#Arpegiator

[mod-a-day]

Fabrice Gillet (Arpegiator) "synth 4"

hep ram -> -> dis moi ce que tu penses de cet essai en synthetic on pt ! bof kwa ?! hey n'oublies pas de m'inviter quand julia viendra camper chez toi ! ((( soupir ))) :-)__________or :-( ! bibi call me at 063/ 570330 ! often busy (jr rules) re:-)

–

I'm reasonably sure Arpegiator was drunk, again.  In any case, this is the last file I have by him!  Which means that we'll need to find another artist to highlight once a week.

Who will it be?  And more importantly… when will it be?  Stay tuned to find out…

[medical2pickles]

I've been thinking, and I've come to the conclusion that I don't actually know what the medic would listen to...I mean, sure, maybe he's a classical gal, but you must be living under a rock if you don't agree that he listens to Wayne Newton! I find it so fitting that one of the medics voice lines is literally part of the chorus of the song 'danke Schoen' and it's just so silly, i love it. But though I don't see medic listening to Radiohead and whatnot, I like to think that sometimes despite how achingly inaccurate it is. On character ai, I asked him what his favorite Radiohead song would be and he responded with 'weird fishes/ arpegi'; and honestly I love him more for that.

But what I'm trying to ask here is what else would he listen to??? He's unique I'll give him that, but what if he doesn't listen to music at all?! What if he likes silence? I don't like that idea at ALL. Can someone tell me if he canonically or not-canonically listens to anything else because I need to know!!

[poppitron360]

I started reminiscing about my GCSE years, and decided to try and write a GCSE-Music-style analytical essay on Helluva Boss songs. I ended up getting... Somewhat carried away.

How the different elements of music are used in "House of Asmodeus".

When Moxxie starts singing the melody is conjunct, and the texture is homophonic, with only simple guitar chords+vocals. This simple, classically romantic style of song perfectly represents his love for Millie. After the glockenspiel kicks in, we hear a syncopated clapping rhythm along with his guitar, moving the music away from the diagetic, symbolising their more whimsical love. As soon as Fizz and Ozz start mocking him, the guitar fades.

Ozz and Fizz's first lines are a capella, with a short, 2-note, chromatic saxophone phrase playing in between each line. As Fizz introduces Ozz, each line is punctuated with a staccato saxophone note. We first hear the piano play a sweet, high pitched note at the word "luuuuust".

Ozz then sings mezzo-piano, each line increasing in dynamics, punctuated again by a saxophone, and accompanied by a staccato piano. (This is also where Fizz plays the pretend trumpet- a hint at their own wacky, supportive relationship). He then changes tone, with the piano and bass becoming legato, and accompanying him with a descending chord progression, and you can also hear an arpegiated guitar. This is him mocking Moxie's simple, romantic tune, he then moves back to his a capella arrangement with each line punctuated by staccato notes, desplaying his brutality. He then continues in that fashion, only now accompanied by staccato guitar strumming, parallel to Moxxie's song, but in a minor key. He then continues onto the chorus, the lines previously played by Fizz's imaginary trumpet now done by the piano. During Ozz's "belt moment", the orchestra becomes legato.

Moxxie begins to sing again, moving to his simple major tune, before Ozz takes over again, now accompanied by a slightly different rhythm, the chords going from staccato to legato as they descend chromatically. Interestingly, Ozzie ends this verse in major, and you can hear a short, sweet, melody playing on the glockenspiel. This is as he attacks Millie, calling her an "unsatisfied bride". This juxtaposes his comment, showing that the M&Ms aren't affected by it.

As Blitzø starts talking, the acompanyment slowly crescendos, at a slower tempo, the glockenspiel and guitar being the main instruments you can hear, including when Fizz responds, as they're used in this song to represent sweetness, this forshaddows how Fizz and Blitzø's rivalry has a less bitter ending, and also represents how Blitzø's standing up for the M&Ms.

The electric guitar takes over when Verosica sings, and simple backing vocals are heard in between her lines, reflecting her own style of music. As she disses Blitz, the acompanyment moves up in an ascending bassline.

