Seeing a whole dance floor dancing to Chameleon is a thing of beauty. The speed change is so gradual that people barely seem to realise how fast they're dancing at the end.
@@VeganSemihCyprus33i know this is a bot but the sentence but "chameleon isnt actually tempos its a government hoax, the groove just makes time feel faster" is amazing
Hey Adam! What you called Mixolydian Pentatonic with the variable 3rd is a very famous Indian Melodic scale or Raga called Raga Jog. You may wanna check it out for more inspiration. Cheers from India :)
@@DangerSquiggles ahh of course, I guess I'm too old now, everyone only knows the games by their modern remakes and remasters instead of the originals 🤣🤣
The thing about this theory of binaural beats and delta brainwaves is it assuems they are equivalent when we have no real reason to assume that. Like, oscillations of brain waves are electrical, auditory stimulation is movement of air, they are totally different phenomena. This kind of abstraction is a human, or at least sentience/sapience-based phenomena, so its unlikely that the electrical patterns in your brain are noticing that air is moving at the same speed that electricity is oscillating in it, unless you yourself are noticing it. The whole theory is kind of rooted IMO in some very old theories of subliminal hypnosis, as well as some other sort of new-agey, post-hippie wishy washy garbage which have never achieved notable efficacy.
@@WiggyWamWam yes. It is. All of our senses are literally electrical. Literally every. Single. One. Everything you sense is electrical. Why? It has to go to your brain, which communicates only in electric interactions. How do nerves work? Electrically. How do thoughts work? Electrically. This isn't rocket appliance
Dear Prudence by The Beatles is my absolute favourite example of elastic time. The tempo changes dramatically, but it never sounds like there's a turning point between one tempo and another, it just gradually evolves into that new tempo and feels entirely natural, and adds so much to the song, especially the end, it is just gorgeous. Maybe it's because Paul was playing drums on it and so he can't keep time as well as Ringo can, because Ringo is a far better drummer. But Paul is still pretty great, and the drums kinda push the song over the top into being an all time classic.
You can tell Adam is a bassist and not a guitarist or singer bc he never mentioned crappy drummers during the elastic time conversation lol. And as a drummer, I really appreciate that. We've actually never messed up any tempos before, it's all feel, and if you don't like the tempo, you just don't understand elastic time. It's an excellent point. Thank you Adam.
@@spaghettisauce445 While I'm not a musician myself, my brother is a bassist. His opinion on the matter is that whether or not the drummer keeps an exact tempo doesn't really matter; what *does* matter is that the band keeps time with each other. He would rather have a good drummer to work with than have the whole band listening to a metronome track.
My favorite example of elastic time is "Run for your life" from clipping. The instrumental is played from stereo systems of passing cars and the doppler effect changes the not only the pitch but also the bpm of the song. Also the rapper uses this freedom to speed up or slow down the song depending on the mood they're trying to induce.
I remember hearing Tartini tones while being a very young little kid screaming with other kids in a kid's falsetto/whistle register scream and as our pitches changed the Tartini tones changed. It felt like they were ripping my ears apart. This required at least two kids; usually I was one of them (not that's what we were trying to do).
@@VeganSemihCyprus33 you are being [coerced|manipulated|controlled] by the {WordNet.relatedNoun("government")} {random.choice(unicode.charsInBlock("emoji"))}
Easy explanation is Ab is a b4, so you wouldn't name a dominant chord with the formula 1 3 5 b7 i.e. E7 E Ab B D. You get to take advantage of this with scales with b4 and b7 though like Super Locrian. Enharmonic major triad 1 b4 5 (technical name is the cursed susb4 😂)
However, bilateral stimulation is a thing. I’m a therapist that provides EMDR (eye movement desensitization reprogramming) in my practice. It’s a protocol for processing trauma. Originally it was executed with having the client follow a visual stimulus that moved left and right rapidly, forcing the eyes to do the same, which reduces activity in the amygdala (fight or flight center), so they can process shitty stuff without getting triggered. It’s amazing. Yet in recent years people have also delivered this treatment with alternating vibrations in the hands ( holding little buzzers) or having little notes that go left right in headphones: so as long as the client gets a left right alternating stimulus, the amygdala chills. It’s very effective. And thoroughly researched.
All I know is that binaural beats and nothing else can make me sit down and focus on what I have to do. Nothing stresses me out more than managing the finances and book keeping in my company. I postpone and delay doing stuff because it causes me anxiety and stress. Binaural beats is basically the one thing that makes me able to power through it. Gonna do some research on the eye stuff, seems interesting
The theory behind bilateral stimulation is pseudoscientific and probably the most controversial, least evidence based part of EMDR. Accepting bilateral stimulation as uncontroversially true because EMDR is as effective as other forms of exposure therapy is like endorsing the existence of Chi because acupuncture is effective.
@@Brian-rt5bb"Neurobiological response to EMDR therapy in clients with different psychological traumas" is a pretty cool look using EEG to try to validate the mechanisms. Unfortunately it's really hard to get big bucks to do these studies head to head with other forms of therapy, but it does really seem like there's a "there" there. And Chi is very real, it just depends on who you ask 😉. I'm kinda joking here, but I'm also serious, in the sense that one could describe it as the "internal bodily energy" or flow of changes within the "subtle body" then it seems, from my understanding of the world, that it's real. But there's all kinds of frameworks for understanding all kinds of things.
Great example of the tempo thing. Queens of the Stone Age is my favorite band and I remember listening to "A Long Slow Goodbye" off of their album Lullabies to Paralyze and getting completely tripped out because there is a point in the middle of the song where they reveal that they've ever so slightly sped up the tempo by suddenly slowing back down. Must be like 10-15bpm, just enough to add some serious mood to the track. I hear it as a tongue-in-cheek breakup song, like they care soooo much (not) that theyve lost track of the tempo.
I’m halfway through but I’m typing the comment already, it’s so cozy and nice to spend the evening listening to you being all clever and friendly thanks for the video, Adam
Thanks for bringing up Herbie Hancock. Head Hunters is one of the most important and influential albums of all time. All his albums, especially from that era, are essential.
9:57 Speaking as a physically disabled musician, I can confirm that playing live is a significant drain on my energy and touring is impossible. I'm very glad home recording and self-releasing are options these days!
I've done a lot of recording over the past few years with "virtual" classical ensembles, and an interesting thing with them is that they often use what has come to be termed a "live" click, meaning the individual clicks of a click track are massaged into place to mimic a naturalistic orchestral performance. It requires a bit more attention from the individual musicians so that they play with the timing of the track and not a steady tempo, but the results are excellent when everything's done.
