#Montage Synthesizer

[yamahamusicstore]

Features of MX88 Music Synthesizer: The perfect recording centerpiece

Here are the features that make MX88 one of the best synthesizers for music production. Explore how Yamaha Synthesizer helps you in producing different musical tones.

Piano Touch

The weighted action of the MX88 is Graded Hammer Standard (GHS). The reaction of GHS-weighted action is lighter in the high keys and heavier in the low keys. This produces a touch and responsiveness like an authentic acoustic piano. Long practice or performance sessions are ideal for these unique matte black keytops since they retain their tactile feel even after absorbing moisture.

Full Concert Voice Of The Grand Piano

The MX88's Full Concert Grand piano is taken straight out of the MOTIF series. The Full Concert Grand piano's strong, focused low end, intricate midrange, and pure high end make it ideal for any musical genre and setting.

Synth Sound

Get the MX88 Montage Synthesizer instead of sacrificing sound quality for portability! With 88 notes, the MX88 is a small and lightweight music synthesizer with 88 full-sized, touch-sensitive keys and over 1,000 Voices from the legendary MOTIF.

Perfect Touch Curve

An improved touch curve unites the GHS action with the Full Concert grand piano voice. The player can express themselves with great realism, dynamic, and emotion thanks to this curve. This is only achievable with a piano made by Yamaha, who has been producing concert grand pianos of the highest caliber for more than a century.

Music For Contemporary Piano Players

In addition to an acoustic piano, the MX88 has a remarkable assortment of keyboard voices. Select from vintage tonewheel organs with rotary speaker effects or faithful reproductions of vintage tine and reed electric pianos. If you want to get funky, there are also forceful and percussive Clav sounds available. This vast range of sounds makes it the Best Synthesizer Keyboard for music creation.

Drum Kits, Guitars, Basses, And Realistic Strings

The MX88 is an inspiring instrument for orchestrators, instructors, and producers due to its amazing reproductions of orchestral strings, woodwinds, pipe organs, brass, and more. The extremely expressive and playable percussion kits, basses, tonewheel organs, and acoustic and electric guitars provide the budding producer with a potent and polished sound palette.

Motif Sound Engine

One potent Synthesizer Keyboard technology for creating sound is the MOTIF Sound Engine. Up to eight Elements can be found in MOTIF Sound Engine Voices. These components can be zoned so that a separate element plays in different regions of the keyboard or layered for a rich, full sound. Additionally, you can randomize Elements for anything from subtle variation to experimental sound, or you can swap between Elements based on velocity for extreme dynamics.

An iOS 4-Operator FM synthesizer app called FM ESSENTIAL is available for free. A complete 271 FM Voices, ranging from iconic '80s to cutting-edge modern EDM, may be unlocked by connecting the MX88 Music Synthesizer (via the Apple Lightning to USB Camera Adapter, not included) to the regular version, which only has 10 Voices. Additional features for editing voice are unlocked which makes it a great synth at a great Synthesizer Price. In-built effects, EQ, drum phrases, and a step sequencer for automating control changes are all elements of FM Essential 

Effect of virtual circuit modeling (VCM)

Virtual Circuitry Modeling models the circuits down to the original analog component level, recreating the sound and behavior of vintage effects and high-end studio signal processors.

128-Note Polyphony

With 128 notes of polyphony, you can perform live or with entire 16-track sequences without experiencing any dropouts. Software synthesizers for Mac and PC, DAW software, and iOS applications can all be used with the MX88.

Connectivity

The MX88 allows you to record and playback stereo audio to and from your computer or iOS device because it complies with USB audio and MIDI classes. When using headphones or speakers to listen to your mixes after recording the MX88 into your DAW, this is ideal.

In addition to connecting to your DAW, the synthesizer keyboard doubles as a dedicated control surface. Utilize your DAW's onboard transport controls to adjust plug-in parameters using the control knobs. Numerous pre-installed Remote Control Templates are available to interface with well-known softsynths and plug-ins, enhancing the hardware-like feel of your software. Additionally, a 16-channel MIDI interface with DAW remote control capability is available for using the MX88 as both a keyboard controller and tone generator.

The MX88 is more than a great-sounding synthesizer; it's the hub of your studio! Get the Best Synthesizer Online from the Yamaha online store.

#Best Synthesizer Keyboard #Best Synthesizer Online #Montage Synthesizer #Synthesizer Keyboard #Synthesizer Price #Yamaha Synthesizer

[lofi-music-blog]

#yamaha #yamaha montage #synthesizer #keyboards #music #music gear

[mitskijamie]

my professor: write 5 pages synthesizing the assigned readings

the dead wife movie montage of jamie tartt that has been playing in my brain 24/7 since the finale:

#oc

[queen-of-the-avengers]

Iron Man 2: Part Nine

Pairing: Natasha Romanoff x Female!Reader

Word Count: ~2.6k

Warnings: canon violence and angst

Author’s Note: any and all comments are appreciated <3

x

You bring the platforms to the car and fit them in the passenger seat. His car is only a two-seater convertible so you'll have to fly behind the car all the way back to his lab. When people say they want the power to fly, they really don't understand what it's like. Flying is so rejuvenating for your soul. It makes you feel like you can do anything you want.

Tony brings the platforms down to his lab where Jarvis can scan the surface of it. He pulls up a holographic model that Tony can manipulate. You're not quite sure what he is looking for so you're hanging back with a drink in your hand and watching this. 

With these past few events, you've come to realize that Tony doesn't do well with change. He closed himself up and acted like he was dying. Well, he is but he knew there was a way to fix him. He just didn't want to see it until he knew his dad figured out a way. You're not sure if he's doing this for Pepper or for himself, but you're kind of envious of that passion.

How can you stay on a planet where humanity's lifespan is only eight years and expect a relationship out of one of them? How would you and Bucky have ever made it work? In ten years, you'll look the same while everyone else around you ages. You look how you looked when you were twenty-five and back on Xenia. The only way you'll ever be truly happy with someone is if they have the same kind of life as you--someone who doesn't age normally. 

There's something in the back of your head telling you that you found that, but you can't remember it at all. While you're overthinking, Tony is getting everything set up so he can dissect the holographic platform.

"How many buildings are there?" he asks and lifts the holographic platform away from the physical one so he can just see the one in his hands.

"Am I to include the Belgium waffle stands?"

"That was rhetorical. Just show me." He clicks his fingers and the model begins to spin and lift upright--something Jarvis is doing. The platform is starting to look less like a blueprint and more like an atom or a nucleus. "What does that look like to you Y/N? Not unlike an atom. In which case the nucleus would be here. Highlight the Unisphere. Lose the footpaths. Get rid of them."

"What is it you're trying to achieve, sir?"