When Fizzmodeus starts singing about Stolitz, they move back to their previous a capella arrangement, with the orchestra's staccato punctuation being descending rather than ascending, showing how messy and unstable Stolitz is. Ozz's lines are then accompanied again, giving him more power, so when he calls Stolas out on giving up his wife and child for Blitzø, and the acompanyment becomes legato, it leaves a lasting effect.

When he belts his closing lines, every instrument punctuates the lines, the piano playing a short, jazzy descending line after "thrust". Then the lines become accompanied again by staccato instruments. The finale line "in the house of Asmodeus," you can just about hear ornamentation on the piano over the fireworks, before it's cut short by Millie knocking out Fizz.

Moxxie then resumes his simple strumming, the glockenspiel playing a sweet descending line as they lift, the harp swells, and then plays along with the, now even simpler played, guitar. We end with moxxie finishing his line a capella, they kiss, the crowd cheers, Blitzø then ruins the moment by rejecting Stolas wtf.

[synths-and-sensibility]

When I'm bored at work, I sketch module concepts

Today's accomplishment was a variable length reversible sequential switch (possibly expandible to an arpegiator)

[jarujaruj]

Hi, I'm autoimmune on youtube and saw your pianpian video. I saw people having trouble hearing past the delay and gave it a shot

I want to know what you can do with my analysis. Would you be able to use it, or share it with someone who can?

After some careful listening and relative pitch analysis I can confidently say I can hear through the delay for certain parts of the audio.

The following notaition could not be exact, but some intervals stood out to me.

The first notes that stood out were the first chord.

A4, D, E, A6,

Then, played in an arpegiated acending swing:

F4, D4, G4, F4, A5

After this point the delay is much harder to hear past.

In a mixed or natural lydian mode:

A4, D5, E5(Like zelda ocarina village music)

Close to halfway into the piece and plucked from the noise were these - less reliable - notes.

A, D 1/2b, C#

A little more into the piece and there's a major chord at play. Acending: G C D E

Into the second half and an acending chord: B D G is played upon.

That's what I could decipher. I do think that theres microtonal or 24 tone music at play that I couldn't hear. What do you think?

I'll be honest, I don't know much about music on a technical level, so I don't have much feedback I can give. All I can say is that it's awesome to see folks giving this track an in-depth look! I don't have much I can do with this information though, so you might want to get by Andrew Cunningham's corner of the internet! He did a great video on DELTARUNE music theory recently, so he might be a good lad to ask for help on this topic.

[djmastersound]

Arpegiator (feat. Frederic Cilia) New Release !!! #unitedstates #london #newyork #LosAngeles #Atlanta #miami #unitedkingdom #france #canada #music #films #filmmaking #lagos #japan #germany #FilmFestival #China #dance #dancechallenge #dancemusic

[utteringsofamadone]

hey Tim, this is a pretty brain dead take. ai art isn't art by any means, and for the exact reason the screenshot you attached suggests. i think your emotions are getting the better of you, OP wasn't trying to quantify the AMOUNT of work that creates art. just recognizing the VERY VITAL PRESENCE of deliberate work that goes into making art. like electronic music is a terrible analogy, because you can't just press one button to make electronic music. you have to at least keep pressing it just to make 1 continuous piece, and usually you have to press many buttons, and even click and drag things like equalizers.

AI generated images aren't art because you press one button one time, and a full piece is produced without any additional work from the button presser. like, sure, maybe the button presser wasn't satisfied and had to "refine terms" or whatever and try again, but a complete image was still produced regardless. compare that to even using an arpegiator on a synth and you still only get one arpeggio for the duration of holding the button, and a new button has to be pressed to start mixing. or play the next chord you want to play an arpeggio on. simply looping one arpeggio would be a far cry from art...

with that analogy in mind though, i would call ai image generators art themselves. even if they are all tuned and programmed with stolen art, the logic that drives them was created, with work, to in a way do something new. so whoever figured that out can be an artist by that suggestion of yours, i guess.

