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Thread: Great stocking stuffer — the Digitech Trio Band Creator pedal!

  1. #36
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    Dec 2009
    The dictionary and encyclopedia definitions relate to dynamics as defined classically and pre-technological understanding of dynamics. A whole new world of tricks has opened up with digital music, compression and recording within a fixed dynamic range, and this has further expanded understanding of perception of loudness versus actual loudness.

  2. #37
    Senior Member
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    Jul 2017
    British Columbia
    Quote Originally Posted by Steve A. View Post
    ...accuracy in your placement of the notes.
    Exactly what I'm talking about also - to create a good grove, the notes have to be accurately placed, regardless of where you're placing them (ahead, on top of, or behind the beat.)

    Quote Originally Posted by Steve A. View Post
    Back in the 60's it seemed like each of the big hits by the Beatles, the Stones, et al, had their own distinctive beat, something that a listener might clap out.
    I believe we can blame MIDI and the arrival of the sequencer circa 1983 or so, combined with early electronic keyboards that were not touch-sensitive, and played every note equally loudly.

    Those early sequencers were very limited in terms of programmability, and could only hold a small number of notes in memory.

    So the combination of those early sequencers and early keyboards typically produced long strings of monotonously equal-duration, equal-loudness notes, often cranked up to tempos that actual humans could not match.

    Kids who grew up hearing this crap on the radio, modeled their own attempts at making music on it. The ten-year old boys of 1983 turned into the sixteen year old guitar shredders of 1989, most of the unconsciously attempting to emulate the sequencer-driven pop they'd grown up hearing on the radio, but doing it on their guitars instead. No dynamics, no variation, just long, rigid, robotic, high-speed strings of identically loud, identically long, notes.

    Along the same lines, it think it's interesting to note that the pre-sequencer guitarists who started the move towards shred guitar - Ritchie Blackmore, for instance - played with plenty of variations in dynamics, rhythm, and melody. This is also true for flamenco, another very fast guitar style, but one that developed long before crappy sequencer-driven radio pop music.

    Quote Originally Posted by Steve A. View Post
    I never realized where that organic beat came from until I had an ultrasound of my heart
    I had a similar epiphany while listening to some classical music, and realizing that the oboes and English Horns sounded very much like the distant sound of cows mooing, and other animal and natural sounds that would have been common in the century in which that music was written. The composer wrote music that mimicked the sounds he/she heard in the world around himself/herself.

    And that led to the realization that the harsh, metallic, machine-like noises in a lot of hard rock and metal music sound exactly like the sounds I heard around me in Los Angeles: the harsh grinding of the dump-truck picking up metal dumpsters, the metallic shriek of train brakes, the angry growl of a big-rig engine as it climbed a steep hill, the violent jack-hammer noises of a construction crew at work.

    Once again, the composers were re-creating the sounds in the environment around them, except that those sounds no longer came from nature, but rather from the ugly byproducts of the industrial revolution that now pollute our cities and our lives in cities all over the world.

    Quote Originally Posted by Steve A. View Post
    ...what I like is ... a very precise one, only it is not necessarily made up from blocks of, say, 64th notes.
    I think precise timing is perhaps the most basic and fundamental element of music. Listen to a good drummer, and you unmistakably know you're hearing music...even though there is no melody or harmony or vocals.

    Virtuoso bassist/composer/writer/martial arts exponent Victor Wooten wrote "Never lose the groove to find a note". More important than finding a clever note is to play something, anything, exactly at the right time!

    As I mentioned in an earlier post in this thread, I think the biggest downside of the Trio / Trio+ is the fact that it is fundamentally rigid and robotic, unable to respond to your playing the way a real human band would. The Trio+ doesn't understand the song, so it doesn't produce dynamics, and doesn't vary the tempo to produce emphasis, the way a good drummer or bassist or rhythm guitarist does.

    And that means that, when playing along to the Trio, it is quite easy to slip into robotic, repetitive, mechanical guitar playing that goes with the robotic Trio+ accompaniment. This is something I try to always be aware of, and steer away from as much as possible.

    Of course the same problem applies to loopers, MIDI-generated backing tracks, sequenced computer-generated crap, et cetera. We're surrounded by robotic, lifeless, music nowadays.

    Given it's inevitable limitations, the Trio / Trio+ is an absolutely outstanding bit of technology. We just have to remember that a couple of musically talented buddies is far better yet.


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