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sounds from sci

@scibot9000 / scibot9000.tumblr.com

hi im anosci. or sci ano, if you prefer western name order conventions. (but you don't.) I make music and music accessories. you might recognize me from that one post going around... Here you'll mostly find quickmade #sketches of the audio variety. ----- CHECK ME OUT ON... Bandcamp Youtube Patreon my reblog blog ----- if you want to contact me outside of tumblr, I currently use this email address: anosci.4 の gmail.com (to prove you're human, figure out what symbol the の is standing in for.) ---- (my work generally falls under CC-BY-NC so feel free to use my tunes wherever!)

a scrapped beat WIP from SPC18.

kinda turned the brave little toaster into stakker humanoid... and then added some really gross vocoded funk.

yet its a nice groove

new anosa song!!!!

somehow I got 18th place out of 71, which i was not expecting

but man i had fun with this one

the entire comp is bangers too so check it out

this song title is obviously a riff on AI generated art. i thought it'd be funny to feed that to an AI and post the result

but instead it just felt icky.

it wasn't good or interesting or funny. just some drivel and likely-unethical data scraping.

oh well, have a reblog anyway

Is it narcissistic for a chef to enjoy their own cooking? Or a fashion designer to wear clothes they make themselves? Or hair stylist to style their own hair? No. It's not. There's nothing narcissistic about enjoying something you made.

haven't you heard of the barber's paradox??

or more seriously: I once read something to the effect of "you have to be a real narcissist to make art and put it out into the world and expect others to resonate with it" which im actually not sure i agree

but i think it's rly funny to go the opposite direction and not care how well-received or popular the art is and just have a good time

listening to your own music that you made and enjoying it moodboard

thinking a lot about this "not negative harmony but still inverted" idea i stumbled into.

the idea: start from the root and count the opposite direction to each chord, but keep the chord quality.

so for example, here's rickroll.mid

which is iv - VII - v - i (in A# minor) (ignoring extensions)

that first chord is D#m, 5st above the A# tonic. second chord 11st above tonic

etc etc to D#m - G# - Fm - A#m

if you reverse that, counting 5st DOWN, you get Fm.

doing that for each chord gives you Fm - E - G#m - A#m

this sounds neat.

in fact, doing this for most diatonic progressions gets cool neat.

but what is "this"

conversions as "x becomes y"

  • 1 -> 1
  • 2 -> b7
  • 3 -> b6
  • 4 -> 5
  • 5 -> 4
  • 6 -> b3
  • 7 -> b2

i would say "idk what to do with non-diatonic chords" but maybe the answer is just "flip that table" 🤔

applied to SU theme

1-> 1 3->b6 4->5

add a 2 before the 5 and you have the thomas the tank engine progression (except not at all)

studying this a bit more, i believe i have invented "negative harmony but wrong"

that table is exactly the same as the transformation table for negative harmony but i was keeping the chord quality each time.

i do not feel clever.

thinking a lot about this "not negative harmony but still inverted" idea i stumbled into.

the idea: start from the root and count the opposite direction to each chord, but keep the chord quality.

so for example, here's rickroll.mid

which is iv - VII - v - i (in A# minor) (ignoring extensions)

that first chord is D#m, 5st above the A# tonic. second chord 11st above tonic

etc etc to D#m - G# - Fm - A#m

if you reverse that, counting 5st DOWN, you get Fm.

doing that for each chord gives you Fm - E - G#m - A#m

this sounds neat.

in fact, doing this for most diatonic progressions gets cool neat.

but what is "this"

conversions as "x becomes y"

  • 1 -> 1
  • 2 -> b7
  • 3 -> b6
  • 4 -> 5
  • 5 -> 4
  • 6 -> b3
  • 7 -> b2

i would say "idk what to do with non-diatonic chords" but maybe the answer is just "flip that table" 🤔

applied to SU theme

1-> 1 3->b6 4->5

add a 2 before the 5 and you have the thomas the tank engine progression (except not at all)

thinking a lot about this "not negative harmony but still inverted" idea i stumbled into.

the idea: start from the root and count the opposite direction to each chord, but keep the chord quality.

so for example, here's rickroll.mid

which is iv - VII - v - i (in A# minor) (ignoring extensions)

that first chord is D#m, 5st above the A# tonic. second chord 11st above tonic

etc etc to D#m - G# - Fm - A#m

if you reverse that, counting 5st DOWN, you get Fm.

doing that for each chord gives you Fm - E - G#m - A#m

this sounds neat.

in fact, doing this for most diatonic progressions gets cool neat.

but what is "this"

conversions as "x becomes y"

  • 1 -> 1
  • 2 -> b7
  • 3 -> b6
  • 4 -> 5
  • 5 -> 4
  • 6 -> b3
  • 7 -> b2

i would say "idk what to do with non-diatonic chords" but maybe the answer is just "flip that table" 🤔

thinking a lot about this "not negative harmony but still inverted" idea i stumbled into.

the idea: start from the root and count the opposite direction to each chord, but keep the chord quality.

so for example, here's rickroll.mid

which is iv - VII - v - i (in A# minor) (ignoring extensions)

that first chord is D#m, 5st above the A# tonic. second chord 11st above tonic

etc etc to D#m - G# - Fm - A#m

if you reverse that, counting 5st DOWN, you get Fm.

doing that for each chord gives you Fm - E - G#m - A#m

this sounds neat.

in fact, doing this for most diatonic progressions gets cool neat.

but what is "this"

i contributed to a silly april fools album!

i was reaching for a 90s tekken sort of style ig? sanodg ykno.

i think it came out great, as did the rest of the album, so check it out!

i played this one by ear, only doing some chord analysis afterwards.

(visualization for the video upload, unused. moves clockwise.)

I kinda just transcribed the chords here. the bass, the supposed foundation of the chord, is walking up like 1 - (2) - 3 - m3, ie the fundamentals of each of the 3 long chords are G#, C, B. kinda weird!

weirder still is that the guitarey bits surrounding the chords are all in F.

is there a lesson here? i don't see it.

Hey, I’ve been listening to your music for over 10 years and I just wanted to share that… it’s really important to me. Your music is really unique and it just sits really well with me. Do what you love, I hope that means you’ll continue to make new and interesting music ❤️

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10 years!!!

the internet often builds a weird scenario where you can release music/art/anything and receive in turn a viewcount that gradually goes up. the actual people doing the viewing live full lives, but all that complexity is abstracted away into just a number, as far as the artist can see.

I've been trying to comment more, to un-abstract that number and let artists know that their work resonated with me in some way. I deeply appreciate when people do the same for me.

the idea that someone's followed my work for years is a powerful sentiment each time i hear it.

I think there's a lot of music to explore, so I'm going to keep making tunes. thanks for listening along with me. <3

pangeasoftware replied to your post “anosci did you know that you can assign an LFO to...”

its like fm for control vcos itz awesome. if you like vital you would love phase plant

I've heard a ton of great things about phase plant.

however.

vital is free and has (other than account which meh) 0 friction between "see website" and "use synth"

please note that i am lazy and still commonly pulling from my 2007 collection of VSTs

i think if i had a good snare, that'd fix me

all i need is a good snare

layered maybe

WHAT is wrong with the korg prowave reverb snare

what even is a prowave

no air

it literally just needs a layer of white noise.