but no one using an AI generator is an artist no matter how much "work" they put into micromanaging the output. because that's not work, that's toiling. and foolish. and not at all like the work it takes to deliberately make something new. which is always present, even in tiny volumes. a doodle of a smiley face i make in soap while washing a window fits OPs definition of art. don't let the intensity of the phrasing distract you from getting the point.

art is work. If you didn't put in hard work it's not art. If you didn't bleed then you're taking shortcuts. you have to put in "effort" or your art is worthless. if you don't have a work ethic then you're worthy of derision. if you are unwilling or unable to suffer then you are unworthy of making art

this is so, so obviously a conservative, reactionary sentiment. This is what my fucking dad says about Picasso. "They just want to push the button" is word-for-word what people used to say about electronic music - not "real" instruments, no talent involved, no skill, worthless. how does this not disturb more people? this should disturb you! is everyone just seeing posts criticizing AI and slamming reblog without reading too close, or do people actually agree with this?

usual disclaimer: this is not a "pro-ai" stance. this is a "think about what values you actually have" stance. there are many more coherent ways to criticize it

[radiophd]

jean-michel jarre -- arpegiator

[mod-a-day]

Fabrice Gillet (Arpegiator) "level a miracle" Atari Karts (1995) Miracle Designs

[maximuswolf]

Can't find this song

Can't find this song This is a super longshot, but I'd love to find this song. It was at the end of a mix cd a friend gave me (he has no idea what the song that I'm asking about was). It was almost like one of those secret bonus tracks that would start several minutes after silence on the last track of albums of a certain era. It had no percussion, just a rythmic "rounded" arpegiated bass loop that shifted slowly from up to down beat emphasis or triplets to 16ths (not sure of the technical accuracy here...but like a moving 12? Or shifting groove?)...thats all it was just a slowly morphing smooth and rounded bass rythm...the mix cd contained music by "Themselves" (peel sessions) and i believe some songs or the entirety of a radio set by Dosh. Was maybe around 70 to 100 BPM Thats all I know Submitted July 06, 2024 at 02:18PM by dedflower1 https://ift.tt/G369UVF via /r/Music

[yes-sikorskiy-yuriy]

Jean-Michel Jarre - Arpegiateur/Arpegiator (State Azure Cover)

[sheetmusiclibrarypdf]

Jean-Michel Jarre The Concert in China Arpegiator Arpegiateur (sheet music, partition)

Jean-Michel Jarre The Concert in China Arpegiator Arpegiateur (partition, Noten, sheet music) Please, subscribe to our Library. Thank you! Jean-Michel Jarre Best Sheet Music download from our Library.'Oxymore' will be called the new album by Jean-Michel Jarre Discography

Jean-Michel Jarre The Concert in China Arpegiator Arpegiateur (partition, Noten, sheet music)

