Do you ever wish you could edit a particular piece of music, tweaking it a little to make it better?

DevilRedeemed

teh
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When listening to Deftones, I think it's good to remember these dudes (especially Chino) listen to Depeche Mode, Smashing Pumpkins, and The Cure more than they listen to metal bands. So you almost have to approach it like a heavy version of that sound, IMO of course.....

Off topic: @DevilRedeemed , what do you think of Chino's side projects such as Crosses, Team Sleep, Palms...?


The song doesn't have a key change, unless your talking going from major to relative minor (which is the same scale). The song was recorded with the tape running fast so it gives a strange tone to the song. It's not really in key because of it, but in tune with itself. I suppose it's possible the keyboard intro and the rest of the song could have been recorded at different speeds or recording sessions though.
Totally with you regarding how I also listen to Deftones. I just love that song so much and wish they hadn't layed it on so thick here, like they're doing too much. Incredibly for me at least I enjoy some of their albums a lot more with the passing of time, it happens over and over, most recently I have been listening to Saturday Night Wrists a lot and think it's amazing. When it came out I didn't care for it.

To be honest Chino's side projects bore me tremendously. I do appreciate that him and his collaborators make competent music, it's just not for me. I tend to feel this regarding most side projects, solo projects are a completely different story, maybe because they tend to be more intimate and nuanced.

The only guy who to me makes incredible music with side projects is Maynard. Patton too though stuff like Peeping Tom doesn'r do it for me.
I'm sure there's a ton of other musicians I'm not thinking of right now. Lanegan definetly. Maybe these are bad examples though as they're more just projects than side projects, lest Keenan who could be said to be called the Tool singer. A Perfect Circle's music still sounds fucking amazing
How about you? Chino is truly one of a kind all round. He's up there with the musicians he loves so much.
 

DevilRedeemed

teh
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Appreciate you guys very much by the way. Coming back on here always feels like home. Coming on 21 years, my eldest kid's age damn
 

theMot

Reformed collector of junk
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Totally with you regarding how I also listen to Deftones. I just love that song so much and wish they hadn't layed it on so thick here, like they're doing too much. Incredibly for me at least I enjoy some of their albums a lot more with the passing of time, it happens over and over, most recently I have been listening to Saturday Night Wrists a lot and think it's amazing. When it came out I didn't care for it.

To be honest Chino's side projects bore me tremendously. I do appreciate that him and his collaborators make competent music, it's just not for me. I tend to feel this regarding most side projects, solo projects are a completely different story, maybe because they tend to be more intimate and nuanced.

The only guy who to me makes incredible music with side projects is Maynard. Patton too though stuff like Peeping Tom doesn'r do it for me.
I'm sure there's a ton of other musicians I'm not thinking of right now. Lanegan definetly. Maybe these are bad examples though as they're more just projects than side projects, lest Keenan who could be said to be called the Tool singer. A Perfect Circle's music still sounds fucking amazing
How about you? Chino is truly one of a kind all round. He's up there with the musicians he loves so much.
I always liked Saturday night wrist. I think it’s their best album post White Pony. It cops a lot of shit because the band have said they were in a bad place when they made it but to me it holds together really well. I feel everything they did after that was them just treading old ground. They haven’t really declined but it’s the same thing over and over.

I don’t agree with you re Maynard. The first APC album was nice (for its time) but everything else they released was underwhelming and Puscifer is unlistenable for me.
 

DevilRedeemed

teh
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@DevilRedeemed check out Crosses (Chino), Puscifer (Maynard), and Tomahawk (Patton)

Crosses has some stuff I think you'd like
Will do. I really like Puscifer, some of my favourite songs by Maynard (Toma for instance)
Need to listen more in depth ro those other 2 bands.

@theMot Diamond Eyes is very solid in my opinion.
About APC, I don't agree at all but definetly each to their own
 

sirlynxalot

Genjuro's Frog
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The song doesn't have a key change, unless your talking going from major to relative minor (which is the same scale). The song was recorded with the tape running fast so it gives a strange tone to the song. It's not really in key because of it, but in tune with itself. I suppose it's possible the keyboard intro and the rest of the song could have been recorded at different speeds or recording sessions though.

They stitched multiple versions of the song together to make Strawberry Fields, basically the first part is a version the Beatles played themselves with their own instruments, but they wanted to merge it with a symphonic version George Martin had previously had studio musicians play for the latter part that gets heavier. The symphonic version Martin had recorded was in a different key so they played around with the tape speed of each section to get the two different versions to sort of match.

Its kinda interesting, here's wikipedia's blurb on it, though its routinely mentioned in Beatles' books and other places

After reviewing the acetates of the new remake and the previous version, Lennon told Martin that he liked both the "original, lighter" take 7 and "the intense, scored version",[81] and wanted to combine the two.[88][89] Martin had to tell Lennon that the orchestral score was at a faster tempo and in a higher key than the earlier recording.[90] Lennon assured him: "You can fix it, George."[91][92]

On 22 December, Martin and Emerick carried out the difficult task of joining takes 7 and 26 together.[91][93] With only a pair of editing scissors, two tape machines and a vari-speed control, Emerick compensated for the differences in key and speed by increasing the speed of the first version and decreasing the speed of the second.[15] He then spliced the versions,[89] starting the orchestral score in the middle of the second chorus.[91] Since take 7 did not include a chorus after the first verse,[48] he also spliced in the first seven words of the second chorus from that take.[94] The pitch-shifting in joining the versions gave Lennon's lead vocal an otherworldly, "swimming" quality
 
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