: traxweekly issue #109 \|/ _ _ _ _ --+-- ______//\|\_____ ___//\ _ //\ -- - /|\ \\ _/| _ \// \ //\// \ -- - : \\/ | || |/ // || \/ \ / || | || X\\ /\ \ / -- - the music scene newsletter || _| ||__|__ \\\ ||_/ //\ \ -- - est. 12 march 1995 ||/ \\/ \\/ \\ \ \ -- - :' -sHD- \\/\_/ _ _ _ _ _ _ _ - -- //\_||\ _____//\_____//\|\__ _ _//| ___ //\ - -- // /|| \|| ___/| ___/| |/ \|| | // \/ \ - -- // //\| \| _/_|| _/_|| | /|| |//\\____ \ \\ \ /| /| /| \|| // / - -- \\____ /|| ____/|| ____/||__\\ \| ___/\\ ____/ \\/ ||/ ||/ \\_/|/ \\/ `: `: : \\ ------------------------------------------------------------------------------ | TraxWeekly Issue #109 | Release date: 15 Aug 1997 | Subscribers: 961 | ------------------------------------------------------------------------------ ]--[Introduction]------------------------------------------------------------[ Welcome to TraxWeekly Issue #109! Thanks again to Thomas Knuppe for his new logo. Issue #104 featured another version where I edited it horribly because of space constraints. This one looks much better! Mr. Knuppe can be contacted at shadow@outside.in-berlin.de. And what an issue we have for you this week! This chap will probably be running TraxWeekly someday, and in keeping with his excellent research and writing skills, *Zinc* proudly offers us an interview with Skaven, of Future Crew. Along with that we have an article on nomenclature (notation) by Bibby, a massive listing of chords/scales from Jeremy Rice, and a rather entertaining TraxCulture... Best wishes from all of the TraxWeekly staff, and enjoy this issue! Gene Wie (Psibelius) TraxWeekly Publishing gwie@csusm.edu ]--[Contents]----------------------------------------------------------------[ ________ _________________________________________________________________ / ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_ < \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__ \ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_ _\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\ Letters and Feedback 1. Letter from Mark Bradley 2. Letter from Louis Gorenfeld General Articles 3. 'Interview: Skaven'...........................Zinc 4. Nomenclature and Some Usage...................Bibby 5. Charting Chords...............................Jeremy Rice 6. TraxCulture...................................Random Lamers Group Columns 7. Moss Closing Distribution Subscription/Contribution Information TraxWeekly Staff Sheet ]--[Letters and Feedback]----------------------------------------------------[ --[1. Letter from Mark Bradley]----------------------------------------------- Date: Mon, 11 Aug 1997 18:36:06 +1000 (EST) From: Mark Bradley To: Gene Wie Subject: Trax Weekly Hey Psibelius (and the Tracking Scene should this be published), Again I am impressed with Trax Weekly - #108 this time. Much less content than before, but a few good chuckles were had. Question / Idea for Topic There are lots of trackers and player programs these days. The tracking "war" seems to be simple - IT or FT2. But what about the players? Few articles seem to discuss the best players out there, and a simply ***+ is perhaps not detailed enoough. Can we find someone out there willing to put together a "review" list of module players, with a report including: names - name of the program versions - what is the latest version number? features - what makes this program unique? formats supported - what can, or more importantly can't this software play? And how well does it play each format? system requirements - incl. CPU, Operating System, and Soundcards required/supported. licensing details - freeware/shareware? How long is the trial period, what are the "unregistered" limitations, and how much damage to our wallets to register it? layout - graphical, textual, mouse or keyboard etc... usability - how simple and quick is is this software to use? location - where can we download the latest versions of these players? overall score - might be a questionable category, but at least it might help some people, and others can simply ignore the scores. Just a suggestion from a somewhat bewildered tracker. Here's Cheers, Mark Bradley DJ - Producer - Promoter - Punter aka Marky! (DJ name), Iceheart To: gwie@mailhost1.csusm.edu Subject: letter to editor (Sound card wars, yes they are getting old but...) If I'm not completely crazy (which I might be, you never know), the new IT AWE drivers do 32 channels (maybe they take out some of the ones from the middle, I don't know, but it sure sounded like it when I tested it out). I like the AWE very much as a card, but the support in the tracker world has been pretty crummy. Impulse Tracker is a great program, but the AWE drivers sound mushier than most AWE programs. For example, Cubic Player 2, even though it barely plays modules right without crashing, has very good AWE support. AMPw (not the mp3 player) sounds very good too. If people base their opinions about the AWE on mis-programmed players and trackers, of course it'll sound crappy. Do it right, see what happens, don't put the reverb up to 64. Farmer ------------------------------------------------------------------------------ ]--[General Articles]--------------------------------------------------------[ --[3. 