https://rumble.com/embed/v2jvtg4/?pub=14hjof

Jean-Michel Jarre

French, born in Lyon on August 24, 1948. He is considered one of the ambassadors of electronic music in Europe, and one of the masters worldwide. He is the son of the prominent French soundtrack composer Maurice Jarre. His popularity came in the 70s, with his electronic and experimental music. His macro-concerts went beyond music (special effects, light) and have gone down in history. At the age of 5 he began in the world of music with piano lessons. He got into the world of jazz as a teenager and formed a rock group, called Mystere IV , in 1968. He began his first electro-acoustic experiments in 1971 with the release of the single La Cage . His first great success was Oxygène (1977), which was placed at the top of the UK Equinoxe , published a year later and followed the same path as the previous one. The following year Jean Michel presents the first of a series of open-air macro-concerts at the Place de la Concorde in Paris, it was estimated that more than a million spectators could attend the event, thus entering the Guinness Book of Records. In 1981 the album Les Chants Magnétiques (Magnetics Fields) took Jarre on a tour of China accompanied by his show. These live performances were reflected on the Concerts in China album was published in 1984 Zoolook , without reaching the success of its recent predecessors. Some time later he gives an extravagant live show in Houston to commemorate NASA's silver anniversary; the event was attended by more than a million people and was broadcast on television. Rendez-Vous is published a few weeks later, with another live show in his hometown. With the material collected in this concert and with the one made for NASA, Cities in Concert--Houston/Lyon was released on the market in 1987 In Revolutions, he is accompanied by the legendary guitarist Hank B. Marvin, to which in 1988, a year after Revolutions , his third live Lp Jarre Live would accompany him, achieving great sales. 1990 is the year of En Attendant Cousteau (Waiting for Cousteau), with whose life he manages to gather the largest capacity in history, with two and a half million people live in Paris on the day of the Storming of the Bastille. The rest of the decade would be marked by sporadic appearances until 1997. This year he returned to the market with the album Oxygène 7-13 , renewing his musical concepts and preparing his new era that would continue in 2000 with the publication of Metamorphoses where they are already established. the bases of his new music. 2004 is the year of Aero , an album with its great songs re-recorded with new technologies and containing four new songs. 'Oxymore' will be called the new album by Jean-Michel Jarre It will be number 22 of his long and brilliant career and is a tribute to Pierre Henry. 'Oxymore' will be called the new album by Jean-Michel Jarre. It will be number 22 in his long and brilliant career and is a tribute to Pierre Henry. The album will be available, starting 21 October , in both stereo and binaural sound. It will also have a VR called 'Oxyville'.' Brutalism' will be his first single. Pierre Henry, electronics pioneer and mentor to Jarre 's mentors Henry is an iconic figure in electronic and classical music, and one of Jarre at the Groupe de Recherche Musical (GRM) . Since her death in 2017, Henry 's widow has provided Jarre with some sketches of sound material that are intended to be used in this collaboration. 'Oxymore', a musical journey inspired by the “musique concrete” In Jarre's own words: “ 'OXYMORE' is a musical journey in which the sounds of Pierre Henry interact with Jarre's new composition in a sonic game of mirrors, in which the creator of 'Oxygene' meets his inverted double in 'Oxymore'. Opening a vortex that sucks the listener into an anachronistic swing in which the analog and the digital find a common playing field”. In addition, the project is inspired by the French movement " musique concrete" . Through this 'Oxymore', Jarre recovers this concept and reinvents it, with today's tools. Vinyl, digital, Binaural and Dolby Atmos version The album has been conceived as an immersive work in one of the homes of concrete music, the innovation studios of 's “ Maison de la Radio et de la Musique ” Radio France in a multichannel and 3D binaural version. Discography For a more comprehensive list, see Jean-Michel Jarre discography. 1973 – Deserted Palace 1973 – Les Granges Brûlées 1976 – Oxygène 1978 – Équinoxe 1981 – Les Chants Magnétiques 1982 – Les Concerts en Chine 1983 – Musique pour Supermarché 1984 – Zoolook 1986 – Rendez-Vous 1988 – Revolutions 1990 – En attendant Cousteau 1993 – Chronologie 1997 – Oxygène 7–13 2000 – Métamorphoses 2001 – Interior Music 2002 – Sessions 2000 2003 – Geometry of Love 2007 – Téo & Téa 2007 – Oxygène: New Master Recording 2015 – Electronica 1: The Time Machine 2016 – Electronica 2: The Heart of Noise 2016 – Oxygène 3 2017 – Radiophonie Vol. 9 2018 – Equinoxe Infinity 2019 – Snapshots from EōN 2020 – Radiophonie Vol. 10 2021 – Amazônia 2022 – Radiophonie Vol. 12 2022 – Oxymore Read the full article

[danieldiazmusic]

(Daniel Diaz)

[synths-and-sensibility]

Thinking about the NLC Cellular Automata and maybe doing a slimmed down version. The 4x4 grid is... a lot, but it wouldn't be too hard to implement a one dimensional array, just need two ics for every 4 cells for rule 90.

I feel like it could be a neat little arpegiator

[jolikmc]

"h2o&company" Fabrice Gillet drums & reverbs (1991)