File "dimensioners cut.it"

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Extended Module Player 4.1.0
Copyright (C) 1996-2016 Claudio Matsuoka and Hipolito Carraro Jr
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Loading modland.com/pub/modules/Impulsetracker/Eterman/dimensioners cut.it (1 of 1)
Module name : Dimensioner's Cut
Module type : Impulse Tracker 2.14 IT 2.14
Module length: 41 patterns
Patterns : 49
Instruments : 42
Samples : 82
Channels : 33 [ 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 ]
Duration : 4min41s
Instruments:
Instrument name Vl Fade Env Ns Sub Gv Vl Fine Xpo Pan Sm
01 Strings 40 0100 A-- 01 [01] 28 40 +127 +04 Pff 00
02 Strings 40 0100 A-- 01 [01] 28 40 +127 +04 Pff 00
03 Pluck 40 0100 --- 01 [01] 40 40 +127 +16 Pff 13
04 Pluck 2 40 1200 A-- 01 [01] 40 40 +127 +28 Pff 17
06 Accordion 40 08c0 A-P 01 [01] 40 40 +112 +16 Pff 03
07 Accordion 40 1680 A-P 01 [01] 40 40 +112 +16 Pff 03
08 Ride 40 0000 --- 01 [01] 40 40 +100 +28 Pff 14
09 Jazz organ 40 0000 A-P 01 [01] 40 40 +092 +28 Pff 04
0a Orchestral bckgrnd 40 0c80 A-- 01 [01] 40 40 +105 +04 Pff 07
0b Piano 40 0640 A-- 0c [01] 2a 40 +100 +54 Pff 08
[02] 28 40 +100 +49 Pff 09
[03] 28 40 +100 +44 Pff 0a
[04] 22 40 +100 +39 Pff 0b
[05] 20 40 +100 +34 Pff 0c
[06] 1d 40 +100 +29 Pff 0d
[07] 1a 40 +100 +24 Pff 02
[08] 19 40 +099 +19 Pff 0f
[09] 18 40 +099 +14 Pff 10
[0a] 14 40 +099 +09 Pff 11
[0b] 13 40 +099 +04 Pff 12
[0c] 0f 40 -029 +00 Pff 0e
0c Piano 40 0b40 A-- 0c [01] 2a 40 +100 +54 Pff 08
[02] 28 40 +100 +49 Pff 09
[03] 28 40 +100 +44 Pff 0a
[04] 22 40 +100 +39 Pff 0b
[05] 20 40 +100 +34 Pff 0c
[06] 1d 40 +100 +29 Pff 0d
[07] 1a 40 +100 +24 Pff 02
[08] 19 40 +099 +19 Pff 0f
[09] 18 40 +099 +14 Pff 10
[0a] 14 40 +099 +09 Pff 11
[0b] 13 40 +099 +04 Pff 12
[0c] 0f 40 -029 +00 Pff 0e
0d hi-hat 40 0000 --- 01 [01] 19 40 +100 +28 Pff 15
0f Bass 40 0000 A-- 01 [01] 40 40 +100 +00 Pff 01
10 Bass drum 28 0000 --- 01 [01] 40 30 +000 +00 Pff 16
11 Tambourine 40 0000 --- 01 [01] 40 40 +100 +28 Pff 19
12 Comp 3 40 0000 --- 01 [01] 40 40 +088 +17 Pff 1a
13 Comp 4 40 0000 --- 01 [01] 40 40 +088 +17 Pff 18
14 Snare 40 0000 --- 01 [01] 40 40 +043 +12 Pff 1b
15 Snare 2 40 0000 --- 01 [01] 40 40 +000 +00 Pff 1c
16 Organ 40 0780 A-P 01 [01] 40 40 +127 +16 Pff 2b
17 Jazz organ 40 0000 A-P 01 [01] 40 40 +092 +28 Pff 04
18 Bass 2 40 0000 A-- 02 [01] 40 40 +111 +15 Pff 1d
[02] 40 40 +103 +15 Pff 1e
19 Bass 2 40 0000 A-- 02 [01] 40 40 +124 +15 Pff 06
[02] 40 40 +119 +15 Pff 1f
1a Bass 40 0000 A-P 01 [01] 40 40 +048 +28 Pff 20
1b Organ 40 0780 A-P 01 [01] 40 40 +127 +16 Pff 2b
1c Techno Bass 40 0000 --- 01 [01] 40 40 +000 +00 Pff 21
1e Xylophone 40 1400 --- 01 [01] 2a 40 +100 +28 Pff 2a
1f Xylophone 40 1900 A-- 01 [01] 2a 40 +100 +28 Pff 2a
20 Lead 40 1540 A-- 01 [01] 27 40 +115 +33 Pff 2c
21 Organ 40 0780 A-P 01 [01] 40 40 +127 +16 Pff 2b
22 Flute 40 0c80 A-- 01 [01] 40 40 +081 +14 Pff 2d
23 hihat.closed 40 0000 --- 01 [01] 40 40 +127 +13 Pff 22
24 hihat.opened 40 0000 --- 01 [01] 40 40 +127 +18 Pff 23
25 perc 40 0000 --- 01 [01] 40 40 +000 +24 Pff 24
26 perc 40 0000 --- 01 [01] 40 40 +127 +21 Pff 25
27 perc 40 0000 --- 01 [01] 40 40 +127 +19 Pff 26
28 perc 40 0000 --- 01 [01] 40 40 +127 +17 Pff 27
29 perc 40 0000 --- 01 [01] 40 40 +127 +16 Pff 28
2a Flute 40 1180 A-- 01 [01] 40 40 +081 +14 Pff 2d