An interesting experiment might be to have an experienced conductor create a click track manually, while "hearing" an orchestra only in his or her imagination, then have musicians record their parts to the resulting click. (If I played to such a click, I think one or two conductors from my past might suggest that's the only time I ever paid close attention, the cynical buggers lol.) That experiment could also be done using a great drummer or bass player to record the clicks. A "human click track". I offer this free to the world, though if you have great success with the idea, don't forget to mention me in your memoirs. 😅
For binaural beats I have tried a lot of playlists. A lot of them don’t work. A lot of them I like just because of the accompanying music. Some of them help in different ways than what the description would imply it should. But there are a few from Jason Lewis’s TH-cam channel called something like “wake up without caffeine”, in particular the ones that don’t have any music, if I’m listening to those I am unable to fall sleep. I will stop yawning, and my head will not go beyond a certain point of cloudiness from being tired. It will not wake me up in the morning, nor make me feel energetic. But when I need to stay up all night finishing something and, as a programmer, that’s just a thing that happens, it will keep me up and going all the way to the finish line. I only wish I had this while I was in school.
I met you and you wonderful parents at a club near Ohio State University (more than a dozen years ago...maybe more). There's something special about each one of you. Now I send your videos to my grandkids who are band members at Ohio University. Nice work!
7:59 The true mixolydian pentatonic is mixolydian without the notes a tritone apart, so 1 2 4 5 6 8. Or using the notes that mostly represent the scale, 1 2 3 5 b7 8. Also the tritone between the 3 and the b7 is against the consonant soul of pentatonics.
I have used the material available from the Monroe Institute extensively for the past two years, and will report some pretty major positive changes for me, and my partner (who introduced me to them). I see definite overall improvements in my mental health, my compassion for others has increased, my overwhelm at the state of the planet has somewhat abated, and I feel generally more grounded and calm - most of the time. And when I'm not... it's not so bad. I've tried various Binaural Beat videos from other other sources, and like you - found them annoying. That lush, vanilla, Korg Poly 6 string patch is a total drive away, and the ones without music are like listening to the dentist drill. I'm sure some people benefit from them, but the Monroe Institute stuff is more involved than just focus for gaming, or power naps.
I've been trying those out lately, have a very difficult time getting to focus 10, that level of relaxation without falling asleep is tricky (if you are talking about the Gateway tapes, maybe not).
Love it when you’re doing something relatively understandable with chords and bass in music theory and then by just continuing to do it in ways that make sense you hit something you need a 3 paragraph explanation for. Chords are fun ALSO YOOO CHAMELEON I LOVE HERBIE HANCOCK
Please tell me that you plan to release a tour video once the current tour is over! I've been following your progress over the last few months and all the live clips in your various posts sound absolutely amazing. I'm really hoping to get something long-form and more comprehensive when it's all over, and I'm sure all SUNGAZER fans would appreciate it too ❤
6:30 my _rude_ introduction to elastic time was trying to play Run To The Hills on rock band's expert drums. The first like, three beats of the blazingly-fast disco beat is slower than the rest of it, lulling you into a false sense of the true tempo. Once you know it's there you can adjust -- and in fact it's so obvious in retrospect -- but MAN it got me every time until I realized.
You are a huge inspiration for me dude! I love your videos, and they have provided me with so much knowledge of music theory, as well as encouraging me to try more experimental styles of electronic music. I can confidently say I would not be as talented as I am had it not been for you. Thanks for everything, and hang in there, Neely!
I've recently discovered the value of ending a piece on an unresolved interval which had been used as a leading tone several times earlier. That allows the listener to resolve it internally since the sound is still fresh. This type of approach takes advantage of the necessary association of the timeliness of pattern memory which information is part of the influence the piece is designed to impart to a listener. Yes, a good composer is, at lest, unintentionally manipulation any voluntary listener. Targeting a captive listener opens up a whole other "can of verms".
I make Ambient/ Dark Ambient music, my main instrument is the guitar. I never record with a click. I feel like it's more natural, especially in this kind of genre, to have a floaty bpm, or, basically, no bpm. It's just exactly what comes out of me. I hope this makes sense to someone🌖
@@Jasonmakesvideo I guess so lol. But when you look at those really, really skilled metal guitarists, they play so on point, will there be a way to hear a difference there?
I love using rigidly elastic times in DAW productions, I make a lot of EDM and exp. hip hop beats that make use of the fact that DAWs are so rigidly timed, so I can constantly and consistently speed up or slow down the piece’s tempo over the course of phrases to change the energy of sections. It’s also a lot of fun to do this type of automation with swing too. I wrote a pretty amateur essay recently about how we can use digital technologies to influence groove in interesting ways if anyone wants to read it
So this also applies to the next one about electronic music potentially being groovier than live. I agree with Adam that “probably not” is the answer if you’re only looking at quantisation, but if you’re looking at the preciseness of DAWs’ interesting rhythmic capabilities compared to (relatively) simplistic human rhythmic capabilities, I reckon you absolutely can get (not more, but) very different types of groove, not possible when played live
I found your exploration of binaural beats and combination tones compelling, especially set against the backdrop of acoustic and psychoacoustic phenomena. Your chord progression example effectively demonstrates the power of bass movement in re-harmonization, while your comments on consistent BPMs and quantization bring up essential considerations about the limitations and merits of digital tools. The Mixolydian Pentatonic scale's versatility, particularly in blues contexts, was my favorite part. Keep up the great work!
I honestly miss songs that speed up and slow down. It builds excitement, and helps to draw you in. It used to be so commonplace, and is now all but gone, and in the right hands it serves a very real purpose.
recently discovered this with black sabbath. The main riff in iron man speeds up as it goes then slows down in the beginning. so an awesome momentum based feeling
Yeah man, thanks a lot! Great video, as always, @Adam Neely! Concerning the quantizing/bpm- questions: We made a tempo jump on this song (it’s a famous James Bond movie song and we did our very own Arrangement of it) between the pre-chorus and the chorus (and back to te verse again) it IS fun to play things like that and I‘m very happy that it is still possible to put out music that was recorded live like this! Hopefully people will still be interested in things like that - I believe they will.
a lot of j dilla's music is heavily quantized (the book dilla time explains it really well), but it's quantized to weird places that you wouldn't expect, which gives it this awesome feel that is difficult for humans to play because it so precise yet seemingly haphazard. so i think quantizing can make something groovier, provided that you use it creatively instead of as a crutch for a sloppy performance
Another Mahavishnu Orchestra snippett, their tune 'Birds of Fire' starts at 380BPM for the quaver beat (18/8 - according to the official sheet music) but finishes 6 minutes later at 460BPM. There was no holding them back!!