'Interview: Skaven']--------------------------------------------[Zinc]-- TraxWeekly readers, I have a special treat for you this week. For my first time conducting an interview in months, I chose to interview Skaven of Future Crew fame. Finally a tracker who needs no introduction. Here goes! Have you ever been interviewed for TraxWeekly before? I think I have... or not sure. Well, I won't bother to ask for your personal stats because that's boring :) I'll get right to the good stuff. Very well. :) First of all, you disappeared for a long time, and now you're visiting #trax again. Where were you all this time? :) I was first in Ireland for a year, studying cartoon animation drawing. Then I came back to Finland and had a lot of catch-up to play, so it took me a while to get back into tracking and all. I started university studies in computer science last fall, and went on for about half a year, but now I've postponed my studies temporarily as I've taken a job in Remedy Entertainment, working on the Max Payne project. So are you tracking again? Whenever I can/have the time/motivation, sure. Okay, let's turn our attention to the collective Future Crew group for a moment. What happened to the other members? They're all alive. :) Many of us are just involved in other projects, and therefore too busy to make demos. Trug, Psi and Wildfire have teamed up to design the Pyramid3D chipset, Psi is right now in the army, Gore, I, Henchman and Marvel do stuff here in Remedy, Pixel work in Factory Post Productions (some kinda media lab), Purple Motion studies music full-time and is looking for a record contract, and so on. Hope that explains. Yes, thank you :) So has Future Crew been officially disbanded? I remember reading an interview in Music & Computers and I don't think that question was affirmatively answered. :) An interview of who? :-o I don't remember :) I think it was gore or psi zinc: Hmmm I guess I better check that out. Kinda funny to interview a coder in a magazine like that. But I'd say 'no' as to answer your question. FC is just, like, 'inactive'. So are there any 'scene' plans for FC or other members that you know of? Not before A) Psi gets out of the army, and b) the Pyramid3D project has been dealt with properly. Not before that we'll start making any other plans. How about you personally? Have you had any releases recently? Anything in the near future? (sidenote: actually, Second Reality was showcased in the same issue of Music & Computers that had the interview of that FC member) *shrug* The last couple of .ITs I've released are about all (Revenge of the Cats, The Alchemist). I took part in Music Contest 5 with the latter, but it failed to make it to the top 20 because it was 'too purple motionish' and 'had too familiar-sounding samples' and whatever. Oh, I also made that little chip tune for the Emissions #3 music disk, if you're looking for more. :) And I'm working on a song which uses almost solely samples from my CZ-101 mega super ultra FM synthesizer, it's either going to be put on a Bulgarian CD as audio, or I'm releasing it 'as is'. (Which issue was that? How long ago?) skaven: hahaha :) i find that very funny :) I will check for you while you answer the next question :) Next Question: Since you've made a 'return' to the scene, what, if any, changes have you noticed in quality, attitude, and quantity of trackers in general? Upwards. There's just more trackers out there. The percentage of 'quality' trackers is the same, if not lower. The attitude - hard to say. I've run into a lot worse, and a lot better things in the scene now than before. (that was Music & Computers issue July/August 1996. it had an interview of Henchman of FC. It had screenshots of Second Reality even!) zinc: (I guess I better go C! BTW, Revenge of the Cats is going to be 'published' (ie. commented) on the September issue :) ) You mentioned that you are tracking with Impulse Tracker now. What are your impressions from that program? All praise to Pulse. It is practically Scream Tracker 4, and lots more. It does certain things no other tracker at the moment can, and is loaded with great features. I can't find much to complain about it - although I HAVE sent Pulse a ton of suggestions to improve, just like everyone else. :) :) You also mentioned that a few FC members are now in Remedy. What is that? Remedy? It's the little Finnish game company that released Death Rally as its debut. If you want to know more, all you need is to surf (way cool buzzword eh?) to the address www.remedy.fi. :) okay. Are there any particular directions you can see the tracking scene headed in? Er.. well.. hard to say, really. It may appear I'm beginning to lag behind the whole thing. I'm oldschool and old fashioned, and don't even own a synthesizer. It's