"I'm discoveriing--correction--I'm rediscovering a new element, I believe. Lose the landscaping, the shrubbery, and the trees." Tony flicks away the things he speaks of. "Get rid of parking lots, exits, and entrances. Structure the protons and the neutrons using the pavilions as a framework." The model now looks like a nucleus, and Tony expands it with his hands so that it's blown up as big as it can go. "Dad... Dead for almost twenty years, and still taking me to school."

"That's amazing," you mutter as Tony shrinks it to fit it in the palm of his hand.

"The proposed element should serve as a viable replacement for palladium," Jarvis says.

"Thanks, Dad," Tony mumbles.

"Unfortunately, it is impossible to synthesize."

"Get ready for a major remodel, fellas. We're back in hardware mode."

Tony needs to renovate his lab if he is going to create a new element to replace the one that's in his chest. He breaks down walls, puts holes in them, and constructs tubes to fit into a large circle to contain the new element. He smashes the walls with sledgehammers, drills holes into the floor, fiddles with wires, and puts together pipes. It's like a big crazy montage of you two working together.

Someone knocks on the door and walks in to inspect the mess Tony has created. You look up and see Phil walk in with a tablet in his hand.

"I heard you broke the perimeter," he states.

Guess he did know about that but didn't care enough to do anything about it.

"Yeah. That was, like, three years ago. Where have you been?" Tony scoffs.

"I was doing some stuff."

"Yeah, well, me too, and it worked. Now, are you gonna let me work or break my balls?"

"What is this doing here?" he asks.

Your heart drops when you see what he's holding. It's one of the original prototypes of Steve's shield that Howard was working on. Seeing that reminds you that being in that time actually happened. It wasn't a bad dream. Steve is no longer with you, and the thought brings you to tears.

"That's it. Bring that to me."

"Do you know what this is?" you ask delicately.

"It's exactly what I need to make this work." Tony accepts the half-broken shield. "Lift the coil. Go, go. Put your knees into it." Phil lifts the very heavy tube as Tony slides the shield underneath. "There you go. Drop it." Tony sets a level on top of the tube and grins. "Perfectly level. We're busy. What do you want?"

"Nothing. Goodbye. I've been reassigned. Director Fury wants me in New Mexico."

"New Mexico?" you ask.

"Fantastic. Land of Enchantment."

"So I'm told."

"Secret stuff?" Tony asks.

"Something like that. Good luck."

"Bye, thanks."

The two men shake hands professionally while you and Phil shake hands in a friendly way.

"We need you," he says to you two, and Tony answers for the both of you.

"Yeah, more than you know."

"I've been thinking," you say once Phil leaves, "what made you change your mind?"

"What do you mean?"

"With this whole saving your life shit. Do you know how many times I've tried to get you to take this more seriously? What was it that finally made you change your mind?" Tony doesn't answer you. "Was it her?"

"Does it matter?"

"Of course it does. Do you love her?

"I think you know the answer to that."

"You know, you two would make a great couple. She already knows you and she doesn't put up with your shit. You two would be a power couple," you chuckle.

"Alright, help me with this," he chuckles.

You grab the parts he needs and help put the rest of the contraption together. Once built, he turns on the machine.

"Initialising prismatic accelerator," Jarvis informs. 

Tony turns a small wheel on top of one of the pipes that power the machine, but it's too powerful for him to even turn it to get it to where he needs to be. 

"Let me do it," you offer, and he steps back.

You grab the wheel tightly and with your inhuman strength, you turn the wheel. As you are doing so, the element is shooting out in a beam of light, cutting into whatever surface it touches much like a laser. You turn the wheel some more until it's concentrated on a triangle that begins to glow blue.

"Approaching maximum power," Jarvis says.

After a few minutes, the machine turns off once the small triangle has been infused with enough power. Tony picks up a pair of pliers and grabs the triangle.

"That was easy," he comments.

"Congratulations sir. You have created a new element," Jarvis praises. Tony places the new element into the arc reactor used for testing so he can see if it is going to work before placing it in his body. "Sir, the reactor has accepted the modified core. I will begin running diagnostics."

"You did it, Tony," you say with a smile.

"I can't believe it," he chuckles.

You hug him tightly to celebrate his survival but Jarvis interrupts.

"Incoming call with a blocked number, sir."

"My phone privilege is reinstated. Lovely," Tony says before answering the call. "Coulson. How's the Land of Enchantment?"

"Hey, Tony, how are you doing?" Ivan Vanko says. The prison he was in blew up, and you thought he died. They confirmed with his prison number that he died. "I double cycle."

"You what?"

"You told me double cycle's more power. Good advice."

"You sound pretty sprightly for a dead guy."

"You too," he chuckles.

Tony presses the "mute" button on his screen so that Ivan can't hear what is happening on your end.

"Trace him," he demands of his AI.

"Sir."

Jarvis begins the trace while Tony keeps him on mute but that doesn't seem to bother Ivan.

"Now, the true history of Stark's name will be written."

"Jarvis, where is he?" you urge.

"Accessing the Oracle grid. Eastern Seaboard."

"What your father did to my family over forty years, I will do to you in forty minutes," Ivan promises.

"Tri-State area. Manhattan and outlying boroughs."

"I hope you're ready," Ivan says right before he hangs up.

"Call trace incomplete."

"Shit," you mutter with a sigh.

Tony picks up a flyer for Justin's presentation at the Stark Expo as well as the new arc reactor and he gets an idea. 

"You want to run some tests? Run them and assemble the suit while you're at it. Put it together now."

"We are unclear as to the effects."

"I don't want to hear it, Jarvis," Tony rolls his eyes. He slams the new arc reactor into his chest and lets it take control of the system. Tony struggles with the effects it's having but you have to let him get through this on his own. "That tastes like coconut and metal." He gasps and stands upright since he feels so much better now. "Oh wow, yeah! Ready to kick some ass, Y/N?"

"As ready as I'll ever be."

Justin is already at the Stark Expo and giving his presentation when you arrive. Apparently, he has been making robots that will help or replace the military system. He was trying to replicate Tony's suit design but ended up with this. Rhodey is in his War Machine suit that he took from Tony, and it's been painted red, white, and blue to represent America. As soon as the audience sees you and Tony, they erupt in cheers.

"We got trouble," Tony says to Rhodey from inside the suit.

You also have an earpiece in so you can hear everything they are saying as well as communicate with them.

"Tony, there are civilians present. I'm here on orders. Let's not do this right now."

"Give them a wave," he says, and you three do what he says.

"All these people are in danger," you warn quietly. "We gotta get them out of here. You gotta trust us for the next five minutes."

"Yeah, I tried that. I got tossed around his house, remember?"

"Listen, we think he's working with Vanko," Tony reveals.

"Vanko's alive?" Rhodey gasps.

You really want to go over to Justin and slap that smug smile off his face but you know that isn't the smart thing to do. You look at the audience and then at the rows of robots when the big gun on Rhodey's shoulder takes aim at you and Tony.

