Losing the 'one' in tracks and knowing it

This "Losing the one" issue will be resolved in the new Matrix: Resurrections movie coming out. So no need to worry about it anymore ever.

  On 9/16/2021 at 6:32 AM, Brisbot said:

This "Losing the one" issue will be resolved in the new Matrix: Resurrections movie coming out. So no need to worry about it anymore ever.

But I really like losing the one!

It's a great feeling.

  On 9/16/2021 at 6:21 AM, Zephyr_Nova said:

.

How you described it is how I hear it, but I think those hi-hats are actually meant to denote where the 1 2 3 4 lies (as they do in pretty much every Meshuggah song).

Pretty sure this is the exception to their principle. I've always heard this song like you describe, with the intro, the verse, the breakdown and the last hit of the song landing on the one - with the cymbal crashes denoting the downbeat of every new phrase. And then you have the hi hats counting "cheekily" and the breakdown snares being syncopated.

I aligned the two interpretations of the meter with a metronome, and the hi hats is the only thing that makes sense in the first version. Even with the metronome screaming ONE for every bar, you can't really hear it musically.

In other noted examples - like Spirits in the Material World and Battery - there are parts in the song where the one becomes indisputable, and the meter can be extrapolated from there to the rest of the song. Combustion doesn't have this.

Also... Tool-iest riff in the Meshuggah catalogue?

Hahaha okay, well demonstrated!  I will stop trying to hear it the way that's virtually incomprehensible.  Thought my brain was just getting faked out every time.  Weird tune!

I had a good laugh the first time I realized Haake was deliberately counting in off beat. Thought there was much more to it the first few times I heard the song.

Is there an equivalent of this forum in metalhead forums? "Losing the pitch in tracks and knowing it" where they try to dissect some AFX/Ae track

  On 7/29/2018 at 5:20 AM, IOS said:

Dopplereffekt's Isotropy (from Cellular Automata) - where do you guys here the 1?

For me, the first two bass notes entering on 0:35 are placed one 16th after beat 4. The third bass note is on 1.

i hear the first bass note as 1.

the syncopation in the bassline got me confused for a bit, i had to slow down the audio to figure out how long the loop is. turns out it's 6 measures in 4/4

  On 9/16/2021 at 2:11 PM, brian trageskin said:

i hear the first bass note as 1.

the syncopation in the bassline got me confused for a bit, i had to slow down the audio to figure out how long the loop is. turns out it's 6 measures in 4/4

heck really.. agreed re the 6 bars of 4/4. Tried shifting the track against the metronome, can't hear it any other way, it's too late now

bpm is 108.92

that chord progression tho

  On 9/16/2021 at 2:54 PM, IOS said:

heck really.. agreed re the 6 bars of 4/4. Tried shifting the track against the metronome, can't hear it any other way, it's too late now

bpm is 108.92

that chord progression tho

 

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Dopplereffekt - Isotropy.mp3 12.06 MB · 46 downloads

 

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i'm struggling to understand how you can perceive the rhythm this way. i'm afraid you have a brain lesion, my friend.

lol I've played a decent amount of traditional African music (stuff like gahu, atsia, atsiagbekor, agbadza from Ghana, a bit of sabar from Senegal) that's just drumming & singing. All those styles have at least one part that marks just the offbeats with nothing on the onbeat. So the Dopplereffekt bassline just feels natural this way, in fact it's really similar to a particular Ghanaian drum rhythm.

CK playing Agbadza (this is in 12/8).

  On 9/16/2021 at 9:16 PM, IOS said:

lol I've played a decent amount of traditional African music (stuff like gahu, atsia, atsiagbekor, agbadza from Ghana, a bit of sabar from Senegal) that's just drumming & singing. All those styles have at least one part that marks just the offbeats with nothing on the onbeat. So the Dopplereffekt bassline just feels natural this way, in fact it's really similar to a particular Ghanaian drum rhythm.

CK playing Agbadza (this is in 12/8).

 

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i"m always amazed at how sophisticated african rhythms can be, compared to the western tradition. we have sophisticated harmony to make up for it though. suck on that, africa.