kind of strange people still bother to even interview me. :) Hahaha, well just today i had someone comment that you were his hero. Anyways, one last question for you... Who are the trackers of today who really impress you or intrigue you? Hmm. At least Necros and CCCatch have always been among my favorites, style-wise - and I'm quite sure I'm forgetting quite a few others now. There are a lot of excellent trackers out there, though, who just don't do the style I'm into myself. A matter of preference. Bonus question [10 points]: if you had to listen to one song over and over for the rest of your life, what would it be? I'd say I'd have to choose wisely. Maybe the 'Waiting for Cousteau' assembly by Jean-Michel Jarre. It lasts 45 minutes, and is so homogenous it won't start to feel like repetition for a while. And it's so simple your brain can eventually easily filter it out. :) haha.. okay Skaven, thanks a lot for this interview. I haven't interviewed anyone for months and months, so it's nice to remember an old face. Well, a personality, anyways. Thanks. I hope I've still got it. :) I won't ask for your email address - haha - for your sake! :) I guess it won't matter, as it's on my new songs as well. Oh, okay :) Well thanks again, and I'll see you around! ------------------------------------------------------------------------------ --[4. Nomenclature and Some Usage]-----------------------------------[bibby]-- Composers, players, and educators of music from all over the world have never agreed on common chord symbols, or nomenclature, so we all must live with recognizing different symbols that refer to the same scale sound. As a musician seeking a degree in the improvisation of music, I'm taught with my other students to use a reduced set of notations simply for the purpose of never adhering to it: improvisors need as little notation as possible in order to transcend the actual nomenclature on the page and let the creative side provide direction without feeling inhibited. However, in most of the other realms of the musical art, nomenclature exsists to communicate EXCATLY what should played (and more importantly, what shouldn't be played). Whenever I hear or participate in a conversation about chords and symbols in #trax, there's usually some disagreement and misunderstanding, and the one who initially asked the question might have an answer without truly knowing 'why' that is what it is or how the hell to use it. So here, I'm going to spell out some of the things I know in hopes of your personal expansion, and I'll also show you some usage so that you'll actually go try it! Creating and exsisting in a non-reduced notational musical environment is all for a reason; to show 'exactly' what should or should not be played. Now the reason why music teachers sit you down and drill major and minor scales into your head and hands is because all other complex chords are alterations from the simple ones; you can find that ANYTHING will go back to a major scale. Some reasons for alteration I want you to remember as we move on are: substitution (picking one note instead another) and ommittance (withdrawing a note from the chord/scale) [ommittance confuses some and causes much controversy, but we'll get to that] Another thing, since there is NO universal nomenclature, this the one that I have worked into my own personal vocabulary, variations abound, so don't send me hate mail if you use something different. --1. let's get exact I not going to bother with triads; and this is a part of my mentioning 'ommittance', when you have a minor chord for example (and track this if you want) D-F-A (Dmin) and a bass note of D.. .. seems alright, but create a bass feel (I don't wnat to say 'line') with just D and C. I works, and it'll work everytime, because whether you decide to voice them or not, the 7ths are always with you. Good basslines can prove that the whole scale is with you during the duration of that chord even though you started with a triad. So I'm sticking with 7ths (some of you need to learn them anyway). There are (despite what I've heard) FOUR types of 7th chord. No lie. major 7th 1- 3-5- 7 C-E -G-B Cmaj7 also seen as C{delta} (small triangle) dominant 7th 1- 3-5-b7 C-E -G-Bb C7 minor 7th 1-b3-5-b7 C-Eb-G-Bb Cmin7 , C-7 minmaj 7th 1-b3-5- 7 C-Eb-G-B Cminmaj7, C-maj7 lemme explain.. -a major 7th adhears perfectly to the major scale. Voice it anyway you want, with 7th as the highest note, or the root, or the fifth; inversions change nothing. If you pull up one my last articles, I list the major chords that inate in a key, like C,F,G in key o'C. Well, this naturally appears in C and F and not G (that's in the next part) C-E-G-B , F-A-C-E fit in the key of C (no #'s,b's) Next time you want to start a song off with a major chord, try a major7th. I'll give usage in a second, (a wanna kill 3 at the same time) -a dominant 7th is where that G falls in the key of C. When someone says a 'dominant', they mean the 5th note of the scale, (likewise, subdominant=4th). When