"Is that you?" Tony asks.

"No, I'm not doing that. That's not me. I can't move. I'm locked up. I'm locked up!" he exclaims. Some of the drones take aim at you and you know you have to get out of here as soon as possible. "Get out of here. Go! This whole system's been compromised!"

"Let's take this fight outside, boys," you state and blast into the air.

Tony blasts into the air as well and you two fly out of the place as quickly as you possibly can. The drones start firing at you and you have to dodge every single one of them. If you get shot in your arm or leg, then you know you can heal very quickly and it's not a big deal. However, if you get shot in your heart or head, then you are dead.

"Jarvis, break in. I need to own him," Tony orders.

"Yes, sir."

"Tony, Tony, I'm locked on. I have a target lock."

"On what?"

"On you! Y/N, the rest are locked on you!"

"Shit!" you curse and separate from the group so as to not let them get hit by the bullets.

The molecules in your body vibrate at a fast rate, causing you to burst into flames. You can only go so hot before you literally set the world on fire, so you'll have to use what you got. While still using your aerokinesis to fly in the air, you use your pyrokinesis to shoot balls of flames at the robots. If you can get it hot enough, they will explode and you'll be rid of one less problem.

"How are we doing Jarvis?" Tony asks.

"Remote reboot unsuccessful."

The crowds are now running out of control, and the drones that are left on the ground start firing at them. You have to save them despite being shot at.

"Tony! Take care of the ones in the sky. I got the ones on the ground!" you yell.

"Copy that."

You disappear behind a building and that confuses the drones that were locked on you. They don't know where you went so they opt to fly after Tony who is still trying to get Rhodey off his back. The crowds scream in terror but you're here to save them. You fly behind one and place your flaming hands on its back which burns holes where your hands were. It shuts down and melts at your fingertips.

Your body is still in flames so you extinguish them so as to not cause more panic from the people. There is a kid in the crowd who has on a toy mask that resembles Iron Man's helmet, and one of the drones has taken an interest in him. The drones are programmed to fire at anything that looks like you and Tony, so you have to jump in if you're going to save him. You fly over to behind the kid and shoot the drone with a fireball. The kid looks up at you and you just smile at him.

"Nice work, kid," you chuckle and take off again.

Most of the drones on the ground have been taken care of so you fly into the air to help Tony and hopefully take down Rhodey before he shoots him to death.

"You got multiples coming in on you," Rhodey warns.

"Let's get this away from the Expo."

You and Tony lead Rhodey and the other drones through a car garage holding the cars of everyone who was in attendance tonight. As you, Tony, and Rhodey pass by the cars, one car alarm is set off. However, as soon as half a dozen drones pass by, all of the car alarms are set off. To keep the drones at bay, you throw fireballs at the cars to blow them up, and when they do, they hit and take down some of the drones.

"Listen, listen. A pack just peeled off. They're headed back to the Expo!" Rhodey exclaims.

"Let's get it!" you yell and make a sharp right to head back to the Expo.

"In closing in on you. Ordnance coming in hot, Tony. Watch it!"

It's becoming a neck-in-neck fight with Team Iron Man vs Team Drones, so you have to do something, or else they will kill you. You look over at the big globe that is meant to signify the Expo, and Tony gets the same idea as you.

"Rhodey, you still locked on?" Tony asks.

"Yeah."

"Drop your socks and grab your Crocs. We're about to get wet on this ride," he chuckles.

You and Tony both lead the drones through the globe structure and bounce off the walls. As soon as the drones hit it, they explode into pieces. There is a small stream on the bottom of the structure, and you use that to your advantage. The water shoots up at your command, both sharp and unforgiving as it blocks the view of most of the drones. The ones that didn't crash because you tricked them do now because of the water.

"I'm sorry buddy. I had to thin out the herd. What's your twenty?" Tony asks but receives no answer from Rhodey.

Instead of answering him, Rhodey crashes into you and Tony, sending you both down to the ground. You crash into the ground and skid to a rough stop. Your head spins, your skin heals itself of any wounds, and your body is sore from the landing. Your vision is a bit blurry but after a few blinks, you're back to normal.

x

Follow my library blog @aqueenslibrary​​​​​​ where I reblog all my stories, so you can put notifications on there without the extra stuff :)

#natasha romanoff #natasha romanoff x reader #natasha romanoff fanfiction #natasha romanoff fanfic #natasha romanoff fiction #natasha romanoff fan fiction #natasha romanoff fan fic #natasha romanoff fluff #natasha romanoff angst #marvel fic #marvel fan fiction #marvel fanfiction #marvel fanfic #mcu fanfiction #marvel fluff #mcu #marvel #marvel fan fic #marvel fiction

[grendelsmilf]

I've seen some people criticize Marcy's sidelining in S3, and think it was a disservice to not have her fight her way free of the Core. What are your thoughts on this, and how do you think Darcy as a concept relates to Marcy's role in the show and what she learns near the end?

I've seen some people say that Marcy being sidelined in S3 hurt her development compared to Anne and Sasha- what are your thoughts on this? Also, what do you think about Darcy as a concept in relation to Marcy's role in the story?

u sent this ask twice slightly differently and im not sure which version to respond to now so i'll just respond to both as if synthesized as one.

first of all, for all intents and purposes, we do see marcy fight her way free of the core. she rejects the offer to live in a perpetual perfect fantasy with her best friends, and acknowledges that it's okay for them to not want what she wants, even though it hurts. she rejects the idea of indulging in this idealized world that the core represents to the fullest and most sinister possible extent, the idea of ignoring the needs of the many to serve the interests of the smartest, most "deserving" members of society, explicitly calls it a twisted fantasy, and is left to suffer the consequences of her brave resistance to their offer. also, not for nothing, sasha being the one to save marcy, getting up even after darcy slices her through her back with a scythe, is extremely lovely and thematically poignant and no other narrative choice would've been nearly as good here tbh (also it's extremely utenacoded so you know i love that).

but more than that, marcy being sidelined in season 3 isn't a "disservice" to her character, it is her character. as we see most clearly in the flashback in "the beginning of the end," but also towards the end of season 2 when all three girls are together, while anne and sasha obviously do love marcy, they are obsessed with each other. which is especially sad for marcy, because she is also obsessed with both of them. but while sasha may feel left out sometimes because she's white deeply insecure, so the thought of them spending time together and having inside jokes that she doesn't know about kills her; or while anne may feel left out sometimes because she relies on them to form her identity around them, whereas it seems to her like they both have everything figured out (even though they clearly don't lmfao); marcy is the one who has different interests, different skillsets, operates on an entirely different wavelength. anne and sasha both tend to treat marcy quite patronizingly, like "oh there she goes again saying her adorable little smart person spiel isn't she cute" and as much as they adore her, there's a disconnect there, like she isn't a full human being with flaws and wants and needs and agency, and it becomes even more pronounced the more it's revealed just how much anne and sasha mean to each other, the way that their whole world revolves around the other. so yeah, marcy is sidelined. by them.

