continues to blow my mind. I'm looking forward to his upcoming Bunker 2.

Music Gearheads Tech Talk / Re: iOS - useful for an ambient musician ?
« on: April 18, 2015, 06:11:45 AM »
Yes, JMJ is talking about VSTs, plugins, etc. that are trying to emulate analogue synths. They can't compare to the real thing. I don't think anyone here would disagree with that. But there are tons of VSTs and apps that aren't trying to emulate an analogue sound.

And thank goodness, because that would be boring. ;D

Ultimately, whether using an ipad app or beefy analogue synth, they're both just tools to make music. How you use the tool makes all the difference in the world.

Everything and Nothing / Re: two sad tape recorders
« on: February 15, 2015, 07:13:59 AM »
Thanks for sharing. Did you check out his channel? He has a bunch of really interesting experiments.
This one was especially cool:

building a wall of sound using six bricks and some space

Recently finished Middle-earth: Shadow of Mordor and had a blast. The combat is fluid and doesn't get boring. The banter between the orcs (technically uruks) is hilarious. Before a captain engages you in combat, everything stops for a moment and they belt out a nasty quip. Oh man, it puts a stupid grin on my face every time. ;D

On the multiplayer front, I've been having tons of fun with Payday 2. It's odd because it's kind of a grind, which normally turns me off very quickly, but for reasons I can't put my finger on, I keep coming back for more. It's not entirely serious, certainly larger than life, so I think I enjoy the ridiculousness of it all.

I took advantage of the Steam sales over the holidays, refilling my queue. Some games on the horizon, probably played in this order:
- The Walking Dead: Season Two
- Alien Isolation
- Dragon Age: Inquisition
- Banished
- The Banner Saga
- Dark Souls II

These should keep me busy for some time.  8)

Music Gearheads Tech Talk / Re: Camel Audio stopped business
« on: January 24, 2015, 08:01:30 AM »
Since I like to manipulate samples, in the future this could end up as my replacement for Alchemy:
Given I've been using their tools for over a decade, this is definitely a day-one purchase! Sweet!

Now Playing / Re: Currently listening, part 1
« on: January 10, 2015, 06:39:37 AM »
Hey guys,
I'm glad to hear you're enjoy my new stuff. Thanks for sharing your thoughts.  :)

As an aside - the Somnium tracks on this disc are now all uncompressed audio.
And I hope the second track isn't mixed mono anymore? That really bugged me.

Thanks for your feedback, Forrest.
I love the sound of cicadas, at least the species that produce a more tonal sound. To me, that is the sound of lazy summer afternoons. :)

Further to Pete's mention of using a textured sound to subtly fill the range (usually higher frequencies), I do this quite often myself. It brings an air to the mix that would sound muddy without it.

I've watched your video and the noise is different than the sample I heard in part 1 of Perpetual on Robert's site. In any case, I still think it's intentional. Robert knows what he's doing, and wouldn't let something like that pass unnoticed.

Do I think it sounds good? Nope. ;D

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