Sevish - Who Knows
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- čas přidán 12. 01. 2024
- squelchy bass xen
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4:09 the Linux Gnome terminal "tput bel" sound, that one was so weird omg, you have no idea
2:59 goes maaaad
I don't know. All I know is that this track is an absolute BANGER!
Who knows why this song makes me daydream of a bizzare old-school jrpg fantasy world full of really cool witches and lots of strange magic types like cromniomancy and marrow-welding
That's a lovely mood
this song literally feels like a specific vibe you've felt before long ago
Captures that return to innocence style of Brace Yourself Jason era u-ziq.
specific vibe unlocked
Spiders-Fractal
Who knows that Sevish will make a microtonal breakbeat? This is an absolute banger 😮🔥🔥
beautiful, as usual.
you are really honing the craft while still keeping it fresh. glad to be here for it.
Solid
Thanks for upload on my birthday🎉
Happy birthday
Thx so much for doing what you do and inspiring us
Spider eyes fractal!
Thought it was 9/8 at the beginning but then it lost me lol
it actually is isnt it?
more like 9/16 but same thing
@@gargus6287 I'm counting 4/4 but still same thing...who knows...
@@gargus6287 Those two time signatures are not the same thing though.
@@KimStennabbCaesar that just depends on how you want to write it/ perceive it relating to the pulse. Two 9/16 bars will be the same as one 9/8 bar
why are all these sounds so cute
I DO!!!! but I wont tell
Please tell me. Knowing time signature of this song is paramount.
@@05degrees 9/8 time I think
Slaps hard! I usually like what you do, but Big Sway has something even extra
Amazing track 🙏🏻
Guy keeps improving! Becoming apotheotic.
AFX-Sevish.
Unhinged
epic
Does he know ... ?
He didn't use a question mark, though
Who knows
The government knows...
I’m pretty sure Joe knows
Joe Monzo haha gottem
Joe biden
Joe biden deez nuts hahahqj3jtgomw4g
You ever distorted the hell out of just intonation intervals? I find just sweetspot fading between the intervals feeding into the same distortion creates great results.
Just intonation lets you get a lot dirtier with other stuff without creating warbles etc. that feel unrelated to your sound, the true harmonic series is also great for lower notes pushing that lower interval limit. I'm pretty sure I've heard TONS of dubstep producers etc. use perfect ratios to create sounds (also with fm and stuff), but they don't tend to lean into it compositionally, which is where I think you could do some insane stuff. 8/7 and 9/8 create cool distorted colors to swap between, for example.
Yeah I think a lot of bass music sound design does use perfect ratios, just in instrument timbres (modulating one osc with another using ratios). Using 2:1 or 3:1 is pretty classic for FM but you can get more out there with it. I'd like to hear more examples of xentimbre where the overtones match the harmonies
@@silphv Yep, in some cases the overtones get really clearly highlighted, kinda making them interact with the melodies etc., if it's all tuned to the overtones of your fundamental it could really blur that line and sound like one complex thing.
There's so many things in sound design that have tonal qualities to them in general, also stuff that creates hz values not in line with the tuning or harmonics, dubstep etc. is a surprisingly great source of inspiration for microtonal.
Something related I really love btw. is relating your tempo and rhythm to your tuning, some low crunchy sweeping saws, synced reese basses etc., in the pocket on a whole new level with JI/harmonic series. You can even focus on several tones that form respective polyrhythms, and your fundamental doesn't have to be a 4/4 pulse. Resampling tends to be very useful here
@@Gnurklesquimp2 That sounds like a really cool idea, especially with the polyrhythm idea too. Just doing some quick math so I understand it, you could decide A=27.5Hz is your fundamental and tune based on harmonic series. Converting that fundamental to bpm you get 1650 bpm, a *bit* high for me, but 1/16th of that is a nice 103.125 bpm. The idea of having that 27.5Hz be the sort of underlying grid that everything snaps to giving 16 oscillations of the fundamental per beat sounds fun.
@@silphv Yep, that's exactly it! I also quite like doing it with really fast stuff like 10th tuplets, which you can treat as quintuplets with flams that feel super locked in, as well as the occasional hiccup with stuff like off-triplets that use the 10th divisions rather than just 5th ones, (You also get a straight off-beat since 10 is even)
Playing every 10th of a beat leads to very fast rolls, an oscilator can play around with that in cool ways. Leaning into polyrhythms does become very messy with rhythms that fast, though, so I tend to only do stuff like the super low octave saw sweeps with one note, but still other notes are tuned to the rhythm as well.
If you use FL, in project settings you can set it to have 10 steps per beat, otherwise scaling notes to it is annoying and also not fine enough to be precise.
(The track I've got as a preview on my channel actually uses a 10th tuplet groove with the flams, but no crazy stuff that puts emphasis other than anything based on quintuplets)
@@Gnurklesquimp2 "Leaning into polyrhythms does become very messy with rhythms that fast," making me realize that polyrhythm is just harmony but done slow. Also I like 5s and 3s, once I started playing with fast quintuplets on guitar and realized that with a little bit of swing they just sound like triplets, I find it fun how you can use that to blend them together or morph from one to the other.
I use Ableton and the one track I made that used 5:4 polyrhythm was... interesting. The grid certainly wasn't on my side and I just had to make clips of multiples of 20 16th notes.
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Not me man
MOVE OVER APHEX TWIN SEVISH HAS ENTERED THE ROOM
i know *i* dont know ¯\_(ツ)_/¯
i do
not
prank'd
😮😮😮😮
Just have a look at the Vietnamese auto-generated transcript and you will know