>
> DIMENSIONER'S CUT (4:41)
>
> by Eterman. Finished in 15.9.2000
>
>
> -a fusion of Folk, Funk, Jazz, Demostyle and Breakbeat.
>
> I heard there is some drum'n'bass resemblance as well,
> but I wouldn't know about it, as I am not acquainted
> with that genre. However, it's in my list, some day to
> make a fusion song of dnb and some other style.
>
> First I had folk. It was plain and easy. I wandered around, and finally I
> found breakbeat. There. Now I had two factors (plus my own creativity)
> and thus a space to build on. I started to realize the picture. I knew
> what it was about, although I didn't yet have all the pieces. As I
> stumbled upon jazz/funk bassline solutions, I thought it was all there,
> but there was yet one thing I had forgotten. I had forgotten fusion, the
> thing it was all about. Not until I figured it out, and calmly replaced
> the pieces accordiongly, was the jigsaw ready to be released. In all
> four dimensions.
> I must admit, that I got a bit carried away, but who cares. I like it
> this way. Bit showing off but don't let it bother you. If it annoys you,
> think about that there are also artists that don't have to demonstrate
> their skills with such a strong method that you can hear in this piece.
> Consider this an experiment. After all, it's fusion, linking together
> quite a few genres, and thus quite an effort as an experiment.
>
> Somehow I'm getting back to my tracking roots with this piece. The
> demostyle atmosphere is plainly heard and in the harmonies here there are
> many elements that are found in 'Insight' and some older never released
> tracks (which is just as well).
> Now, you still think folk music ain't cool?
>
> And man, did I have good time tracking this! It meant a lot of work, but
> I love the result now. And every time I had an inspiration to a new turn,
> a new twist, well, I have to say it was wonderful. You either do know
> what it's like or not; describing the feelings is almost impossible.
> I put most of my knowledge and talent in this work and that was the most
> delightful part of the process. To realise my potential and hear my own
> style in this kind of blend like a mortar keeping the bricks together.
> (well, actually mortar keeps the bricks apart, but anyhow...) The other
> part of the process were the many idle hours I spent tracking and
> creating this. For me, it always takes plenty of time to finish a song.
>
> I can only hope you enjoy this one at least near as much as I.
>
> No genre is worse than another. They are just ways to create something. I
> recall Warder once writing that having few favourite genres is the first
> step to prejudice. (I really hope the quote here is at least almost
> correct) I may seem to dislike trance, but the truth is, I have nothing
> against the genre. I have even heard some good trance pieces (and almost
> enjoyed them!). The more I have listened to music, the more genres I have
> learned to evaluate, but sometimes it takes a lot of time to understand
> certain style or harmony.
> Yet I tell you people: it's worth it. The more music I've learned to
> know, the better view and understanding I've achieved. Believe me,
> friends and neigbors, enjoying music turns out even greater with
> development. I have gained more angle, yet there is still this childish
> wonder and curiosity. Looking for something new with enthusiastic
> amazement.
>
> I recall once defining folk music simply by using instruments, as for
> example medieval music relies much on right kind of instruments, that
> build up the atmosphere. Now, melody does create the atmosphere as well,
> but as different genres have different types of moods (usually and at
> large, that is, gothic music, for example, is all based on certain moods)
> and certain instruments also add their own influence, there are many
> factors to define a genre.
> As I've been thinking about these things, and at the same time listening
> to different types of music, I have become a bit more open to all music
> styles, different kind of types for expression. It's all about art. What
> ever the method of expressing certain ideas, the result (listener's
> impression) is always the most important thing.
> Let it be simple, complex, fresh, trite, there is always a certain type
> of expression, and it's eventually up to the listener, whether that
> expression is good or bad. The artistic side of music is always plainly
> subjective. There is no objective point of view for that. So what is
> needed in critical listening of music are both subjective and objective
> angles; Experiencing, while still analyzing.
>
> I don't like to talk about tastes. It's a real conversation killer. Of
> course we are different. Of course we have different tastes. But what
> comes to my taste, it has never been stable. And that's just what makes
> it all interesting. Music values, opinions, tastes, subjective and
> objective critizism, it's all one merry theory of relativeness.
>
> Hokay, enough bull now.
>
> Greez:
> A51 (you do have skill, I hope you realise that)
> BeatBoostie
> CykiQ
> Da Freaker (Just keep on workin' :) Your techno brings me back memories!)
> Fermus
> Idaho (It's a gift to know talented artists.)
> Luopio (How come you not yet release Gaschamber Musick or Uthor Axis?!)
> Pete Cacmac (You develope, man. Only the deaf won't notice that!)
> Pikari
> PlasticMind
> Space Walk (Battleships for all comments and support!)
> Stumbleine
> Ufopoli
> Whiz
> And all the rest of you jolly chaps in Starchat!
> - say this 3x fast ;) -
>
> All credits to www.traxinspace.com for me finding these great tracker
> fellows.
>
> Some talented (but fairly unknown) artists I appreciate:
> DNA-Groove for just tracking great music.
> Ranger Rick for fresh ideas and a unique way of realising them.
>
> - So you think my English is lame or uncomprehensible? This is
> nothing yet! You should hear me explain my views in my native
> tonque Finnish! There, I think, is enough mess for any broken language
> lingvistic.
>
> - People wonder how I always write such long stories in song messages.
> Well, as you look at these three lines here, and think about the fact
> that there is no plausible bottom line, you most probably get the point.
>
>
> -Harri Kivisto
> eterman@writeme.com
>
>
>
> And I almost forgot: this is copyright material. It is the right thing
> to copy it, but I'd appreciate downloading it from TiS. It is strictly
> prohibited to use this material for educational purposes or for any other
> means of torture, no matter how suitable it might be.
>
>
> .

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