I would say the auditory ilusion happens because the interference pattern appears somehow in the neurons that process sound, so there is a real frequency happening, but in electrical way instead of sound.
Composers have used change in tempo for hundreds of years. It's right up there with change in dynamic or change in pitch. We should use all the controls at our disposal when making music.
9:50 Being disabled, I understand why you are saying that, but I don't think that way of thinking should hinder someone who is disabled from following their passion. As said I am disabled, albeit not severely, and I am a musician (A bassist as well) and I do find travelling a challenge, but I have the blessing of working with some amazing people who help me with the more physically demanding parts of performing and when needed even in other cities.
i actually listen to sleepytube - not because i believe that binaural beats work but because i love ambient music and it helps me relax. i think more than anything giving your brain something to latch on to while to try to sleep makes it easier to drift off, especially for me, where i often find that the second my head hits the pillow i'm filled with anxiety or bombardments of thoughts about the day.
i tried binaural beats myself and couldn't find any effect. if there's one, it's so subtle that you'd be better off spending the time eating something really healthy
I can confirm they do work. I'm not saying all claims out there are right, but for a long time I abetted quick recreational phases at lunch break by listening to brown noise at 6 Hz binaural, loud enough that it should keep someone from falling asleep, which I cannot in such situations anyway, but as the frequency of 6 Hz is known for, it easily put me into a half-waking-half-dreaming state, basically making faint dream imagery occur in my mind but while I was still able to immediately respond to someone speaking to me. After such brief sessions I felt remarkable refreshed and clear-headed, mentally unburdened. - Without that audio assistance I couldn't get this type of experience, but maybe only pondering stuff all the time, busy mind. (And I also tried brown noise without binaural to check - no effect. In fact, I made programs for 15-30 minutes with sliding frequencies, and after having mostly drifted off into the dreamy state, when the brown noise very slowly raised the frequency from 6 Hz upwards, it did pull me back into full waking state.)
I feel like binaural beats have a lot to do with the placebo effect. They make you calm because you think they make you calm. I say this is not to dismiss them. The placebo effect is a strong proven effect. And if you can leverage it to your benefit, why wouldn't you?
MAD props for name-dropping Maryanne Amacher and Phill Niblock, although you spelled the latter’s name wrong! You don’t need headphones, however, to appreciate Niblock’s music, as it just requires an excellent sound system with more than two channels and superior acoustics. Peace.
of course, you can vary the tempo of your pieces on modern DAW's, it's just that it has to be very deliberate and therefore to my mind, it loses let's say, the validity or fluidity of when you do it as part of an organic performance with other musicians.
Thanks for the solo. I spend so much time on TH-cam, but when I see an update from a Nebula creator, I head there to watch. Instead of a “thanks for watching on Nebula” comment, getting a real bonus like that is fucking magical. MAGICAL.
8:16 probably the best example of this in a song is War Pigs by Black Sabbath. It's in E, and in the verse he sings a G# going up but a G natural going down.
On the subject of elastic time I think of Child in Time by Deep Purple, the live recording from Made in Japan. Great song, great band, great performance. I'm thinking a song like that absolutely wouldn't work in a constant tempo production, as the tempo shifts are such integral parts of the songs emotional expression.
You can still automate the bpm in ableton and as far as I know pretty much in every DAW, I do it all the time. Although you might not get the same effect as opposed to doing it more organically.
My former mentor, Brian Irvine did an excellently bonkers piece based on The Man Who Mistook His Wife For A Hat. In dance music, fixed BPM is pure DJ mentality, because subtle tempo manipulations produce a better track. Eg.... Tempo 120BPM Crescendo Tempo 100 1 silent bar tempo 122 full groove and beat. Which approximates the way a band can drag before a drop with natural groove (though a full 10bpm reduction does drag the silence out more than a live band typically would) Not to mention pushing and pulling the hihat or bongo part to mess with the feel. I quantise almost everything tight and hard when doing dance music, with the exception of certain bass and percussion parts. But when recording "proper" music.....I am delighted to say that in 30 years I've moved one note of my bass playing and that was in a spur of the moment solo right at the end of a bass-supremacist cover of New Order's All Day Long (B-S meaning I managed about 11 bass parts.....the actual bassline is a keyboard too LOL Now there's a bassist nobody mentions....Peter Hook....not great at conventional bass, but his sense of melody and that chorussy tone are sublime.....not to mention half the keyboard bass parts and the odd string part started out on his plank.
They definitely help entrain the brain into the targeted operating frequency. Long ago I used Cool Edit to apply 6 Hz to brown noise, also making sessions with sliding down into and eventually back out of it, and it set me into a dreamy state of consciousness that was like a very refreshing, mind-clearing powernap, but while I could immediately react to if someone spoke to me or such. And it wasn't daydreaming because I wasn't pursuing my own imaginative ideas in my head, but I perceived pretty much what you would in dreams, but a bit more vague and without fading out the surroundings.
You can actually adjust the tempo in most DAWs. Typically it's just used to slow down at the end of the song or something, but I guess you could use it to vary the timing mid-song if you want.
IIRC there are features in at least some DAWs (Logic, I think?) explicitly for trying to match tempo to performance. I’ve not tried to actually use that.
You know that you can produce these combination tones relatively easily on a brass instrument? If you play a note and sing another note, the instrument will produce a third note. You can do this because the note played is produced with a different body part (the lips) than the note sung (vocal chords). It is easier to do on the lower brass instruments (tuba, euphonium, bass trombone), because for some reason, the note sung needs to be higher than the note played.
Yes I have found that as well, can make perfectly good multiphonics if I'm singing above the note but it doesn't work if I'm singing below it. Might be something to do with airflow of lower notes? Maybe resonating your vocal chords is easier to do than your lips, so at any given airflow the voice will be easier to sing. I guess then by that hypothesis, if you could sing a crazy low note with tonnes of airflow (without damaging your vocal chords) you could get the lips to actually start moving? So yeah maybe it's like Technically possible but I think in practice nope lol **Edit- I'm a trumpet player btw :)
In an interview I did with one of the guitarists of We Lost The Sea - a Sydney post-rock band - he described touring as "rushing to wait" which maps on perfectly to how you painted it.
A great example of interference patterns in music is the accordion. Some accordions have the reeds purposely tuned a few cents sharp/flat to create those interference beats.