in retrospect, marcy's character is really well set-up in season 2, because we are primed to see her the way anne sees her. while sasha gets her own episodes establishing her outside of anne's pov, and through that we are given the tools to understand why sasha makes the decisions she does, we only ever see marcy in an episode outside of anne's periphery in season 3, once we already know that "oohhhh she's a little fucked up actually." the thing about marcy is that she is so so easy to love. i remember the moment she was introduced in that flashback montage in "marcy at the gates" my brother turned to me and said "okay she's my favorite character." he thought anne was fine, he hated sasha throughout the entire show (bad taste but whatever he's 12), and he loved marcy entirely and immediately and continued to love her and clap and cheer every time she was onscreen. and judging by what i've seen of the fandom online, this is not an uncommon response. i mean, if i knew these girls in real life when i was their age, marcy would 100% be the one i'd be most eager to befriend. she's intelligent and delightful and expresses just the right amount of bitchy smugness. and i remember that before "true colors" aired people were desperately trying to locate her flaws (like actual character flaws, not "clumsiness"). i saw people say that she's a people-pleaser or too impartial, but honestly i don't think that's true; i think she's very opinionated and has absolutely no qualms about expressing her opinion when she has one. and frankly i do think we see some of her flaws on display in those episodes anyway, like how she overestimates her own intelligence and doesn't actually listen to people unless they agree with her (again, because she thinks she's right all the time). but she's so nice, her "flaw" can't be arrogance, it must instead be that she's too nice, right?

of course, once anne learns what marcy did, we as the audience also, finally, learn what marcy's real flaws are. and it's kind of crazy to me that some people used this reveal as an indication to turn on marcy, because learning that she's fucked up actually made me like her so much more. finally, we get to see marcy as she is and not just as she seems. and we see anne and sasha faced with the realization, the fear and disgust and shock, that their perfect little marcy is a human being, as vulnerable and obsessed and toxic and ugly as them. anne's illusion of marcy shatters, and with it, the illusion that she was a good friend to marcy. anne and sasha were both always too busy looking at each other to notice marcy looking at them. but all three of them existed on the lie that marcy is so intelligent anyway that her emotional needs aren't relevant. maybe they can help her not fall headfirst into a trashcan or trip over her own feet, but it's not like they can relate to her in matters of the mind or heart. she's too rational to have emotional problems, not like they do. she is a rock. she is an island. and marcy is the one perpetuating that myth, putting up that front, so you can't even blame them for falling for it. all the warning signs came too late.

anne and sasha and the audience all have their illusions of who marcy is shattered before them, and this stab through the chest could not be more explicitly represented. the metaphorical death of Marcy the Established Character converging with the literal death of marcy, revealed and enacted by andrias. marcy's ego death in "true colors" becomes extremely literal when she is used as a vessel for the core. darcy isn't just the core merging with marcy's traits in a physical sense, but the representation of who marcy is at her worst. darcy is an awkward girl who loves cupcakes and trips over her own feet and calls her friends dumb jocks to their faces and thinks she's utterly invincible due to the power of her own mind. while marcy is a good person who wants to do good for the world, darcy is an entity that wants to do good for itself. if you exacerbate marcy's bad, selfish choices (such as using the box to trap her friends in another world) to an extreme, darcy is what you get. which is why it's important that marcy resists the allure, the fantasy that drew her in initially. and also why it's important that while marcy is expected by adults to "end world hunger" the only thing we do know that she does as an adult is create fiction. through the life lessons she learns during her time amphibia, she ultimately finds a happy middle ground between ego death and selfishness. she finds herself.

#ask #anon #frogshowposting #this bitch has PROBLEMS and ISSUES. i love her

[cureforbedbugs]

Notes on amapiano

Here's everything I've written about amapiano this year, with lots of embeds of songs I've liked so far (the first few songs are from 2022). Come for the tunes, stay for the hilarious anecdote Robert Altman shares about a conversation with Stanley Kubrick.

1/25/23

I've been underwhelmed with the avalanche of amapiano I've heard in the past few years after falling in love with the sound in 2020. I keep feeling like I'm intruding in the middle of a party and don't understand how to join in the dance. But now and then a standalone track gets its hooks in, and there's something about the synth hook and percussion accents on "Nazoke" that gives it a live jam quality. This is practically the opposite of what I love about other amapiano, whose more synthesized sounds approximate something close and warm without fully moving into the realm of the acoustic (my standard-bearer in the genre is still Semi Tee's 2020 LP release I'm Only Tweenty One, which I don't think exists in a physical copy, but I went ahead and made a CD of it, album art and everything).

Amapiano builds on a deceptively simple template: the foundation is almost always a shaker playing sixteenth notes at about 112 BPM (though the accent of the pattern can vary, the shaker is usually steady and omnipresent), and each song then layers in its own palette of sounds and voices, everything in percussive service of the groove. That standardized base and consistent tempo lets you click different songs together like LEGOs, though amapiano is also known for relatively long song lengths.

Amapiano is in some ways the flipside of baile funk, which isolates strange rhythms and sounds and timbres and ideas and forces you to reckon with what the fuck they're doing in relation to each other in sequence -- it's Eisensteinian montage. By contrast amapiano is more like pointillism: you're not thinking closely about any single point, and from a distance everything takes on a dreamy texture that it would lose if you inspected too closely.

Amapiano artists will often take warm acoustic percussion and pretty, playful vocals -- all of them bringing a soft swing feel, somewhere between dancing and swaying -- and pit them directly against much harder four-on-the-floor house elements (synth blares, jagged squelchy bass hits) put off at a seeming distance, like the distant echo of a car alarm going off way down the street that happens to be in the same key as the song you're listening to in your headphones. The palettes artists use and the way they layer everything in vary from song to song and artist to artist, but because the foundation is so similar across the songs, changes in the genre over time can be subtle enough that it almost feels like you're watching evolution at the individual genetic mutation level.

And there are tons of cool vocals in amapiano, hard posturing and playful posing becoming indistinguishable (as they are on this song -- or, if not indistinguishable, a kind of multiple perspective game where you can see it both ways) as it all washes out in the sound bath along with everything else. And heck, sometimes you get a no-foolin' xylophone, too, not even the thing most people think is a xylophone but is actually a glockenspiel. Or you get a synth that sounds like a vuvuzela. Why not?

2/3/23

The first 2023 amapiano track I enjoyed, this one entirely in English, and maybe not coincidentally one of the rare amapiano vocals I've heard that threatens to grab a spotlight for itself instead of sharing equal space with, say, those synth samba whistles -- a tone that drives me crazy when my kids play it on the keyboard, here mixed to evoke birdcalls in a rainforest.

