Some new reflections about music
Hello and welcome to new subscribers!
Some of you asked me one day why I had placed some titles two or more times successively. I didn't understand exactly, because I was concentrate during doing this on the goal of the procedure, but, listening newly yesterday evening, I remembered what I thought.
The pieces of music I placed two, three ou more times, are pieces I have recorded with different sounds, and it is more a procedure in order to know how sounds the melodies changing the sounds of instruments, that trying just to record different versions, as there are not a note changed: you can prefer for example, the third recording because the sound is more soft, or another version, of the same piece, because of the sound that are different.
I want to add here about it, that the sounds are mine, sounds I have made with sometimes Audacity, sometimes another software(s). These sounds doesn't exist but in my music pieces, the seem to be sometimes as MiniMoog or other synthesizers, but they are not replications of these synthesizers, and I can explain why, but it is a secret of fabrication.
Remember I said in precedent posts that I have noticed that sounds in software were not really clean, and I have also noticed that sounds in electroacoustics instruments are not clean too for the most of them or totally. That is why I decided to make, construct, my own electroacoustic instruments, my own computer, and my own softwares, with my own electronic components, that is why I started or restarted to study electroacoustic and acoustic mathematics. But, firstly, as I didn't want to make people wait too much for my music, as I know some people enjoy it really, I decided to draw my own soundwaves. That is why there are sometimes two, three, four, five recordings of the same piece, but not with the same sounds, that are mine ones.
Now, if you have listened to pieces as Suites for cello I recorded at the bass clarinet, you have notice there are sometimes notes that are not really clear, and that is for three reasons. Firstly, I didn't know when I recorded, but radioelectricity can have impact the keys of the instrument during I was reconrding. Secondly, the clarinet was aged, more than twenty years old, and it was a bass clarinet that had different origins: left hand was from a clarinet, right hand was from another clarinet, etc. The third reason is a reason you should apply to every instrument of music, and it is a bad reason, traditionalist reason, about construction, making of the instruments: for winds, and woodwinds, and you can listen it in my recordings, the pression of the instrument is augmented by the diameter of the pierce, as the resistance of the instrument is then more than it should be. So, I have to concentrate sometimes on this artificial mecanic construction resistance of the braith during emission of notes, and so, the concentration is no more on the music, the musicality or the reading of the part, or on the improvisation and what to express. You can notice it in my pieces when I try to go more and more crescendo, more and more forte, where you can feel my sound translating I want more forte as I cannot because of the fabrication of the instrument. These instruments, maybe each, all instruments, even violins, cellos and pianos, are made limiting their maximal forte, emission in decibels (max(dB)). It is a pseudo-educative fabrication, in order to perturb practicers to make make efforts for no reason more than necessary, in order to select people who should practice from others, but it doesn't need this hypocrit procedure. And, of course, I didn't count it here, but a reason why you may have impression of distorsion in sounds, generally aigues, but I know how to not impulse these distorsions, is because, sometimes or maybe at each time, some people sing in the same time or make noise, or talk, in order to perturb the sound and the practicer, and it is evident in some of my records of Partitas of Bach, I have noticed it yesterday evening. That are hypocrit technics from traditionalists, jalous pedophils that want to deny the guiltness is firstly pedophily, as psychoanalysis books permit to understand this evidence. It is a supplementary and complementary proof that schizophreny doesn't exist: voices from nowhere don't exist, and noise from nowhere no more, as music from nowhere no more too.
As my post here is a lightning of what is sound and music, you may better listen, understand and enjoy my music. So, that is good.
Wish you smiles around you, and the best in the life as in the Infinite Universe.