adding a 7th to the V chord (5 chord, ...uh, roman numerals will refer to scale step in a chord symbol so that the idea becomes universal in all 12 keys,.. V7 in C = G7, V7 in Eb = Bb7), ...when adding the 7th, you'll notice that it's out of key, (7th step in G is F#) so it hs to be flattened to fit the key (C,no #'s,b's) Calling a chord a dominant 7th doesn't necessarily refer to the 5th of the key though, it's just a reminder of 'why' that occurs, (5th mode of the major; Mixolydian). Dominant 7ths can occur just about anywhere,.. .in blues, that's all you need (C7,F7,G7) The symbol confuses some, between a C7 and a Cmaj7. I don't if I had mentioned this before, but the rationale behind that is easy. Whenever we what to flatten a note, we say so, b5, b9, whatever.. but is it was like that with 7ths, and you read Db7 ,..would it mean D(b7) or (Db)7? So 7ths are special, (and they're always there, don't forget that) -a minor 7th adhears to the minor scale perfectly. The 7th is just about unavoidble here. In C, the reltive minor is Amin, the 7th of Amin is G, and G is the 5th of C, you can't escape that. When you hear an Amin (A-C-E) that 7ths completes something special (A-C-E-G) <- look there's a Cmaj in there. If you went Cmaj7 -> Amin7 , the only single note that would change is a B to an A. Some of the best chord progs have only 1 or 2 note difference from the next, and the changing bass note completes the movement. -a minmaj 7th you'll see least of all since it is not naturally occuring in a key. Remember in some other article (I drug up some mc4s) and I did CJ's tune 'breath of time', and there was a point where it went: Gmaj G#dim | Cmaj .. well G#dim does not naturlly occur in Cmaj but it works 'in passing' to get to C. 'Passing Tones' are my best friends in school. We discussed how for soloists of jazz (real jazz) there are no wrong notes, just expression, so we decided for my benefit that there are no wrong notes in a swing bassline, just the occasion poorly chosen passing tone. :) I think a good use of this might be (in C) from a C#minmaj7 to Cmaj7. This is off the top of my head, and I know it may sound like sh*t, but if used in context within a song, I bet it'll sound pretty straight. It'd go C#-E-G#-C -> C-E-G-B , so the C and E stay the same, works fine. I doubt any of us will hear very many of these, so don't try too hard to use it. If you do, email me. -Some usage of these hear 7ths. I went poking round and I found a song that has 3 of these 4, (3 three you're most likely to use 99.9% of the time) ,.. everyone's favorite 'Pools of Poison' by WAVE. This refers to only ONE pattern (02), but also a couple with the same thing. It goes: Cmin7 D7 | Abmaj7 Ebmaj7 | Abmaj9 Bb9 | Fmin7 G7 (don't stress about the 9's, I'll clear that up in a sec) The first chord tells me we're in Cmin, (same as Ebmaj 3b's, Ab,Eb,Bb, all present as root notes) I said in C, there can be a Cmaj7 and Fmaj7 (Imaj7,IVmj7) , well I and IV in Eb are Eb and Ab and I see an Ebmaj7 and Abmaj7. Right on. The VII chord (in Eb, D) naturally occurs as a half-diminished, but Wave choses a D7 instead, the b7 of D is C (the chord he left), and the 5th, A (not of the key) is incorported deeply into the bassline, (dropping A to Ab). The 2 min7 chords are naturally occuring minor chords in the key of Cmin(Eb). The G7 is easy to place too, in passing, the best note to hit before a new chord in one half step away,.. in a G7, there is a B, that B slides right up to C as the prog starts over again. The b7 of the G,(F) adhears to the key. Those 9's, 9's are interchangble with 7's in symbol to imply that it's in there. You see 2 different kinds, don't you? Well, the difference between a Cmaj9 and a C9, is the 7th! Same deal: Cmaj9 (1-3-5-7-9) C9 (1-3-5-b7-9) get it? I've seen a discrepancy in a tune by Necros, so all of necro-fiends can prepare to burn me at the stake. (And I'm not saying it's 'wrong')In 'Metroplex' , he names what I(!) would call a Gmin9 , a Gmin7+9. Now everyone hs there own thing, but I'll tell you why this confused me. 7ths, exist in the chord anyway, whether you like or not, play it or not, so there are more important things to focus on, like the 9th. In the world of reduced nomenclature, a '+' is the lazy man's '#', although a C+ = Caug (I got a usge for that too, hold on) All the time in class, we'll run into altered chords that'll have + and - instead of # and b. They figure # and b are for bar lines and letters, still trying not to mix up what is intended to be for 7th or something else mistaken to go with the root , ..