File "nuchter.it"

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Loading modland.com/pub/modules/Impulsetracker/Vincent Voois/nuchter.it (1 of 1)
Module name : Nuchter
Module type : Impulse Tracker 2.15 IT 2.14
Module length: 19 patterns
Patterns : 18
Instruments : 13
Samples : 12
Channels : 20 [ 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 ]
Duration : 1min29s
Instruments:
Instrument name Vl Fade Env Ns Sub Gv Vl Fine Xpo Pan Sm
01 String guitar 23 0780 A-P 07 [01] 40 40 +028 +45 P38 00
[02] 40 40 +035 +40 P38 01
[03] 40 40 +026 +35 P38 02
[04] 40 40 +035 +31 P38 03
[05] 40 40 +032 +26 P38 04
[06] 40 40 +035 +23 P38 05
[07] 40 40 +039 +17 P38 06
02 String guitar R 23 0780 A-P 07 [01] 40 40 +028 +45 Pd8 00
[02] 40 40 +035 +40 Pd8 01
[03] 40 40 +026 +35 Pd8 02
[04] 40 40 +035 +31 Pd8 03
[05] 40 40 +032 +26 Pd8 04
[06] 40 40 +035 +23 Pd8 05
[07] 40 40 +039 +17 Pd8 06
03 String guitarV R 23 0780 AFP 07 [01] 40 40 +028 +45 Pd8 00
[02] 40 40 +035 +40 Pd8 01
[03] 40 40 +026 +35 Pd8 02
[04] 40 40 +035 +31 Pd8 03
[05] 40 40 +032 +26 Pd8 04
[06] 40 40 +035 +23 Pd8 05
[07] 40 40 +039 +17 Pd8 06
04 String Cellos 23 0280 A-- 01 [01] 40 40 -028 -02 P38 07
05 String Cellos R 23 0280 A-- 01 [01] 40 40 -028 -02 Pd8 07
06 DRUM227.WAV 40 0000 --- 01 [01] 40 40 +127 +28 P50 09
07 DRUM227.WAV R 40 0000 --- 01 [01] 40 40 +127 +28 Pc0 09
08 WIND04.WAV 40 01c0 A-P 01 [01] 32 40 +120 +28 P38 08
09 WIND04.WAV R 40 01c0 A-P 01 [01] 32 40 +120 +28 Pd8 08
0a Phased base 40 0000 A-P 01 [01] 40 40 +092 +04 P50 0a
0b Phased base R 40 0000 A-P 01 [01] 40 40 +092 +04 Pc0 0a
0c Sack 40 0000 --- 01 [01] 2a 40 +092 +28 P38 0b
0d Sack R 40 0000 --- 01 [01] 2a 40 +092 +28 Pd8 0b

> Musicdisk : Made in Holland
> Title : Nuchter
> Date started : 23-11-1997
> Date finished : 05-12-1997 (Actually not finished due to time-limit)
> Author : Vincent Voois (Vv) / P5
> Lasting : 1:28
> Samples : Croaker, Maz, Yannis Brown
> Copyright : (C) 1997 Vincent Voois, General Noise Engineering
> E-mail : vvacme@worldonline.nl
> GNE-site : http://home.worldonline.nl
> P5-site : http://www.groove.org/p5
>
>
> Hmmz, these were the comments i got on "Bitter Sweetness" in MC5, i will
> say what i have done with these to improve my way of sequencing:
>
> Harvey Nelson
>
> Acoustic guitars are well used in patterns. Solo's for instruments are
> well placed in song. Bridge is exceptional. Format in channels for
> acoustic guitars are perfect. Nice transition out at end.
>
> I understand the fact that the guitar is formally used as being played
> like a piano in "Bitter Sweetness" which is wrong, the fact that i'm no
> guitarplayer makes that a handicap however i tried to configure the
> instrument that way that one string can't sound polyphonical at one stroke
> when it will be played and i tried to figure out the way of chording
> balances you can stroke on a guitar, this is not easy to know when to
> emulate a bridge and when not to emulate a bridge.
> If you can play the chord and noteprogression, then i have done a good job
> in it.Still, you need at least two or three acoustic steel guitars to be
> capable of playing this piece (if the keygrips are not impossible then!).
>
> Andy Voss
>
> Hmm, guitars and trumpets, oh my. The guitars sounded a bit artificial
> due to their volume envelopes and lack of variation. Decent control
> overall, though.
> The ending was a bit abrupt. Could've used a little extra bass or at
> least some percussion.
>
> Yeps, artificial indeed, no one plays a guitar with the exact stroke
> pressure everytime, i have inserted more dynamical and flexible way of
> playing.
>
>
> David Menkes
>
> Ahh...a harpsichord! Haven't heard one well tracked in a long time.
> Quite refreshing. The horns were well utilized. Good modal theory has
> been applied.
> The only negative I can think of is the level of repition on the behalf
> of the harpsichord itself.
>
> I don't blame you for recognising the guitar as a "harpischord", see
> Andy's comment why i guess you did so.
> Though, i thought the saxaphone sounded quiet like a saxaphone and not
> horns. The "repetition" factor of the "harpischord" was because the
> somehow arpeggiated noteprogression was meanted for background but was too
> much on the foreground which makes the repetive factor a nuisanse later
> on.
>
>
> Benoit Leblanc
>
> A good sunday-type song. A melody easy to remember, it is excellent
> overall. The sax sounds realistic.
>
> Well i guess there can be some people totally satisfied with the results.
>
>
> John Townsend
>
> Not a bad little guitar ballad. Through decent tracking and good
> samples, the composer has pulled off a fairly realistic guitar sound
> considering that no extended samples are used. However, this song has
> quite a few glaring faults.
> The leads are rather dull and unmemorable and at times even detract from
> the otherwise high quality of the song. Also, NNA's are used very
> liberally and to an excess. I played this tune with software mixing
> and it got up to 60- some odd virtual channels. When I judged this
> song, however, I used my Interwave. It didn't sound much different when
> limited to 32 channels, which I suppose is both a good and a bad thing.
> Either way, this piece could have been tracked far more efficiently.
> Incredibly abrupt and inexplicable ending... All things considered, a
> good but flawed effort.
>
>
> When i arrange my instruments, i arrange them on how they must sound in my
> ears and how i have them in mind, because i only have 30 tracks to use and
> Impulse Tracker refuses to give me keyboardcontrol in SB-16 mode i can't
> test the NNA peak-usage of them in order to decrease the excess
> environment of the song so, that's why i try to arrange the instruments in
> that way the song would not bother you when it DOES use excessive NNA's, i
> compose with feeling and soul and when a notecombination brings me into a
> certain mood i like, i try to keep that mood by extending the environment
> of the soul of the sound. If i fail to keep the mood, the song will fail.
>
> The way a song ends or is build up suits an opinion in which, i think, you
> may not judge any composer, everybody composes like he/she feels (i hope
> at least!) and when a song has to go this way or that way then it shall be
> so, in that case you have to get used to it or just don't like it but
> giving points or withold points for it is not a way i use when judging any
> song, i don't tell a painter how to paint as well else it will not be his
> art but art determined by many critics, if you have a certain style, you
> should develop it and improve that style and if you succeed, you can say
> you have made something exclusively by yourself.
>
> With me that is not the case anymore as you can hear several influences of
> many artists around. I don't see any own style in my songs anymore,
> though i still behave rebellic against people trying to take control of
> the "strings" i have on my arms, fortunately people won't be able to
> control my mind, in that way i can say "i'm a free man".
>
> Vv.
>
> .

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