I'd love to hear more on the idea of how that 0,5-4Hz tone is supposed to work in the brain. We can't really hear much under 20Hz, so we couldn't exactly play a, say, 2Hz tone and assume it did anything, but then I suppose (incorrectly?) that the idea of binaural beats isn't so much that we're hearing a tone (unless the difference is 20Hz+), but a rhythmic volume difference. I.e. two sine waves exist at the same time but with a slight phase difference. Those sine waves then match up or oppose eachother at certain intervals, alternately cancelling and amplifying eachother -> leading to a "beat". It's certainly interesting that the brain can generate that beat without it sort of actually existing, since when you're using headphones the sound waves don't really meet. I suppose the same effect Adam displays with the guitar is happening in a the top 2/3s of a piano's notes - as those have either two or three different strings that play at the same time. As the materials in the piano live, the doubled or tripled strings go more and more out of tune with each other, and that off tune "waivering" or beat can be heard.
Fist time I heard binaural beats, it was on "Beside You In Time" by Nine Inch Nails. The "woop-woop-woop" effect is amazing, especially if you listen to it with headphones. I know of another effect, which makes you hear the song in minor or major depending on your focus, only example of this is "one More Time" by the Young Gods.
I checked it on TH-cam and it doesn't seem to be binaural, but a both-channel low-frequency amplitude pulsing kind of effect. My first encounter with binaural beats was discovering the feature in Cool Edit.
I seem to remember that many of the iconic “classic” rock songs of yesteryear have some drift and variance in tempo. It’s one of those things that you can’t tell unless you really listen for it.
Thanks for mentioning the privilege of being able bodied. Some of us are not, including me. I think you are probably one of the best souls on the internet
I study bassoon in Italy and I always used the Tartini's tone in a different way when playing in ensemble... Tartini's tone appears when you play a perfect fifth. So when checking the intonation of a chord whem rehersing we start with the fundamental and then add the fifth. If we hear that Tartini is there then we stack up the other intervals.
I'm sure they meant D/F# as well, but there is a really nice instance of a D/F in "Let's Go Away For A While" by The Beach Boys (2nd chord of the song)
I notice floaty time in "Heat of the Moment" by Asia. Only it feels like a mistake there. When the drums drop out, the whole thing slows down, and when they come back in the song freakin' takes off.
Hey Adam. Nice Q&A. I suggest you look into isochronic tones as they work by producing the physical beating in the rythms themselves, instead of having it be illusory. I wrote my Bachelors degree in sounddesign on brainwave entrainment. I found that, isochronic tones by far were the superior auditory method, but that tactile and visual entrainment is a lot more effective in producing correlating brainwave frequencies. However.. Being able to entrain specific frequncies in the brain, does not mean being able to cure any health issues (yet). I tried combining isochronic tones with principles from music therapy in some compositions. Only the one to calm anxiety had some noticeable effect. On one subject it made them nauseus. The other one had the desired effect and still use the music today 2 years later. Look into it if you like, there's not enough science to create any new content on the matter though. So don't expect a video to come from it...
The first time I really noticed elastic time was the song Belfast by Orbital, with the song slowing down to half speed near the end and then adding additional notes to give the illusion that it was the same speed all along (or at least that’s how i thought of it).
Regarding the constant BPM, recently I directed an album recording and I made custom metronome beats for each piece. In two of them I simulated varying BPMs, one starting at 125 and ending at 140, but the changes are so gradual and small that it honestly flows really really well. There other one is a Calypso piece that goes from 125 to 128 after the solos so the ending feels more energetic. I really liked the results! In fact, while listening to the recordings (still not fully mixed), I honestly forget that we played it that way!
Seeing a whole dance floor dancing to Chameleon is a thing of beauty. The speed change is so gradual that people barely seem to realise how fast they're dancing at the end.
I know that it was a very intentional choice for Stairway to Heaven, too.
You have been fooled by the mass media and the education system 👉 The Connections (2021) [short documentary] 💖
@@VeganSemihCyprus33i know this is a bot but the sentence but "chameleon isnt actually tempos its a government hoax, the groove just makes time feel faster" is amazing
Hey Adam! What you called Mixolydian Pentatonic with the variable 3rd is a very famous Indian Melodic scale or Raga called Raga Jog. You may wanna check it out for more inspiration. Cheers from India :)
Yes! I got super excited when I recognised this! (It was like my excitement in the first episode of Tansener Tanpura realising the same thing.)
i think a lot of people's first binaural beat was lavender town from pokemon red and green
My first binaural beat was from discovering the Brainwave Synth feature in Cool Edit. That was decades ago and I used it plenty back then.
Pokemon blue is also a thing, green is Japan only, how did you bring green into the conversation but forgot blue? 😂😂
@@JohnWiku they were remade as FireRed and LeafGreen, which is probably where they get this.
@@JohnWiku firered and leafgreen prob
@@DangerSquiggles ahh of course, I guess I'm too old now, everyone only knows the games by their modern remakes and remasters instead of the originals 🤣🤣
The thing about this theory of binaural beats and delta brainwaves is it assuems they are equivalent when we have no real reason to assume that. Like, oscillations of brain waves are electrical, auditory stimulation is movement of air, they are totally different phenomena. This kind of abstraction is a human, or at least sentience/sapience-based phenomena, so its unlikely that the electrical patterns in your brain are noticing that air is moving at the same speed that electricity is oscillating in it, unless you yourself are noticing it. The whole theory is kind of rooted IMO in some very old theories of subliminal hypnosis, as well as some other sort of new-agey, post-hippie wishy washy garbage which have never achieved notable efficacy.
Sound IS electrical. So, I'm confused about your point.
@@bigollie006No? It isn’t? It’s pressure waves through a fluid?
@@WiggyWamWam yes. It is. All of our senses are literally electrical. Literally every. Single. One.
Everything you sense is electrical. Why? It has to go to your brain, which communicates only in electric interactions. How do nerves work? Electrically. How do thoughts work? Electrically.
This isn't rocket appliance
Dear Prudence by The Beatles is my absolute favourite example of elastic time. The tempo changes dramatically, but it never sounds like there's a turning point between one tempo and another, it just gradually evolves into that new tempo and feels entirely natural, and adds so much to the song, especially the end, it is just gorgeous. Maybe it's because Paul was playing drums on it and so he can't keep time as well as Ringo can, because Ringo is a far better drummer. But Paul is still pretty great, and the drums kinda push the song over the top into being an all time classic.
True, I also love little imperfections in songs and it always seemed a little imperfect to me? Could be wrong of course but yeah I love that
Way to much brown lipstick.
@@morbidmanmusic *too
@@morbidmanmusicis that a suggestion directed towards you whenever you appear outside your home?
Ringo a better drummer? He’s the worst drummer out of all of the Beatles!