(Db)7 D(b7) thing again. A #9(+9) chord is not at all usuall either, we all know what they sound like. It's the Jimi Hendrix chord, E-G#-B-G. but that a major, though. So when I saw a minor+9 , I had to think twice cuz a minor 3rd and a sharp 9 are the same thing. (That's why the Jimi chord is major, you can't have both, so the G isn't considered a minor 3rd anymore, but a sharp a sharp 9.) So, I was confused for a second, but I got it. Apartently, he wanted be very exact with his notation; cuz there's a chord that people were talking about in #trax too (not this particular intance but in general), ..an add9 chord. This chord is not a real chord if you ask me. An add9 is understood to be a 1-3-5 triad with a 9 added to it. (F-A-C-G) , but as I observe it, the 7 is always there, the bass could hit it at any time during that chord. This is what I mean by ommittance, a new chord created to exclude a note. Well, I'm sorry, but to me it's either an Fmaj9, F9, Fmin9, or Fminmaj9. Since I remember finding the song in Ebmaj (3b's), I'm lead to think that it's an F9, so the b7=Eb. Ommitnace changes nothing either.. substitution does though, 6chords. A 1-3-5-6 is designed specifically not to hold a 7th, by leaving nothing, I still here it, so you gotta change it. A C6 -> Amin7 is a good change, cuz remember the B went to A, well now nothing goes anywhere, except bass note. There's lotsa things like that. Something else about that.. remember how that minor 3rd became a #9? It was because a 3rd was there, and you can't have both. You can REPLACE the third with a 2 or 4, and that's how we get sus2's (1-2-5) and sus4's (1-4-5) , but when a 3rd is there, we can't call it a 2, we call it 9, and we call 4, 11. By seeing 9, I know there's a 3rd, by seeing 2, I know there's not! See? I know by seeing 6, that there is no 7, but if there is, then the 6 is really 13. Now wait, I played guitar for a band about 2 years ago and the best song I ever wrote for them had a G13 chord in it. (Gmaj13 has a natural 7, same thing once again) A 13chord looks like (1-3-5-b7-9-11-13) for real. 7notes, 6 strings, but I did it in 3. Let me tell you this straight up (guitar and piano players especially), dick-rockers that play their powerchords are playing (1-5), but when voicing a complex chord, the single LEAST important note of the chord is the ROOT! Especially when you have a bass playing it anyway. The second least important note is the 5TH! It's only there to accentuate the root. You've got to realize what's important and what's not. Anyway I voiced the chord F-B-E (7-3-13) while bass played G and ran around the 9 and 11. 7-3-13 are the important notes. I never tracked the song, but if you guys wnt to check it out it goes: (Downtime -by bibby '95) (chorus) Dmin9 G13 | Cmaj9 Amin7 Every 7 and 9 is important in the change, so try not using any 5ths, just (1-3-7-9) plus any alterations. Guitar players- mail me and I'll give you the voicings for these I used. I can't stop you from using it, you can't copyright a chord progression, just melodies and lyrics, so if you want to, go ahead. Alright, here's the chord prog to my new song, appearing the next pHluid disk (which I hope you will all get!) I have useage of a G7+ (G augmented 7, follows a whole tone scale but voiced 1-3-#5-b7) and also some chromatic movement between chords. It's based off of this scale- try these single notes for a C scale: C-D-E-Eb-D-Db-C, now try these chords: Cmaj7 - Dmin7 -Emin7 -Ebmaj7 -Dmin7 -Dbmaj7- Cmaj7. yep, Dbmaj7 to Cmaj7, where every note is one half step above the next one.. neat, huh?...except for the song I used Cmin.. Ok here it is - "When Blues Turns to Depression -by bibby" |:Ebmaj7 G7+ | Cmin7 Dmin7| Ebmaj7 Dmin7 | Dbmaj7 Cmin7| (x2) Bbmaj7 | A7 :| |:Gmin7 Ab9 | Fmin7 Gmin7 :| (x3) |:Gmin7 A7 | Bbmaj7 A7| blah,blah, if any of you want it before the pH disk is out, email me and I'll send it to you. I do realize that some of this maybe over your heads, but I'd like to help those whose heads this is flying right at. For those that aren't getting it all, keep these and my other articles handy and read them every now and then (like while yer takin' a sh*t or something, I've had many a musical revaltion on the tiolet) =:D .And keep reading zinc's articles on theory (of which I hope he decides to continue). Until then, thanks for reading TraxWeekly. bibby /pHluid /TW bibby@juno.com ------------------------------------------------------------------------------ --[5. Charting Chords]-----------------------------------------[Jeremy Rice]-- Hi again. A couple of things... a suggestion, and a chart. First, the suggestion: make an HTML version of TW, so if I send you more charts they can look like charts. :) (Not to mention the cool graphics...) I'm sure it's been discussed before, but I thought I'd mention it anyway. Now the chart. I've collected, over the past few months, every chord I could find... Most of the following chords are from a "Wind Chime" program (by the same people who made CoolEdit, I might add), which was a great find. (dumb app, but the chords were worth the d/l) ;) Still others come from theory books... I think I even stole some from the ModSquad. :P Some of these are chords, some are modes/scales, all of them are worth knowing. Major Pentatonic: = C D E G A = Very... well... wind-chimish, as it were... New Pentatonic: = C D E F# A = funkier version of the above. Japanese Pentatonic: = C Db F G Ab = Indeed, sounds Japanese. (Imagine that) Balinese Pentatonic: = C Db F Gb Ab = Freaky! = Db-Maj7dim4? Pelog (?) Pentatonic: = C Db Eb G Bb = Dreamy Hemitonic Pentatonic 3: = C D Eb G B = Spooky Pentatonic Variation: = C E G A Bb = Smooth C-MajDom7: = C E G B = [yawn] A major scale. C-minDom7: = C Eb G Bb = A minor scale. Whoopie. Harmonic MinDom7: = C Eb G B = Phantom minor Melodic MinDom7: = C Eb F A = Really an F-MajDim7, 2nd Inv. 