This goes back to when OPN made actually compelling music before jumping in the deep end of a vape-infused-nihilist-ADHD-Stranger-Things-PC pool

Hard to pin down the 1 at the beginning but once the low-end swells start to build it reveals itself quite nicely.

Even though we've grown apart I still love you Dan for stuff like this

More like "losing the fun in tracks and knowing it (with this thread)", amirite?

[j/k I approve of this discussion.  It is fun.]

could someone help with this one? I used to hear the one starting with the melody but now I cant do it for the life of me.. how are u even supposed to listen to this?

  On 10/5/2015 at 4:15 PM, Amen Warrior said:

This source direct track

 

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so fucking good. Source Direct were a class of their own.

  On 11/1/2021 at 2:45 PM, MIXL2 said:

could someone help with this one? I used to hear the one starting with the melody but now I cant do it for the life of me.. how are u even supposed to listen to this?

 

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200 bpm 4/4 from the start, the little 'error message' sounding snare is on 2 and 4, bar begins with the bouncy kick

  On 11/1/2021 at 3:29 PM, Bodhidharma said:

200 bpm 4/4 from the start, the little 'error message' sounding snare is on 2 and 4, bar begins with the bouncy kick

Not quite, it's too fast to count it on my cellphone but I think there's one bar with a 808 sounding like snare on 1, 2, 3, 4, and the next bar on 2 and 3... Unless we're not counting the same snare sample... 

The above might not be correct unless it starts with an anacrusis but for sure it has 6 snares, not 4, every 2 bars...

  On 11/1/2021 at 4:50 PM, _vow_of_silence_ said:

Not quite, it's too fast to count it on my cellphone but I think there's one bar with a 808 sounding like snare on 1, 2, 3, 4, and the next bar on 2 and 3... Unless we're not counting the same snare sample... 

The above might not be correct unless it starts with an anacrusis but for sure it has 6 snares, not 4, every 2 bars...

ohhhhh i just wracked my brain sooo much trying to think of what you meant, then i realised we deffo arent talking about the same snare lol

when i said snare i just meant it as synonymous with 'being on beats 2 and 4', mb. it could have been the car door slam in pendulu hv moda, still would have used 'snare' coz my brains wired like that lol, i know what you mean now though

im shit at describing sounds but i mean like the,  wonky sounding flabby thing on 2 and 4 lol

It seems particularly hard to hold onto The One in this track:

Was listening to the first Eraser album in my van the other day, and I swear I was hearing the 1 on the wrong beat for about half of the songs.  Do Thom Yorke/Nigel Godrich do this on purpose?  Happens all the time with Radiohead too.  I remember a lot of songs used to start that way for me, then flip at some point into the intended groove, which was always super satisfying.  Now if I hear the kick land on the 2nd beat of a bar once (unintended), it remains that way for the entire song.  My brain became more rigid or something. It does result in some very interesting syncopations, but sometimes I just want to hear a song as it was intended to be heard.

  On 11/18/2021 at 8:50 AM, psn said:

It seems particularly hard to hold onto The One in this track:

 

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not trying to be a smart-ass but i fail to see why you find it difficult. 

  On 11/18/2021 at 9:42 AM, Zephyr_Nova said:

Do Thom Yorke/Nigel Godrich do this on purpose?  

they do.

I’m having difficulties finding the one.

  On 11/18/2021 at 1:48 PM, brian trageskin said:

not trying to be a smart-ass but i fail to see why you find it difficult. 

Because there's a ton of deceptive stuff going on.

- The intro is six periods long.
- The buildup at the tail of the intro leads to a one that is simply dropped. 
- The bass enters at the three, which weakens the feeling of the one. And on every other (or so) turnaround the bass enters with an additional syncopation (lands on the three-and).
- The second half of the bass phrase accents the syncopation just ahead and just after the downbeats.
- When the vocal sample first enters, the one is omitted again. Repeats several times throughout, with the last syllable of "it's never enough" landing on the four-and, and then the one being omitted.
- The bass line and the vocal phrase seem to pull in different directions away from the one.
- All of this seems to be particularly effective with the skitterish house beat that doesn't really have a solid back beat. It can be almost be felt as "one - one - one - one" rather than "ONE - two - THREE - four".