You can tell Adam is a bassist and not a guitarist or singer bc he never mentioned crappy drummers during the elastic time conversation lol. And as a drummer, I really appreciate that. We've actually never messed up any tempos before, it's all feel, and if you don't like the tempo, you just don't understand elastic time. It's an excellent point. Thank you Adam.
Binaurals are about cord instruments
this just sounds like coping for not being able to keep time like a metronome
@@spaghettisauce445 While I'm not a musician myself, my brother is a bassist. His opinion on the matter is that whether or not the drummer keeps an exact tempo doesn't really matter; what *does* matter is that the band keeps time with each other. He would rather have a good drummer to work with than have the whole band listening to a metronome track.
As a guitarist that has stumped drummers - false. Granted I do math metal and use poly rhythms and poly metering constantly.
@@MaddDrEw As a drummer, that gets old pretty fast, and that's why Meshugga and others don't get the recognition they really deserve.
My favorite example of elastic time is "Run for your life" from clipping. The instrumental is played from stereo systems of passing cars and the doppler effect changes the not only the pitch but also the bpm of the song. Also the rapper uses this freedom to speed up or slow down the song depending on the mood they're trying to induce.
W pick. One of the most creative songs of all time.
What about classical music? Basically all of it.
that was a really high effort first answer. it's well appreciated.
It was good enough that I forgot for a moment that this was a q&a video and not a whole video about binaural beats.
I remember hearing Tartini tones while being a very young little kid screaming with other kids in a kid's falsetto/whistle register scream and as our pitches changed the Tartini tones changed. It felt like they were ripping my ears apart. This required at least two kids; usually I was one of them (not that's what we were trying to do).
Reminds me I first heard them with multiple smoke alarms. The pitch of the two piezos is not exactly equal.
i love the wall of context at 5:35 to explain whether the bass note should be labeled G# or Ab
Same. I took that text and tried playing the E7/G# there instead of the Fm6 and I am having a great day now.
You have been fooled by the mass media and the education system 👉 The Connections (2021) [short documentary] 💖
@@VeganSemihCyprus33 you are being [coerced|manipulated|controlled] by the {WordNet.relatedNoun("government")} {random.choice(unicode.charsInBlock("emoji"))}
Easy explanation is Ab is a b4, so you wouldn't name a dominant chord with the formula 1 3 5 b7 i.e. E7 E Ab B D. You get to take advantage of this with scales with b4 and b7 though like Super Locrian. Enharmonic major triad 1 b4 5 (technical name is the cursed susb4 😂)
However, bilateral stimulation is a thing. I’m a therapist that provides EMDR (eye movement desensitization reprogramming) in my practice. It’s a protocol for processing trauma. Originally it was executed with having the client follow a visual stimulus that moved left and right rapidly, forcing the eyes to do the same, which reduces activity in the amygdala (fight or flight center), so they can process shitty stuff without getting triggered. It’s amazing. Yet in recent years people have also delivered this treatment with alternating vibrations in the hands ( holding little buzzers) or having little notes that go left right in headphones: so as long as the client gets a left right alternating stimulus, the amygdala chills. It’s very effective. And thoroughly researched.
Yes! I used intuitively this to heal ptsd. It works!
All I know is that binaural beats and nothing else can make me sit down and focus on what I have to do. Nothing stresses me out more than managing the finances and book keeping in my company. I postpone and delay doing stuff because it causes me anxiety and stress. Binaural beats is basically the one thing that makes me able to power through it.
Gonna do some research on the eye stuff, seems interesting
The theory behind bilateral stimulation is pseudoscientific and probably the most controversial, least evidence based part of EMDR. Accepting bilateral stimulation as uncontroversially true because EMDR is as effective as other forms of exposure therapy is like endorsing the existence of Chi because acupuncture is effective.
@@Brian-rt5bb"Neurobiological response to EMDR therapy in clients with different psychological traumas" is a pretty cool look using EEG to try to validate the mechanisms. Unfortunately it's really hard to get big bucks to do these studies head to head with other forms of therapy, but it does really seem like there's a "there" there.
And Chi is very real, it just depends on who you ask 😉. I'm kinda joking here, but I'm also serious, in the sense that one could describe it as the "internal bodily energy" or flow of changes within the "subtle body" then it seems, from my understanding of the world, that it's real. But there's all kinds of frameworks for understanding all kinds of things.
@@Brian-rt5bb midwit comment
Great example of the tempo thing. Queens of the Stone Age is my favorite band and I remember listening to "A Long Slow Goodbye" off of their album Lullabies to Paralyze and getting completely tripped out because there is a point in the middle of the song where they reveal that they've ever so slightly sped up the tempo by suddenly slowing back down. Must be like 10-15bpm, just enough to add some serious mood to the track. I hear it as a tongue-in-cheek breakup song, like they care soooo much (not) that theyve lost track of the tempo.
Our guy comes off a major tour and puts out a Q&A where the first A could have been a video all to itself. Amazing work Adam!
You have been fooled by the mass media and the education system 👉 The Connections (2021) [short documentary] 💖
this is fantastic! one of the best vids I’ve seen breaking down binaural beats…
I’m halfway through but I’m typing the comment already, it’s so cozy and nice to spend the evening listening to you being all clever and friendly
thanks for the video, Adam
Thanks for bringing up Herbie Hancock. Head Hunters is one of the most important and influential albums of all time. All his albums, especially from that era, are essential.
It’s one of the few albums I’ve discovered as an adult that are just… embedded in me now. As much a part of me as what I grew up with. A masterpiece.
COME TO BRAZIL
on god
fr
no papo
Mandou
Notou águas de março nesse chord progression the the viewer submitted? Amo essa música
9:57 Speaking as a physically disabled musician, I can confirm that playing live is a significant drain on my energy and touring is impossible. I'm very glad home recording and self-releasing are options these days!
putting an ad at 5:44 is criminal. i was so ready for that resolution
Like why would he do that ?
go listen to águas de março to cleanse your palate lol ;D
Those super fast instagram q&a stoped being super fast long time ago and just turned into question and answer time with Adam Neely
Ah but the theme was written in stone, it's the SU PA FAST INS TA GRAM Q N A *Be duh doh*
I've done a lot of recording over the past few years with "virtual" classical ensembles, and an interesting thing with them is that they often use what has come to be termed a "live" click, meaning the individual clicks of a click track are massaged into place to mimic a naturalistic orchestral performance. It requires a bit more attention from the individual musicians so that they play with the timing of the track and not a steady tempo, but the results are excellent when everything's done.
O hi
An interesting experiment might be to have an experienced conductor create a click track manually, while "hearing" an orchestra only in his or her imagination, then have musicians record their parts to the resulting click. (If I played to such a click, I think one or two conductors from my past might suggest that's the only time I ever paid close attention, the cynical buggers lol.)