'Esoteric' 6th: = Cb D F A = Dreams? Augmented: = C E G# = Ouch. Very tense. (This is the chord, not the scale.) Diminished: = C Eb Gb = Also Tense! (This is a chord, not a scale!) Minor 3rds: = C Eb Gb A = Again, tense, vagely dreamy. Harmonic Minor: = C D Eb F G Ab B = Sad Melodic Minor: = C D Eb F G A B = Nice, quiet... Whole Tone: = C D E F# G# A# = Whoa, trippin! Augmented: = C D# E F# G# B = Nasty tension Diminished: = C D Eb F Gb Ab A B = Sad. Ab, B are really Bbb, Cbb 'Enigmatic': = C Db E F# G# A# B = Indeed, very strange Bizantine (Gypsy): = C Db E F G Ab B = Spooky-ish Locrian (Arabian): = C D E F Gb Ab Bb = Drunk Persian = C Db E F G A# B = Scirrocco's secret! : ) Spanish 8-tone: = C C# D# E F F# G# A# = Ummn... Spanish? :P Hungarian Gypsy: = C D Eb F# G Ab Bb = Mad Native American: = C D E F# A B = Bold. BTW: which tribe?!? Major Beebop: = C D E F G Ab A B = Funky major & minor mix. Barber Shop 1: = C D E F G B D F G B = Full, fairly nice. Barber Shop 2: = C G C E G B = Same as 1, but kinda sad. 'Rain' (7b5+9): = A# D E F# G# C D F# G# = Messed, pissed off. 'Crystaline' min9#7: = C G B Eb G D Eb Bb D Gb Bb F Gb Db F A = VERY phuq'd, MAD AS HELL. Track this NOW. Popular Blues: = C D# F F# G A# = Pissed, crunchy Blues ][: = C D# E G Ab D# G = Spacy, dissonant mess-up Total Disharmony: = C Db E F G Ab B C D Eb F# G A Bb C# D = Ouch. Thunderous. Sus2: = C D G = Also called a 'nine'. Cool. C-phuq'd: = C F Ab Bb = Not cool. Avoid this. :) Db-Grace Major: = C F Ab Db F G Db Gb = Bluesy (sp?!?) E-Blues: = C D E G Ab Gb Db F = Yeah, blues. PS: You can find the HTML version of this at falcon.invincible.com/~jerm/ tracking.html ... It's about 2/3rds of the way down the page. And for the record, my email addy is jrice@notes1.invincible.com (not Jeremy_Rice/ITC/US, though that will work... It's just less fun to type...) :) JRice / Introspective ------------------------------------------------------------------------------ --[6. TraxCulture]-------------------------------------------[Random Lamers]-- T R A X _____ __ __ __ _______ __ __ ______ _____ _____________/ __/\/ /\/ // //__ __// /\/ /\/ ____/\ / __/____________ /____________/ /__\/ /_/ // /_\ / /\_/ /_/ / / _ \_\// __/____________/\ \___________/_____//_____//____//_/ //_____/ /__\___/\/____/\____________\/ \_____\\_____\\____\\_\/ \_____\/\___\__\/\____\/ww --- Music Contest 5 has sparked some opinions... wasn't mc5 round 2 voting supposed to END tonight? :> bw: Snowman's on jury duty. psi: EEK. poor guy yeah. exactly. SNOWMAN ON JURY DUTY?!? psi: call him guilty just for holding up MC5! give em the chair!! GIVE EM THE CHAIR@@@$!! "I, SNOWMAN, HEREBY GIVE THE DEFENDANT FOUR AND A HALF STARS." psi: shit...any idea how long he's gonna be there? "ON THE CHARGE OF TAKING AWAY BLACKWOLF'S STARS, I FIND YOU NOT GUILTY CUZ I THINK BLACKWOLF SUCKS TOO" your honor the verdict is: DISQUALIFIED. your honor, i say that the testimony should be deemed invalid because he had text in the sample area. --- ...and so has playing "group polygamy." hmmmm i learned the hard way not to be in Chill AND Kosmic at the same time zinc: why? cardiac: i got kicked out of chill.. i got all these vague reasons, one of which was that some guys were upset over my new connection with kosmic zinc: their loss. zinc: I'm sorry dude. :( I don't think chill likes kosmic too much though. :) psib: they used the excuse that i had some kind of attitude.. most members didn't notice any attitude though, and i must wonder why TEG is still in Chill if that's the case. the only example they gave me was that i sent a mail asking for a vga for my pic. i said i didn't care what it looked like since i can't see it anyways, and they took offence to that. --- We still can't stop making fun of other people's nicknames... Coplan: hey there's a movie coming out about you :) Copland :) zinc....a movie about an overhyped, over-rated MAC OS? ...seems boreing --- ...and we sure as hell can't stop arguing about useless material! psibelius: do u still think that "no one on earth can hear the difference between 8 and 16bit" or was that a joke? :D pub: I think no one CARES what the difference between 8 and 16 bit white noise is. =) psibelius: "no one CARES what the difference between 8 and 16 bit white noise is"? every major music studio does, the makers of DSS satellite do, the Sony Engineers desiging DTS do, every CD manufacturer does, most decent trackers do, alot here do, all my friends do, my parents do, etc.. etc.. etc.. :D eheheheheh pub: white noise? white noise? pub: If I want to listen