2/8/23

Utter joy. Sho Madjozi has been on my radar for a few years: was covered rapturously at the Singles Jukebox and had shone in the People's Pop 4-Letter-Word tournament with "Huku." This jumped out immediately as a frontrunner for song of the year so far. (Maybe a bit early to call it.) The style is interesting -- seems to be finding a midpoint between the harder house beats of gqom and the limpid immersion of amapiano. A party. Should be huge.

2/15/23

Rihanna should make an amapiano album.

2/24/23

Upbeat amapiano featuring one of the titular "2 peers" on my favorite amapiano album of 2021, Semi Tee & MDU aka TRP's Tales of the 2 Peers.

3/15/23

Two amapiano tracks that go for a lush, blissed-out sound that I associate with Sun-El Musician—more cinematic, fewer surprises buried in the mix. Joshua Minsoo-Kim calls “Kwelinye” the amapiano song of the year so far, and Mellow & Sleazy the most important amapiano artist right now. The second part might well be true — everything I’ve heard is great — but I’ll admit I have a hard time making distinctions when the music is aiming so squarely for beauty (it’s something that keeps me at a distance from Sun-El Musician’s work, which I admire more than I love).

3/22/23

Picking representative amapiano on a weekly basis is becoming a daunting task, as I could easily make a whole mix of the stuff each time. (Doesn’t help that I can’t seem to tell the difference between the stuff no one is listening to and the stuff everyone is listening to.)

This one stood out, both its distinctive shuffle and the singer’s mellow rasp: as the hummed hook intensified (“mm-mm, mm-mm”), from the backseat my youngest asked “what are the kinds of noises they’re making in this song, and why would someone make those noises?” I think he was taking notes; I didn’t have an answer.

3/28/23

Lots of music scenes are almost impossible to follow on Spotify, as the current stuff is uploaded first to YouTube, so Spotify is a, er, spotty indicator of popularity. Amapiano is a big exception, as playlists with variations on the phrase “Amapiano Grooves” have almost everything I’ve found in other places online. This is my requisite amapiano of the week: some millennial R&B girl group vibes in the interplay of the singers.

The amapiano track I was most surprised by this week was Major Lazer’s attempt to get in on the sound.

They get it wrong in telling ways. They build a spotlight for the singer, changing focus right and left to direct our attention. What you end up with is overwrought production with a melody line that sounds weak instead of diffuse; it can’t handle the spotlight.

Amapiano’s strength is in letting everything cohabitate in surprising ways. It’s like a Robert Altman film—he’ll let everyone play together in a series of long shots; your attention has to find its own resting point. It all seems intentional, but you can’t feel Altman guiding your attention. There’s a great interview where Altman describes trying to explain to Stanley Kubrick how he got an incredible shot, in the opening scene of McCabe and Mrs. Miller, of Warren Beatty lighting a cigar in the dim murk of the evening—a shot Altman had filmed personally while his cinematographer was away.

Altman: “He [Kubrick] said, ‘but how’d you know you got it?’ I said, ‘I just assumed we did.’ And he had a hard time understanding, because Stanley really liked to be very precise about everything, and he wanted to be exactly proper.”

I doubt Stanley Kubrick could ever make anything like a Robert Altman film for the same reason I doubt Major Lazer could ever make a good amapiano song. They figure you must have to do something to get it.

#amapiano #music writing #music criticism #sho madjozi #kabza de small #major lazer #robert altman #2023 music #Youtube

[kolajmag]

COLLAGE ON VIEW

The Acrobatics of the Divine

Nathan D. Manna at the Jean McDonough Arts Center in Worcester, Massachusetts, USA, 2-20 August 2023. The Acrobatics of the Divine is a 90-foot photomontage that explores themes surrounding homoeroticized male bodies, the queer histories of flowers, and sexuality in religious iconography. The work is inspired by the work of Worcester montage artist and Manna’s fellow School of the Art Institute of Chicago (SAIC) alumnus John O’Reilly. In August 2022, the Worcester Arts Council awarded Manna a grant through funds from the National Endowment for the Arts and the American Rescue Plan Act to pursue a project researching O’Reilly and synthesizing that research into artwork. The resulting work takes inspiration from O’Reilly’s use of religious iconography, deconstruction of time, self-portraiture, and thematic exploration of Western queer and gay history, and pairs it with Manna’s research into the queer history and symbolism of flowers. MORE

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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#collage #collage art #collage artist #art #artist #art history #art project #art show #vintage art #art books #art education #book art #artistic #contemporary art #artwork #modern art #fine art #digital art #artist residency #artist books #contemporary artist #artist portfolio #artist book #artist profile #artist collective #artist advice

[edencantstopfallininlove]

Virtual Singer-Sona (with designer's notes)

(Made in CHARAT GENESIS 2)

Basic Information

Name: Azalea

Age: 23

Height: 170cm (well, 169.5, but close enough!)

DOB: August 12th

Designer's Notes

The triangular buns were chosen in order to give Azalea a distinctive silhouette. They also bring to mind the petal shapes of her namesake.

Some design elements were inspired by musical notation! Her earrings (clip-ons!) are a whole circle, like a whole note/semibreve. The tattoo-like marking on her exposed shoulder is exaggerated for reference, and is supposed to resemble a fermata - a symbol which indicates a prolonged note or rest.

If I had the option to, I would've incorporated elements of the VOCALOID UI and synthesizers to bring her design in line with other Virtual Singers. Ideas I've had include: adding a "Sweet < - > Dark" or other kind of voicebank mark onto the socks; a tiny side slit on the skirt shaped like either a waveform or a VL vibrato indicator (see below); and my personal favourite - having the earrings be able to faintly glow and change colour. These functions aren't just a cool way for Azalea to express emotion! They're inspired by the Super Knob (yes, that is what it's called) of the Yamaha MONTAGE 8, which pulses in time to music with a light that changes colour as you twist it to adjust multiple parameters simulatneously.