That experiment could also be done using a great drummer or bass player to record the clicks. A "human click track". I offer this free to the world, though if you have great success with the idea, don't forget to mention me in your memoirs. 😅
Wooo! Exactly - that was a fabulous choice with the B flat!
For binaural beats I have tried a lot of playlists. A lot of them don’t work. A lot of them I like just because of the accompanying music. Some of them help in different ways than what the description would imply it should. But there are a few from Jason Lewis’s TH-cam channel called something like “wake up without caffeine”, in particular the ones that don’t have any music, if I’m listening to those I am unable to fall sleep. I will stop yawning, and my head will not go beyond a certain point of cloudiness from being tired. It will not wake me up in the morning, nor make me feel energetic. But when I need to stay up all night finishing something and, as a programmer, that’s just a thing that happens, it will keep me up and going all the way to the finish line. I only wish I had this while I was in school.
I met you and you wonderful parents at a club near Ohio State University (more than a dozen years ago...maybe more). There's something special about each one of you.
Now I send your videos to my grandkids who are band members at Ohio University. Nice work!
My binaural beats are Bill Kreutzmann and Mickey Hart. (great vid as always, thanks Adam)
7:59 The true mixolydian pentatonic is mixolydian without the notes a tritone apart, so 1 2 4 5 6 8. Or using the notes that mostly represent the scale, 1 2 3 5 b7 8. Also the tritone between the 3 and the b7 is against the consonant soul of pentatonics.
Still so sad i missed the Sungazer/Plini tour. Come back to Illinois soon please!
I have used the material available from the Monroe Institute extensively for the past two years, and will report some pretty major positive changes for me, and my partner (who introduced me to them). I see definite overall improvements in my mental health, my compassion for others has increased, my overwhelm at the state of the planet has somewhat abated, and I feel generally more grounded and calm - most of the time. And when I'm not... it's not so bad. I've tried various Binaural Beat videos from other other sources, and like you - found them annoying. That lush, vanilla, Korg Poly 6 string patch is a total drive away, and the ones without music are like listening to the dentist drill. I'm sure some people benefit from them, but the Monroe Institute stuff is more involved than just focus for gaming, or power naps.
I've been trying those out lately, have a very difficult time getting to focus 10, that level of relaxation without falling asleep is tricky (if you are talking about the Gateway tapes, maybe not).
@@cryoshakespeare4465 If it were easy a lot more people would be doing it...
I missed these Q&As, they’re so fun
Love it when you’re doing something relatively understandable with chords and bass in music theory and then by just continuing to do it in ways that make sense you hit something you need a 3 paragraph explanation for. Chords are fun
ALSO YOOO CHAMELEON I LOVE HERBIE HANCOCK
Please tell me that you plan to release a tour video once the current tour is over! I've been following your progress over the last few months and all the live clips in your various posts sound absolutely amazing. I'm really hoping to get something long-form and more comprehensive when it's all over, and I'm sure all SUNGAZER fans would appreciate it too ❤
6:30 my _rude_ introduction to elastic time was trying to play Run To The Hills on rock band's expert drums. The first like, three beats of the blazingly-fast disco beat is slower than the rest of it, lulling you into a false sense of the true tempo. Once you know it's there you can adjust -- and in fact it's so obvious in retrospect -- but MAN it got me every time until I realized.
been around for like 20 years. Why you doin this now?
Actually a really good explanation of it. Nice.
And really informative omg.
You are a huge inspiration for me dude! I love your videos, and they have provided me with so much knowledge of music theory, as well as encouraging me to try more experimental styles of electronic music. I can confidently say I would not be as talented as I am had it not been for you. Thanks for everything, and hang in there, Neely!
@AdamsNeely WOW, [totally real] ADAMs NEELY!?!?!!!11?!????1!!?!1!%? 😱 LET'S DEFINITELY {ʜᴀᴠᴇ ᴀ ᴄᴏɴᴠᴇʀꜱᴀᴛɪᴏɴ ᴀʙᴏᴠᴇ 🆙}!!Q!
I've recently discovered the value of ending a piece on an unresolved interval which had been used as a leading tone several times earlier. That allows the listener to resolve it internally since the sound is still fresh. This type of approach takes advantage of the necessary association of the timeliness of pattern memory which information is part of the influence the piece is designed to impart to a listener. Yes, a good composer is, at lest, unintentionally manipulation any voluntary listener. Targeting a captive listener opens up a whole other "can of verms".
I make Ambient/ Dark Ambient music, my main instrument is the guitar. I never record with a click. I feel like it's more natural, especially in this kind of genre, to have a floaty bpm, or, basically, no bpm. It's just exactly what comes out of me. I hope this makes sense to someone🌖
it's going to be a "made by a human" signifier
@@Jasonmakesvideo I guess so lol. But when you look at those really, really skilled metal guitarists, they play so on point, will there be a way to hear a difference there?
Just discovered that you're coming to Estonia with Sungazer in November! Like..how? WHOA!
I love using rigidly elastic times in DAW productions, I make a lot of EDM and exp. hip hop beats that make use of the fact that DAWs are so rigidly timed, so I can constantly and consistently speed up or slow down the piece’s tempo over the course of phrases to change the energy of sections. It’s also a lot of fun to do this type of automation with swing too.
I wrote a pretty amateur essay recently about how we can use digital technologies to influence groove in interesting ways if anyone wants to read it
So this also applies to the next one about electronic music potentially being groovier than live. I agree with Adam that “probably not” is the answer if you’re only looking at quantisation, but if you’re looking at the preciseness of DAWs’ interesting rhythmic capabilities compared to (relatively) simplistic human rhythmic capabilities, I reckon you absolutely can get (not more, but) very different types of groove, not possible when played live
I found your exploration of binaural beats and combination tones compelling, especially set against the backdrop of acoustic and psychoacoustic phenomena. Your chord progression example effectively demonstrates the power of bass movement in re-harmonization, while your comments on consistent BPMs and quantization bring up essential considerations about the limitations and merits of digital tools. The Mixolydian Pentatonic scale's versatility, particularly in blues contexts, was my favorite part. Keep up the great work!
i love your videos! thanks for making them
I honestly miss songs that speed up and slow down. It builds excitement, and helps to draw you in. It used to be so commonplace, and is now all but gone, and in the right hands it serves a very real purpose.
"Take Me Out" by Franz Ferdinand never fails to hype me with that huge tempo change.
recently discovered this with black sabbath. The main riff in iron man speeds up as it goes then slows down in the beginning. so an awesome momentum based feeling
Listen to classical music! It's all elastic time.
