Future Bass-Community

  When it comes to music, it is also about aesthetics and there is no right or wrong. However, every technology extends our possibilities of musical expression and we can learn to use new forms of music. That's a good point to think: there is nothing absolute, but there is plenty of new options. Let´s figure out new ways of understanding and making music. 

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Bangkok inspired me to write the song of the same name. Share the song if you like it, thanks!

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Front and Back of my new micro-album. I am very happy with my work. curious? Listen to the snippets -->

https://soundcloud.com/antik-ltewelle/sets/new-style-micro-album-by

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New concept for ur next release.

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Part three of this song (Snippet). Listen and enjoy.

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All what we get

Today I finished a long time project. In this period it felt like a friend and opponent. But we are not finished yet. There are some few more things that need to be done and then I let this pieces leave. I enjoy composing music, creating banners and focusing on new ways of production. In a kind I am greatful to experience music as an artist. 

[movingmoto-blog]

Moving Motos new micro album. Get a free impression of the full album.

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#Art #edsign

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New Artwork: The best of my music free for u! First snippet> https://soundcloud.com/antik-ltewelle/kingslayers-left-hand-snippet

New Mixtape on 29th August.

[movingmoto-blog]

808 Kick Better than 808 Kick

Choose a kick sample, with overtones you like. Use the free MH Thump VST (For example,  set the first Oscillator around 45 Hz pitching from 100 and the second to 90 Hz pitching down from 160 Hz .) Reduce the Wet signal to a point, where the sub-frequencies of Thump intervene a little with the Sample – Thump hasn´t to be loud. Insert another layer of white noise triggered by each kick.

The idea is to generate strong 1st and 2nd harmonics by pushing the signal trough a soft clipping wave shaper and also generate interesting distortion that reacts with the high harmonics of the kick, the sub and the white noise. Now it depends on your setting and intention, cut of at the low end or/and compress the signal. Et voilà 808 kick better than 808 kick.

http://mhsecure.com/metric_halo/products/software/thump.html

[movingmoto-blog]

Let´s think of a connection between language experience and sound perception. As humans, we already learn in the uterus patterns of language, especially the intonation. Later we add rhythmic and melodic components. 

This affects our hearing preference and therefore the acceptance and adaptation of lingual and melodical patterns. Maybe there is a linkage of these prenatal and childhood experience and sound perception overall. This thought could be a fragment of a greater explanation of the socio-cultural selection process for aesthetics.

This thought become more interesting when we invert it. We associate music with prosodic memories. A tone for example with similar rhythmic and tonal characteristics as a word could trigger the same emotions and ideas. This could be useful while writing and composing music.

[movingmoto-blog]

Digital storage media is able to build up a lossless replica of the imaged sound. At online music portals the broadband is limited and they solve the streaming difficulty by reducing the media quality. Mostly they use loosely formats – prominently 128 KB/s mp3. 

We already had introduced the suggestion that sound is psychologically interpreted and with this the information scale of the audio material determine the interpretative limits. By compressing the audio material the information density of the amplitude dynamic, frequency spectrum and the mid-side information will be reduced. Let’s conclude, listening to strongly compressed audio material will decrease the level of perceptional information. 

A reduced frequency spectrum can also effect the harmonics. The character of an instrument can changed drastically by decoding.  For example a sub bass with C or 32 Hz and the 4th is a E or 41 Hz. If the 1st frequency ("C" or 32 Hz) is removed, the next hearable frequency ("E" or 41hz) will dominate the character.

[einfachhoeren]

Something new coming soon…

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Two Tracks by Moving Moto

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Loudness is psychologically interpreted as shown by Fletcher–Munson or Robinson–Dadson. Let´s conclude that the dynamic range of a record will influence the hearing experience. The loudness limits of a record are coupled to the given physical or digital properties of the recording.

Make a record louder means to reduce the peak-to-plateau ratio and/or gain the represented volume. Flattened dynamics releases less information about distance and position of the sound source. The informational loss will amplify when multiple sound sources are overlapping. 

Why than is there a measurable increase of the loudness level? The industrial-technical interest for increasing the loudness is traced by Dr. Lex: http://www.dr-lex.be/info-stuff/loudness_wars.html. In a nutshell, a higher dynamic range will result as a richer hearing experience.

[movingmoto-blog]

With the proposed difference between sound perception and the physical nature of sound, there are more ways to describe psychoacoustic phenomena´s. One phenomenon is the frequency based hearing impression of distance. 

The so called “Blauertsche Bänder” (blauertsche frequency´s) by Jens Blauert, define areas where amplitude changes are decoded as an information for distance. Sounds with an amplification around 0,8 KHz - 2,5 or 10-18 KHz are interpreted as distant and diffuse, while an amplification around 0,3 KHz and 3 KHz are psychologically decoded as a close sound. There is the possibility to reverse amplification and decreasing the loudness of these frequency bands.

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The Haas-Effect

The cognition of sounds and the following impression is not a point-by-point version of the physical sound. This establish a variety of techniques to generate a false sound scape, with a possible deep and wide stereo field. One perceptible sign for a close and broad sound source is a time shift between the right and left ear, by a matchable physical information. In natural cases this happens by short period-delays (German Laufzeitverzögerung).

In an evolutionary understanding, this sound perception generates a metainformation about distance. Only in close situations and maybe dangerous cases this effect will happen. These phenomena are called Haas or Precedence effects. 

Modern sound processing allows manipulating the audio material and trigger controlled time-drifts between the right and left speaker. Practically is a drift between 2 ms (milliseconds) – 30 ms. This causes a psychological interpretation of a close sound source. Hint: The effect will vanish when the brain gets used to the information. An effective sound manipulation changes the time-shift over time.

[movingmoto-blog]

Let´s mark the difference between a sound and sound perception. A sound is the oscillation in a medium. The quality of a sound variants by maximum value in negative and positive (Amplitude) and the frequencies – the gab after a saddle point to the next saddle point. I assume that everyone noticed that already, but I want to underline that there are two variables. Instead to transfer, reduces the brain the variety of information to one single und standardized information. I think the principle is called all-or-none law (German Alles-oder-Nichts-Gesetzt).  Under these conditions its hard to explain the accuracy of hearing. To take a short cut, we accept that hearing isn’t a accurate version of the sound. Its just a functional construct from our brain for our brain.

I admit, this explains nothing about hearing itself, instead it allows to think about acoustic phenomena that take place in the brain. Over time this fact will be used to develop some techniques for sounddesign in modern computer based audio aesthetics.

For further reading i recommend Heinz von Foerster and Humberto Maturana.

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Creativity is self-organized chaos. In an evolutionary sense, there is no possibility for planing what is not invented. It would begin and end by thinking the unthinkable.