Dollmaker link in reblog

Okay to reblog! pr0/c0msh!p get fricked

#selfshipping #self shipping community #selfship positivity #self ship stuff #self insert #fictional other #fictional crush #💐 Azalea #The Whole World Is Sky Blue #yes i know i didn't mention kaito but this the s/i i ship him with hehe #ask to tag

[pragueyeah]

“Even if you haven't heard this exact album before, you've surely heard a majority of its trends and themes. The music charts of the early 2010s were filled with longing jingles and echo-doused whooping vocalizations that seem to have largely vanished from the industry, and listening back to them now creates a strange nostalgia for flashbacks and feelings that might not even be real. Trevor Powers, better known as Youth Lagoon, was just a teenager when he released his debut album, but since then it has become a hallmark of everything that we miss about a decade we recently said farewell to. There's a sense of optimism throughout The Year of Hibernation that's easy to pick up on through its sentimental lo-fi crunches of percussion claps and its intimate recording setting that lets the album live up to its bedroom pop label in a most literal fashion. As predictable and passive as some of them are, these amateurish songs use Trevor's passion for reverb to their advantage in such a way that his singing never feels as if it's being performed from far away but rather as a representation of attainable dreams and goals that are soon to be reached. The record approaches instrumental progression with this tone as well, at all times moving onward and upward with skittering synthesizer and upbeat whistle melodies that make every song worthy of being overlaid onto a montage of coming-of-age film scenes or phone-captured good memories from a light-hearted and free childhood. They serve as conduits for recollections of sun-dappled picnic blankets, evening birdsong, and an irreplaceable teenage wanderlust. Just like the cover's authentic photo of a Hawaiian vacation cliffside and a washed-out splash of rainbow light leaks, The Year of Hibernation is a charmingly good-natured form of transport back to whatever life that each of us were living back in 2011. It's an album that will always feel like a safe place, a reminder of former happy times whenever we might not be enjoying our experiences in our current stage of life and reality.”

[akashtechype]

How To Monetize Video Content With AI Video Generators

In today's digital landscape, video content has emerged as a powerful tool for communication, entertainment, and marketing. With the proliferation of online platforms and social media channels, the demand for high-quality video content is at an all-time high. However, creating compelling videos can be time-consuming, expensive, and resource-intensive. This is where AI video generator come into play, revolutionizing the way video content is produced and monetized. In this article, we will explore the intersection of AI technology and video monetization, delving into the benefits, strategies, challenges, and future trends associated with leveraging AI video generators for monetizing video content.

Understanding Monetization

Monetization is the process of generating revenue from digital assets, such as video content, by implementing various business models and strategies. There are several monetization models commonly used in the digital space:

Advertising-based: Generating revenue through ad placements within video content, including pre-roll, mid-roll, and post-roll ads.

Subscription-based: Charging users a recurring fee for access to premium video content or exclusive features.

Sponsored Content and Partnerships: Collaborating with brands or advertisers to create sponsored videos or integrate product placements.

Product Placements and Affiliate Marketing: Promoting products or services within video content and earning commissions on sales generated through affiliate links.

Key metrics for measuring monetization success include CPM (Cost Per Mille), CPC (Cost Per Click), CTR (Click Through Rate), and conversion rates. These metrics provide valuable insights into the effectiveness of monetization strategies and help optimize revenue generation efforts.

The Rise of Video Generators

Video generators powered by artificial intelligence (AI) have gained prominence in recent years, offering innovative solutions for automating and streamlining the video production process. AI video generators leverage advanced algorithms and machine learning techniques to create high-quality videos from raw input, such as text, images, or audio. These tools enable content creators and businesses to produce engaging video content quickly, cost-effectively, and at scale.

The evolution of video content creation has been driven by the growing demand for video across various industries, including marketing, entertainment, education, and e-commerce. Traditional video production methods often involve significant time, resources, and expertise, making it challenging for smaller businesses and content creators to compete in the digital marketplace. AI video generators level the playing field by democratizing access to professional-grade video production tools and empowering users to create compelling content with minimal effort.

Understanding AI Video Generators

AI video generators encompass a diverse range of technologies and platforms designed to automate and enhance the video creation process. These tools leverage AI algorithms, deep learning models, and natural language processing (NLP) techniques to analyze and synthesize multimedia assets into coherent video narratives. Depending on the specific use case and requirements, AI video generators can be categorized into several types:

Text-to-Video Generators: Convert written text or scripts into video content, including animated explainer videos, educational tutorials, and marketing presentations.

Image-to-Video Generators: Transform static images or graphics into dynamic video sequences, such as slideshows, montages, and visual effects.

Audio-to-Video Generators: Generate video content based on audio inputs, including podcasts, interviews, music videos, and voiceovers.

Data-driven Video Generators: Create personalized or interactive video experiences by integrating user data, preferences, and behavior into the content generation process.

Benefits of Monetizing Video Content with AI

Monetizing video content with AI video generators offers a wide range of benefits for content creators, businesses, and advertisers:

Efficiency and Time-saving: AI video generators automate repetitive tasks and streamline the video production workflow, allowing creators to focus on content ideation and storytelling.

Cost-effectiveness: By reducing the need for manual labor, equipment, and studio rentals, AI video generators significantly lower the production costs associated with creating high-quality video content.

Customization and Personalization: AI algorithms enable dynamic content generation and customization based on user preferences, demographics, and engagement metrics, enhancing the relevance and effectiveness of video monetization strategies.

Scalability: AI video generators are capable of producing large volumes of video content quickly and consistently, making it easy to scale monetization efforts across multiple platforms and audiences.

Strategies for Monetizing Video Content with AI

To maximize the monetization potential of video content using AI video generators, content creators and businesses can implement a variety of strategies:

Ad Placement and Revenue Sharing: Partnering with advertising networks or platforms to monetize video content through targeted ad placements and revenue sharing agreements.

Subscription-based Models: Offering premium or exclusive video content to subscribers through subscription-based models, such as paywalls, memberships, or premium channels.

Sponsored Content and Partnerships: Collaborating with brands, advertisers, or influencers to create sponsored videos, branded content, or product placements that align with the target audience's interests and preferences.

Product Placements and Affiliate Marketing: Integrating products or services into video content and earning commissions on sales generated through affiliate links or referral codes.

Best Practices for Implementing AI Video Generators for Monetization

To ensure the success of video monetization efforts with AI video generators, content creators and businesses should follow these best practices:

Understanding Audience Preferences: Conducting market research and audience analysis to identify trends, preferences, and content consumption habits that can inform content creation and monetization strategies.

Maintaining Quality and Authenticity: Balancing automation with human creativity and oversight to ensure that AI-generated video content meets quality standards, resonates with the target audience, and maintains brand authenticity.

Leveraging Analytics for Optimization: Monitoring key performance indicators (KPIs) and engagement metrics to evaluate the effectiveness of monetization strategies, identify areas for improvement, and optimize content delivery and distribution.

Staying Updated with AI Advancements: Keeping abreast of the latest developments in AI technology, video production tools, and industry trends to leverage emerging opportunities and stay ahead of the competition.

Challenges and Considerations

While AI video generators offer numerous benefits for monetizing video content, there are also challenges and considerations to be aware of:

Copyright and Intellectual Property Concerns: Ensuring compliance with copyright laws, licensing agreements, and intellectual property rights when using third-party assets, music, or visuals in AI-generated video content.

Ethical Implications of AI-generated Content: Addressing ethical concerns related to the use of AI algorithms for content creation, including issues of bias, misinformation, and deepfake manipulation.

Technical Limitations and Risks: Understanding the limitations and constraints of AI video generators, such as processing power, data input requirements, and algorithmic accuracy, to mitigate potential risks and challenges.