Yeah man, thanks a lot! Great video, as always, @Adam Neely!
Concerning the quantizing/bpm- questions: We made a tempo jump on this song (it’s a famous James Bond movie song and we did our very own Arrangement of it) between the pre-chorus and the chorus (and back to te verse again) it IS fun to play things like that and I‘m very happy that it is still possible to put out music that was recorded live like this! Hopefully people will still be interested in things like that - I believe they will.
The binaural beats were great but your other half of that tasty chord progression was awesome.
a lot of j dilla's music is heavily quantized (the book dilla time explains it really well), but it's quantized to weird places that you wouldn't expect, which gives it this awesome feel that is difficult for humans to play because it so precise yet seemingly haphazard. so i think quantizing can make something groovier, provided that you use it creatively instead of as a crutch for a sloppy performance
Another Mahavishnu Orchestra snippett, their tune 'Birds of Fire' starts at 380BPM for the quaver beat (18/8 - according to the official sheet music) but finishes 6 minutes later at 460BPM. There was no holding them back!!
One of the best records ever
I would say the auditory ilusion happens because the interference pattern appears somehow in the neurons that process sound, so there is a real frequency happening, but in electrical way instead of sound.
Composers have used change in tempo for hundreds of years. It's right up there with change in dynamic or change in pitch. We should use all the controls at our disposal when making music.
That was absolutely gorgeous thank you mr. Neely.
9:50 Being disabled, I understand why you are saying that, but I don't think that way of thinking should hinder someone who is disabled from following their passion. As said I am disabled, albeit not severely, and I am a musician (A bassist as well) and I do find travelling a challenge, but I have the blessing of working with some amazing people who help me with the more physically demanding parts of performing and when needed even in other cities.
1:39 didn't know Gus Fring was a musician back then already.
Im so happy these videos are back! Best breakfast entertainment.
1:25 Giueseppe Tartini? Ha, more like-Giueseppe Tortellini 👌😌 nailed it
i actually listen to sleepytube - not because i believe that binaural beats work but because i love ambient music and it helps me relax. i think more than anything giving your brain something to latch on to while to try to sleep makes it easier to drift off, especially for me, where i often find that the second my head hits the pillow i'm filled with anxiety or bombardments of thoughts about the day.
i tried binaural beats myself and couldn't find any effect. if there's one, it's so subtle that you'd be better off spending the time eating something really healthy
I can confirm they do work. I'm not saying all claims out there are right, but for a long time I abetted quick recreational phases at lunch break by listening to brown noise at 6 Hz binaural, loud enough that it should keep someone from falling asleep, which I cannot in such situations anyway, but as the frequency of 6 Hz is known for, it easily put me into a half-waking-half-dreaming state, basically making faint dream imagery occur in my mind but while I was still able to immediately respond to someone speaking to me. After such brief sessions I felt remarkable refreshed and clear-headed, mentally unburdened. - Without that audio assistance I couldn't get this type of experience, but maybe only pondering stuff all the time, busy mind. (And I also tried brown noise without binaural to check - no effect. In fact, I made programs for 15-30 minutes with sliding frequencies, and after having mostly drifted off into the dreamy state, when the brown noise very slowly raised the frequency from 6 Hz upwards, it did pull me back into full waking state.)
I feel like binaural beats have a lot to do with the placebo effect. They make you calm because you think they make you calm. I say this is not to dismiss them. The placebo effect is a strong proven effect. And if you can leverage it to your benefit, why wouldn't you?
MAD props for name-dropping Maryanne Amacher and Phill Niblock, although you spelled the latter’s name wrong! You don’t need headphones, however, to appreciate Niblock’s music, as it just requires an excellent sound system with more than two channels and superior acoustics. Peace.
Super helpful. Best explanation of this stuff I've yet seen.
Would you ever consider talking about Mitski's song Liquid Smooth? I am curious about the chords she chooses, this song is so unique and beautiful
I definitely enjoyed the theory dump.
Finally lol love the videos and can’t get enough brewwww
of course, you can vary the tempo of your pieces on modern DAW's, it's just that it has to be very deliberate and therefore to my mind, it loses let's say, the validity or fluidity of when you do it as part of an organic performance with other musicians.
Thanks for the solo. I spend so much time on TH-cam, but when I see an update from a Nebula creator, I head there to watch. Instead of a “thanks for watching on Nebula” comment, getting a real bonus like that is fucking magical. MAGICAL.
So many cool ideas in one video, you nailed it with this one.
8:16 probably the best example of this in a song is War Pigs by Black Sabbath. It's in E, and in the verse he sings a G# going up but a G natural going down.
On the subject of elastic time I think of Child in Time by Deep Purple, the live recording from Made in Japan. Great song, great band, great performance. I'm thinking a song like that absolutely wouldn't work in a constant tempo production, as the tempo shifts are such integral parts of the songs emotional expression.
You can still automate the bpm in ableton and as far as I know pretty much in every DAW, I do it all the time. Although you might not get the same effect as opposed to doing it more organically.
My former mentor, Brian Irvine did an excellently bonkers piece based on The Man Who Mistook His Wife For A Hat.
In dance music, fixed BPM is pure DJ mentality, because subtle tempo manipulations produce a better track.
Eg....
Tempo 120BPM
Crescendo
Tempo 100
1 silent bar
tempo 122
full groove and beat.
Which approximates the way a band can drag before a drop with natural groove (though a full 10bpm reduction does drag the silence out more than a live band typically would)
Not to mention pushing and pulling the hihat or bongo part to mess with the feel. I quantise almost everything tight and hard when doing dance music, with the exception of certain bass and percussion parts. But when recording "proper" music.....I am delighted to say that in 30 years I've moved one note of my bass playing and that was in a spur of the moment solo right at the end of a bass-supremacist cover of New Order's All Day Long (B-S meaning I managed about 11 bass parts.....the actual bassline is a keyboard too LOL
Now there's a bassist nobody mentions....Peter Hook....not great at conventional bass, but his sense of melody and that chorussy tone are sublime.....not to mention half the keyboard bass parts and the odd string part started out on his plank.
good Q+A...btw I have an old 80s Yamaha keytar that has Chameleon as one of the autochord backing songs
Thanks for featuring my question! Incredibly well researched and produced as always.
They definitely help entrain the brain into the targeted operating frequency. Long ago I used Cool Edit to apply 6 Hz to brown noise, also making sessions with sliding down into and eventually back out of it, and it set me into a dreamy state of consciousness that was like a very refreshing, mind-clearing powernap, but while I could immediately react to if someone spoke to me or such.