to just "noise" I can just turn on the radio and find a station with bad reception. =) psibelius: thats what you said to me.. white noise: "[18:20] pub: I think no one CARES what the difference between 8 and 16 bit white noise is. =)" pub: we're talking about the context of sampling for use in a tracked song. =) what's black noise? hip hop? psibelius: yes.. so why did u bring up white noise. that was a little out of context... :D as to the fact that most samples and tracked songs aren't white noise :D pub: dude, shut up! =) how is a sample out of context in a song? this sounds suspiciously like programmers trying to analyze music again So I guess asian noise would be like a gong, wind chimes, and the sound of chopsticks hitting rice, eh? someone please explain "sample context" to me..I don't get it Scirocco: nevermind.. pisbelius and I were talking apples and oranges.. So I tried to attack his apples until I realized they were reallty oranges scirocco: we were discussing whether anyone cared about white noise being 8 or 16bit. Pubert stated that commercial and other non-tracked music organizations and individuals did. I mentioned that we are speaking about tracking, not non-tracking. psibelius: I did not mean that.. I meant professionals in the industry care about 16 bit over 8.. not white noise.. I missed that part.. hmm...ok.. I thought you were saying "uhhh..you used WHITE NOISE in that song? what kind of tracker ARE YOU!!" pub: good, I'm glad we have this figured out. let it be said that I did NOT mean that industry professionals prefer 16bit white noise over 8 bit!!!!!!!!!! :) ahehaehahe pub: well DUH. When's the last time you bought a CD recorded at 8bit 11khz? =) psibelius: although a 16bit white noise sample could be twice as loud as an 8 bit.. with less static to get the pure "ocean sound" --- Did someone say, "Spice Girls?" I actually like that 2 in 1 video from SG. * PeriSoft listens to the prodigy Coplan is on the phone listening to the "Spice Girls Dial a Lick" line "spice girls dial a lame tune" line -NickServ- You have been identified. Big brother is appeased. --- Stupid quotes, anyone? these quotes kind of suck ;) beek should be more selective ;) dd: no, it makes me laugh to see people get pissed because they don't get good quotes :) beek: do I have any quotes? beek: eheheh you would get some sick pleasure from that wouldn't you? ;) scir: hmm. lemme see. scir: nah.. you want me to add some of you? i think i will. hell. i think i'll make some up about you. beek: I'll come up with a good one scir: there. you've been quoted.. beek: oh come on..that's dull beek: what the hell is with your quotes? beek: they don't make any sense beek: lemme give you something better than that scir: do a few /ctcp beek quote and find out what i quoted you on -beek- beek: just a sec mild: they aren't supposed to.. w00h00 that's a good one! :) these are the wierdest quotes ever --- and for the computer illiterate... <_Vastator_> Who here runs win95? i think bill gates does..? <_Vastator_> peri: I meant HERE. perisoft - bill gate mainly uses a Mac Quadra... <_Vastator_> @!#!@#!@$!@#!@#!!! can you not answer a simple question :) i had to explain to some woman that came into my store that her mac CANNOT run win95 programs "but i just upgraded to system 8! and i can read ibm disks!" "but you can't run windows 95 files" "BUT I JUST UPGRADED TO SYSTEM 8!!!" "THAT DOESN'T mATTER YOU STUPiD ASSFUCKING CUNT!" "Err.. sorry ma'am." but she has a CD-ROM and can read IBM disks (like text files) but she can't understand that even thought she just upgraded her mac that she can't run programs that say "REQUIRES WINDOWS 95" i said "do you have windows 95?" "no i have a mac with system 8" "then this won't run" she baught it anyway i told her she couldn't return it if she didn't work * Daredevil has returned. oh well i'm quitting anyway :> <_Vastator_> bw: some people shouldn't be allowed to live outside of caves :) ------------------------------------------------------------------------------ ]--[Group Columns]-----------------------------------------------------------[ --[7. Moss]------------------------------------------------------------------- ░░░░░░░░░░░░░░░░░ ▄ ░░░ ▄ ░░░░░░░ ░░ ▄▄▄▄ ░░░░░░░░░░░░ ▐▄ ▄█▌ ▄▄██▄▄ ▄█████████▄ ▄██ ▄███ ▄███▄▄ ███▀███▌ ▐███▀ ▀▀▀█▌ ▄▄███▄█████ ██████████▌ ▀▌ ███▄ ▄▄███▀█████▀██▌▐███ ▀██████▄ ▀████▄▄ ▄███▀▀ ████▀ ▐██▌███ ▐███▀███▄▄ ▀▀████▄▄ ▄███▀ ▐██▀ ▐██ ███ ███▌ ▀▀████▄▄ ▀█████▄ ████ ▐█ ▐██▐██▌ ████ ▀▀████▄ ▀█████▄ ████ ▀▌ ███▐███ ▐████ █████▄ ██████ ████▌ ████████▄▄████▌ ▐█████▄ ██████ ▐████▌ ███▌██████████▄▄▄▄▄ ▄██████▀ ▐██████▌ ██████ ▐████ ▀▀██▀▀ ▀▀███████████▀▀ ▄▄████████ ███████▄▄ ▀▀ ▀▀▀ ▀▀▀████████████ ▐██████████▀▀▀ ▀▀███████ █████▀▀ ▀████▌ ▀███ M o s s I n f o F i l e ▐██▀ ░░ I n t r o ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ Hey there. Moss is a music group that was founded in August 1996. It is based mainly in Toronto with the sole exception of Daedalus. There's really no rules as to what one can or