Audience Perception and Acceptance: Building trust and credibility with audiences by transparently disclosing the use of AI technology in content creation and ensuring that AI-generated video content meets audience expectations in terms of quality, relevance, and authenticity.

Future Trends in Monetizing Video Content with AI Looking ahead, several trends are shaping the future of video monetization and AI technology:

Advancements in AI Technology: Continued advancements in AI algorithms, deep learning models, and natural language processing techniques will further enhance the capabilities and performance of AI video generators, enabling new applications and use cases for content creation and monetization.

Integration with Virtual Reality (VR) and Augmented Reality (AR): The convergence of AI video generators with VR and AR technologies will unlock immersive and interactive video experiences, creating new opportunities for storytelling, advertising, and e-commerce.

Rise of NFTs and Blockchain in Video Content Monetization: The emergence of non-fungible tokens (NFTs) and blockchain-based platforms will enable creators to tokenize and monetize their video content through unique digital assets, collectibles, and decentralized marketplaces.

Conclusion

The AI video generators represent a transformative force in the digital media landscape, offering innovative solutions for monetizing video content across various platforms and audiences. By leveraging the power of AI technology, content creators, businesses, and advertisers can unlock new opportunities for revenue generation, audience engagement, and creative expression. However, success in video monetization with AI requires careful planning, strategic implementation, and ongoing adaptation to evolving trends and technologies. By understanding the benefits, challenges, and best practices associated with AI text to video generator, stakeholders can position themselves for success in the dynamic and competitive world of online video content.

Elevate Your Video Creation Game with AI Text to Video

#ai video generator #text to video #ai text to video generator #best text to video ai #free ai text to video

[the-third-other]

the 11th session of Improvisors improvising , another evening of the unexpectedly unexpected! , featuring in random order:

- Daniel Ditlevson an American sound artist that is currently based in Taipei, Taiwan. He creates sound collages utilizing tape loops and manipulations of field recordings, audio feedback, found objects, and various electroacoustic sounds for his performances, recordings, compositions, and sound installations. It is through these sonic montages, his sound art serves as a conduit of communication of emotions and experiences—an unspoken and abstracted communion of a created sonic environment with the listener. 美國聲音/噪音藝術家，目前從事聲音創作。他使用磁帶循環、田野錄音、無線電頻率、現成物及各種電子原音的素材來製作聲音拼貼，進行表演和錄音。透過聲音蒙太奇，其藝術作品整合「心靈地圖」的概念，作為情感和體驗交流的渠道--建構某種聲音環境，與聽眾以不可言說、抽象的方式進行溝通  https://www.youtube.com/watch?v=b29Vm7HUObA&t=48s

- 爆爆千歲 Adding a DJ mixer to the effector group, using African drums, synthesizers, Didgeridoo, dead beats, and rap improvisation to add the present, but not fixed, mainly because only in the present, can I feel how to reflect between myself and others. 用Dj混音器加入效果器組，在以非洲鼓、合成器、Didgeridoo、死腔、饒舌即興的加入當下，不固定式的加入主要是，因為只有當下，我才會感覺到，用什麼感覺反射自我與他人之間。 英文 https://soundcloud.com/jordan-chen-251504672...

- Minor Sounds x Cryo A sonic journey through ethereal soundscapes coaxing ambient and atmospheric sounds that seem to materialize from the cosmos themselves. 穿越空靈音景的聲音之旅，誘使環境和大氣的聲音，這些聲音似乎是從宇宙本身物質化的。

-Silla Turca I like to use sound recording’s as the main object in the composition, and add on top some noise, using different synths. 我喜歡使用錄音作為作品中的主要對象，並使用不同的合成器在上面添加一些噪音。 https://soundcloud.com/sillaturca

- 吳妍萱 Yen Hsuan Wu Yen-Hsuan Wu comes from Taoyuan, Taiwan. She is active in various cross-domain stages. Her performance style is novel and stable, delicate and sincere, full of tension and full of sense of picture. While retaining the traditional rhyme of Gu-Zheng music, she also gives innovative musical context and unique interpretation techniques. Therefore, she has become a Gu-Zheng performer that many composers or crossover artists love to collaborate.  臺灣當代箏樂演奏家。 臺灣桃園人,中央音樂學院民樂系藝術碩士、中央音樂學院民樂系學士。 活耀於各種跨領域舞台,演奏風格新穎穩健、細膩真摯,充滿張力且富有畫面 感,保留古箏音樂之傳統韻味的同時,又賦予創新的音樂脈絡,獨特的詮釋手 法成為眾多作曲家或跨界藝術家喜愛合作的古箏演奏者。 近年與金音獎最佳樂手、濁水溪公社鍵盤手、音樂製作人蘇玠亘(蛋)學習電 子音樂,嘗試將電子與傳統音樂相結合,創作另類且有機的音樂型態。 https://on.soundcloud.com/SpgzK https://www.youtube.com/watch?v=JqKQfieIIBo

anapplewuThe Third Other 11  2024.01.04  23 music room 

I didn't think I could get involved in such an experimental scene Open 2024 first performance with experimental electronics and free improvisation

Thank you for the quiet moment of the show and the praise after the show. 一步步走，一步步練習，相信自己🙌  I'm cheering on myself like this ✌

Experimental, Improvisation, Electronic and GuZheng……  Thanks for having me in this project.  I had much fun. It’s so lucky for me to be a GuZheng player and Electronic player. 

#guzhengplayer#electronicmusic#improvisation#experimental#gig#night#try#keepgoing#2024

#Bandcamp

[yamahamusicstore]

#yamaha synthesizer keyboard

[universomovie]

Yamaha | MONTAGE M8x Artist Profile | Nahre Sol

Nahre Sol Nahre Sol performs, composes and teaches an eclectic mixture of music that draws from aspects of improvisation, the avant-garde, traditional Western forms and harmony, jazz, and minimalism. Yamaha presents our next-generation flagship Synthesizer: MONTAGE M. Featuring three engines that create a variety of sounds – ultra-realistic instruments, vintage analog synths, and cutting-edge…

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[yamahamusicians]

Yamaha MONTAGE M: Next Generation Synthesizer Unveiled

Yamaha announces the new MONTAGE M synthesizer, combining next-level, amazing sound, new control dimensions for dynamic expression, and seamless workflow integration between stage and studio. The new flagship product lineup consists of the 61-key MONTAGE M6 for synthesists, the 76-key MONTAGE M7 for keyboardists, and the 88-key MONTAGE M8x with polyphonic aftertouch for pianists – all featuring…

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#MontageM6 #MontageM7 #MontageM8x #YamahaMontageM

[ijinks]

Tooniverse Music Leitmotifs! 🎶🎵

If my comic was an actual cartoon, the entire soundtrack would be composed on a Moog Synthesizer.