And it wasn't daydreaming because I wasn't pursuing my own imaginative ideas in my head, but I perceived pretty much what you would in dreams, but a bit more vague and without fading out the surroundings.
You can actually adjust the tempo in most DAWs. Typically it's just used to slow down at the end of the song or something, but I guess you could use it to vary the timing mid-song if you want.
IIRC there are features in at least some DAWs (Logic, I think?) explicitly for trying to match tempo to performance. I’ve not tried to actually use that.
"Always with Me" on the Spirited Away soundtrack has some subtle pause/ritardando between phrases that sound really nice.
5:36 getting blasted with that wall of text was an insane experience
Raga Jog in Indian music uses those pentatonic notes with both thirds
I'll add that using *only* the major third produces something like raga Tilang.
You know that you can produce these combination tones relatively easily on a brass instrument? If you play a note and sing another note, the instrument will produce a third note. You can do this because the note played is produced with a different body part (the lips) than the note sung (vocal chords). It is easier to do on the lower brass instruments (tuba, euphonium, bass trombone), because for some reason, the note sung needs to be higher than the note played.
Yes I have found that as well, can make perfectly good multiphonics if I'm singing above the note but it doesn't work if I'm singing below it. Might be something to do with airflow of lower notes? Maybe resonating your vocal chords is easier to do than your lips, so at any given airflow the voice will be easier to sing. I guess then by that hypothesis, if you could sing a crazy low note with tonnes of airflow (without damaging your vocal chords) you could get the lips to actually start moving? So yeah maybe it's like Technically possible but I think in practice nope lol
**Edit- I'm a trumpet player btw :)
In an interview I did with one of the guitarists of We Lost The Sea - a Sydney post-rock band - he described touring as "rushing to wait" which maps on perfectly to how you painted it.
5:55 Don Ellis' album How Time Passes is another great example of jazz with elastic time
A great example of interference patterns in music is the accordion. Some accordions have the reeds purposely tuned a few cents sharp/flat to create those interference beats.
I wanted to know about this topic for so long. I'm glad that u r covering it. Love ur videos
I'd love to hear more on the idea of how that 0,5-4Hz tone is supposed to work in the brain. We can't really hear much under 20Hz, so we couldn't exactly play a, say, 2Hz tone and assume it did anything, but then I suppose (incorrectly?) that the idea of binaural beats isn't so much that we're hearing a tone (unless the difference is 20Hz+), but a rhythmic volume difference. I.e. two sine waves exist at the same time but with a slight phase difference. Those sine waves then match up or oppose eachother at certain intervals, alternately cancelling and amplifying eachother -> leading to a "beat". It's certainly interesting that the brain can generate that beat without it sort of actually existing, since when you're using headphones the sound waves don't really meet.
I suppose the same effect Adam displays with the guitar is happening in a the top 2/3s of a piano's notes - as those have either two or three different strings that play at the same time. As the materials in the piano live, the doubled or tripled strings go more and more out of tune with each other, and that off tune "waivering" or beat can be heard.
That floaty time topic was really interesting
Fist time I heard binaural beats, it was on "Beside You In Time" by Nine Inch Nails. The "woop-woop-woop" effect is amazing, especially if you listen to it with headphones.
I know of another effect, which makes you hear the song in minor or major depending on your focus, only example of this is "one More Time" by the Young Gods.
I checked it on TH-cam and it doesn't seem to be binaural, but a both-channel low-frequency amplitude pulsing kind of effect.
My first encounter with binaural beats was discovering the feature in Cool Edit.
I seem to remember that many of the iconic “classic” rock songs of yesteryear have some drift and variance in tempo. It’s one of those things that you can’t tell unless you really listen for it.
Yes! Like every AC/DC song, and I love it. Feels like a living breathing organism.
Thanks for mentioning the privilege of being able bodied. Some of us are not, including me. I think you are probably one of the best souls on the internet
I study bassoon in Italy and I always used the Tartini's tone in a different way when playing in ensemble... Tartini's tone appears when you play a perfect fifth. So when checking the intonation of a chord whem rehersing we start with the fundamental and then add the fifth. If we hear that Tartini is there then we stack up the other intervals.
I'm sure they meant D/F# as well, but there is a really nice instance of a D/F in "Let's Go Away For A While" by The Beach Boys (2nd chord of the song)
I remember discovering tartini tones in the various times I've played Minor Seconds on guitar.
As well as tuning my guitar.
loving the dingwall, idk if this is your first time using it in a video but this is my first time seeing it
I love "this" when it works in and breaks up a normal progression.
RE: binaural beats… I’m reminded of the 432Hz, “It’s Played Through Bad Frequencies!” guy
I notice floaty time in "Heat of the Moment" by Asia. Only it feels like a mistake there. When the drums drop out, the whole thing slows down, and when they come back in the song freakin' takes off.
Ooo, Adam's got himself a Dingwall.
Nice!
Also, brilliant content as always.
You put the ad right between when you said you were going to resolve the chord and when you did resolve the chord. That got a giggle from me
Wonderful descending line.
Good to see pride of place given to Persichetti , seminal book .
5:14 Adam Neely playing bass and keyboard at the same time!!?!? The new Geddy Lee!
Hey Adam. Nice Q&A. I suggest you look into isochronic tones as they work by producing the physical beating in the rythms themselves, instead of having it be illusory. I wrote my Bachelors degree in sounddesign on brainwave entrainment. I found that, isochronic tones by far were the superior auditory method, but that tactile and visual entrainment is a lot more effective in producing correlating brainwave frequencies.
However.. Being able to entrain specific frequncies in the brain, does not mean being able to cure any health issues (yet). I tried combining isochronic tones with principles from music therapy in some compositions. Only the one to calm anxiety had some noticeable effect. On one subject it made them nauseus. The other one had the desired effect and still use the music today 2 years later.
Look into it if you like, there's not enough science to create any new content on the matter though. So don't expect a video to come from it...
The first time I really noticed elastic time was the song Belfast by Orbital, with the song slowing down to half speed near the end and then adding additional notes to give the illusion that it was the same speed all along (or at least that’s how i thought of it).
Regarding the constant BPM, recently I directed an album recording and I made custom metronome beats for each piece. In two of them I simulated varying BPMs, one starting at 125 and ending at 140, but the changes are so gradual and small that it honestly flows really really well.
There other one is a Calypso piece that goes from 125 to 128 after the solos so the ending feels more energetic.
I really liked the results! In fact, while listening to the recordings (still not fully mixed), I honestly forget that we played it that way!
I'm almost more interested in your bass than the questions. Sick instrument, dude!