can't release, we just try to put out quality music whenever possible. If you'd like more information or want some of the releases, feel free to check out the web site listed below. The page is not yet fully functional but most of the important stuff works. ░░ M e m b e r s ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ┌ Alias ┌ Real Name ┌ Email address └────────────── └──────────────────────── └─────────────────────────── Porus Mike Ladanyi mlad@echo-on.net Picman Jason Loeppky jason.loeppky@cimtegration.com TeeCee Chris Bennett chris_bennett@kiwi.com Daedalus Brian Bennetts daedalus@usa.net Atlantic Barry Freeman as566@torfree.net Mystic Image Huy Nguyen ao145@torfree.net ░░ D i s t r i b u t i o n ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ┌ Site ┌ Name ┌ Sysop ┌ Phone └───── └──────────────────── └────────────────── └──────────────────── WHQ Sector 001 Picman (905)839-0747 FrHQ A.C.E. Gandalf +33-(0)145887548 HuHQ SCEneT Melan +36-1-2285921 Legend: WHQ = World HeadQuarters, FrHQ = France, HuHQ = Hungary ┌ Site ┌ Name ┌ Address └───── └──────────────────── └──────────────────────────────────────── WWW The Moss Web Page www.echo-on.net/~mlad WWW The Moss Web Page ganknet.ml.org/moss/frames.htm FTP The Moss Ftp Site ganknet.ml.org/moss/releases/ FTP Metronome ftp.lhg.hib.no/pub/mods/composers/[alias] We are always looking for new distribution sites. If you're interested, please contact Porus. ░░ R e l e a s e s ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ ┌ Filename ┌ Title ┌ Composer ┌ Format ┌ Date └──────────── └────────────────── └──────────────── └──────── └─────── MSS-CONQ.ZIP Conquistador Picman S3M 08/15/96 MSS-NEAR.ZIP Nearly There Porus S3M 08/16/96 MSS-RAIN.ZIP Rain Under the TeeCee IT 08/31/96 Trees MSS-1WAY.ZIP One Way Glass Porus IT [disk] 10/14/96 MSS-FIVE.ZIP Five-ever TeeCee IT 11/24/96 MSS-TOWN.ZIP Backstage at the Porus IT 12/13/96 Uptown MSS-ARID.ZIP Arid Aboriginals Picman S3M 01/05/97 MSS-ORGN.ZIP Orgasmic TeeCee IT 01/24/97 MSS-PURE.ZIP Pure August Atlantic IT [disk] 04/13/97 MSS-LAME.ZIP The Last Lament Picman IT 04/16/97 MSS-5TWO.ZIP Five-ever TeeCee IT 06/13/97 (cheese remix) MSS-OVER.ZIP Overlook Porus IT 07/01/97 MSS-G&G.ZIP Gawk & Grek Porus IT 07/03/97 MSS-DISP.ZIP Dispossessed Atlantic IT 07/10/97 MSS-MBOX.ZIP The Music Box Picman IT 07/29/97 MSS-MEAT.ZIP Swedish Meatballs Xerxes XM 07/29/97 MSS-MSEA.ZIP The Story of the Atlantic IT 07/31/97 Mermaid ░░ C l o s i n g ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ Huy and Brian, get your butts in gear. ;) Thanks to Squidgalator2 for fixing up this info file and making a cool ansi logo for us. More thanks to Airog and Echo Online for the ftp/web space. ░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░ E n d ░░ ------------------------------------------------------------------------------ ]--[Closing]-----------------------------------------------------------------[ TraxWeekly is available via FTP from: ftp.hornet.org /pub/demos/incoming/info/ (new issues) ftp.hornet.org /pub/demos/info/traxweek/1995/ (back issues) /pub/demos/info/traxweek/1996/ /pub/demos/info/traxweek/1997/ TraxWeekly is available via WWW from: www.hornet.org, under section "Information" and subsection "TraxWeekly." To subscribe, send mail to: listserver@unseen.aztec.co.za and put in the message body: subscribe trax-weekly [your *name*, NOT email] To unsubscribe, mail same and: unsubscribe trax-weekly (in the message body) Contributions for TraxWeekly must be formatted for *78* columns, and must have a space preceding each line. Please try to avoid the use of high ascii characters, profanity, and above all, use your common sense. Contributions should be mailed as plain ascii text or filemailed to: gwie@csusm.edu before 11:00pm PST every Wednesday. TraxWeekly is usually released over the listserver and ftp.hornet.org near the end of every week. TraxWeekly does not discriminate based on age, gender, race, or political and religious views. The staff can be reached at the following: Editor: Psibelius (Gene Wie)..............gwie@csusm.edu Writers: Atlantic (Barry Freeman)..........as566@torfree.net Behemoth (David Menkes)...........behemoth@mscomm.com Bibby (Andrew Bibby)..............bibby@juno.com Mage (Glen Dwayne Warner).........gdwarner@ricochet.net Zinc (Justin Ray).................rays@direct.ca ascii graphic contributors: Cruel Creator, Stezotehic, Squidgalator2, Thomas Knuppe, White Wizard TraxWeekly is a HORNET affiliation. Copyright (c)1995,1996,1997 - TraxWeekly Publishing, All Rights Reserved. ]--[END]---------------------------------------------------------------------[ :: ::: : . ..... ..............................:::.................:.... ::: : :::: : .::::. .:::::.:::. ..:::: :::: : :: :: ::: .:: :: :: WW:::: : ::. :: ::: .:: :: .:: :::: : :::.::. ::: .:: .:: .:::::... :: :::.. ... ..: ... ..:::::::::::::::: .:: .::::::: :::::::: ::::::.. ::: ::: ::: : until next week! =) .. ... .. ....... ............... .................:..... .. . :