I’ve always loved Jean-Jacques Perrey’s work. It’s so weird and toony! Most of the Tooniverse’s music leitmotifs are inspired by his work.

Here is what would play for a specific character or situation…

🎼 Character Leitmotifs:

🖤 Ijinks H. Iwerx: Hectic Joker - Jean-Jacques Perrey & David Chazam

Her theme music would sound just as weird and awkward as she looks! Ijinks is a troublemaker who causes problems on purpose to mess with her toony creations!

❌⭕️ Jaycee Pawman: Kittens on the Moon - Jean-Jacques Perrey & Dana Countryman

Jaycee is childish, playful, skittish, and a little strange. Her imagination runs wild and she finds creative solutions to problems, or jumps to crazy conclusions.

🇨🇦 Cat Canada: Agent 29’s Escape - Jean-Jacques Perrey & Dana Countryman

Her leitmotif has a vintage superhero vibe to it. Perfect for springing into action!

👻 Wayne Gates: Funnygated - Jean-Jacques Perrey & Cosmic Pocket

Ghosts are often associated with the Theremin instrument, and Wayne is no exception. Wayne’s leitmotif is a synthesized Theremin-based melody that plays whenever he’s doing something awkward and nerdy or over-explaining something.

⭕️❌ Ella Pawman: Sentimental Trip - Jean-Jacques Perrey

Ella’s leitmotif would be something nostalgic and happy, but also sad and wistful. It would showcase her long life of accomplishments and struggles.

🐌 Dr. Hans Sans Panzer: Music of the Planets - Jean-Jacques Perrey

Dr. Hans Sans Panzer is a very intelligent, unhinged, revenge-driven mad scientist. He’s also a chronic insomniac and isolated in a underwater laboratory. Dr. HSP discovered the Tooniverse’s secrets through reality-defying physics and invented teleportation. A leitmotif like the one above showcases how his maniacal mind works!

🐝 Beeball: Waltzing the Weasel - Jean-Jacques Perrey

Beeball is a very dumb character, so he gets a very dumb “Pop Goes The Weasel” leitmotif! I can imagine a montage of him stupidly messing everything up, or explaining his flawed logic to someone while the above music plays.

🌲 Mayor River Moon Willows (and 🌻 Sierra): Edith Von Aachenburg - Jean-Jacques Perrey & Dana Countryman

It’s the perfect theme for being stuck with an airheaded hippie in a bureaucratic “city hall” environment!

💰 Hugh Forric: Clair de Lune - Claude Debussy

Hugh is associated with the classic piano piece “Clair De Lune”. His leitmotif would be a remix of various parts of the song to fit a situation. I can imagine this perfect, delicate song starting to hit sour notes whenever his ego is challenged.

💖 Diana Diamondhart: Sobre las Olas (“Over the Waves”) - Juventino Rosas

She’s associated with classical music, much like her ex-husband Hugh. This piece in particular is associated with both a delicate waltz, and a violent ocean surge. This showcases Diana’s two-faced personality.

🦌 John R. Deergutt: Electronic Can Can - Jean-Jacques Perrey & Gershon Kingsley

Here’s the leitmotif for Canvasville’s news anchor John R. Deergutt! Imagine a theme like this playing while shenanigans happen during a live broadcast!

🕵🏿 Tips Fedora: The Mysterious Mr. Him - Jean-Jacques Perrey & Dana Countryman

You can’t get more mysterious than being a literal shadow with eyes in a detective outfit! A theme like this would play whenever Tips is sleuthing or revealing confidential information to others.

🎼 Situational Leitmotifs:

😎 Cool montage: The Unidentified Flying Object (Remix) - Jean-Jacques Perrey and Gershon Kingsley

🫢 Gossip, misinformation, “game of telephone”, etc.: Gossipo Perpetuo - Jean-Jacques Perrey

#ijinks video #Tooniverse Leitmotifs #the jaycee pawman squad #tooniverse lore #Ijinks #jaycee pawman #beeball #wayne gates #mayor river moon willows #cat canada #diana diamondhart #hugh forric #Tips Fedora #sierra sunflower #John Deergutt

[marilynlennon]

Jeff Wall

Jeff Wall’s work synthesizes the essentials of photography with elements from other art forms—including painting, cinema, and literature—in a complex mode that he calls “cinematography.” His pictures range from classical reportage to elaborate constructions and montages, usually produced at the larger scale traditionally identified with painting.

Wall was born in 1946 in Vancouver, Canada, where he still lives. He became involved with photography in the 1960s—the heyday of Conceptual art—and by the mid-1970s he had extended Conceptualism’s spirit of experimentation into his new version of pictorial photography. His pictures were made as backlit color transparencies, a medium identified at the time with publicity rather than photographic art. These works had a startling effect when exhibited in galleries and museums, playing a part in the establishment of color as an important aspect of the aesthetics of photography.

Some of Wall’s early pictures evoke the history of image making by overtly referring to other artworks: The Destroyed Room (1978) explores themes of violence and eroticism inspired by Eugène Delacroix’s monumental painting The Death of Sardanapalus (1827), while Picture for Women (1979) recalls Édouard Manet’s A Bar at the Folies-Bergère (1882) and brings the implications of that famous painting into the context of the cultural politics of the late 1970s. These two pictures are models of a thread in Wall’s work that the artist calls “blatant artifice”: pictures that foreground the theatricality of both their subject and their production. Dead Troops Talk(1991–92), a large image depicting a hallucinatory moment from the Soviet war in Afghanistan, is a central example, and was one of the first works to employ digital-imaging technology, which has since transformed the landscape of photography. Wall was a pioneer in exploring this dimension and remains at the forefront of its development.

Attentive to the accidental encounters that can inspire an image, he recreates flashes of inspiration obtained from sources as varied as personal recollections to something noticed on the street, to daydreams, and encounters with paintings or photographs. With an idea in mind, Wall goes to exacting lengths to produce the picture, which may include constructing a scene from scratch, factoring in the position of the sun over several weeks, and improvisational rehearsals with performers. Wall’s pictures include both fantastical scenes—a picnic with vampires, dead troops conversing, a grave flooded by the ocean—and vernacular images of people on the margins of society or in moments of exchange and quiet contemplation.

Orchestrating his compositions with the creative liberties that a painter would take, the curious magic and discipline of Wall’s work is that it all takes place in a state of photographic realism where every action, object, and condition is simultaneously artificial and entirely natural. Often printed on the grand scale of a history painting—exhibited either as backlit lightboxes akin to advertising displays or as crisp ink jet and silver gelatin prints—Wall’s works reveal their poetic potential through portraying empathetic characters, picturing impossible vantage points, and capturing elusive moments.

#photography #digital imaging #largescale #lightbox #neardocumentary #picturemaking #lifesize #Youtube