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Thread: CYGN-B

  1. #91
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    Ah, It's an EG VCA with AR. I see PDM parameters in the 351 data, but I don't know what that stands for. Funny, I don't remember encountering controls for spiral-IN and spiral-OUT on the panel. I also don't remember ever seeing (or noticing / recognizing) diamond spirals.

  2. #92
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    Default Diamond Spirals

    Quote Originally Posted by Greg View Post
    Ah, It's an EG VCA with AR. I see PDM parameters in the 351 data, but I don't know what that stands for. Funny, I don't remember encountering controls for spiral-IN and spiral-OUT on the panel. I also don't remember ever seeing (or noticing / recognizing) diamond spirals.
    Greg,

    The laserist had no control over the in/out rate ratio. Those were set in the 352 data only. We only had the master spiral frequency to play with.

    I have no good examples of simple diamond spirals, but here are 4 of them (below) color modded and overlapped at different sizes. Diamond spirals were basically spirals with one axis inverted (so that when the x-axis got bigger, the y-axis got smaller and vice versa)

    I'm sure you saw them. They made an appearance in most, if not all, shows.

    Ron

    PS. What's an EG VCA with AR (too many abbreviations!)
    Attached Thumbnails Attached Thumbnails 100017.jpg  


  3. #93
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    That's pretty, could be a silmaril. Weird that I never noticed that. Eager to patch that EG axis invert into my emulator.
    EG VCA with AR = Envelope Generator Voltage Controlled Amplifier with Attack Release (should have said Attack Decay). What does PDM expand to?

  4. #94
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    Click image for larger version. 

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    diamond spirals
    "There are painters who transform the sun into a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun." Pablo Picasso

  5. #95
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    Default Photos for the archive?

    Quote Originally Posted by laserist View Post
    Click image for larger version. 

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    diamond spirals
    Brian,

    If you have a collection of images etc., I'd love to include them in the Laserium Archive. If I haven't given you access yet, PM me and I'll set you up. I have already scanned everything I could find at Laser Images. Over 1000 still images, 300 videos and many documents.

    Ron

  6. #96
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    Now THAT I do remember. I mistakenly assumed it was a function of the Danube at the time.

  7. #97
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    Hi Ron,

    I took a couple of shots when I did Laserium in 2013 - I’ll dig them up and send you a flash drive...
    "There are painters who transform the sun into a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun." Pablo Picasso

  8. #98
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    If one’s goal is to consider and perhaps identify the presence of some patterns common to and / or characteristic of a “really good laser number”, then one could inspect the number Rocky Mountain Way from Laserock II for structural devices that might suggest more generally applicable patterns.


    (1) The choreography of the visuals emerges from, and thus naturally follows, the structure of the song. This song structure follows the familiar form of verse, verse, break, verse. Also to note, a novel sonic element (sequencer, talk box, etc.) is featured in the break section. The summary, or closing verse brings a sense of triumph in musical completeness, which is successfully expressed visually through the bringing together of previously introduced elements.


    This song structure is also evident in numbers including Turn Me On, Hyper Gamma Spaces, and Red.


    (2) The imagery is minimal in that it is a small number of graphical forms being used in a variety of ways. By virtue of that minimalism, an abstract musical and visual narrative is successfully developed, and with that comes a rare humor unique to laser shows. The humor lies in the recognition that a reference to, or a representation of, a specific thing or concept is being made in a medium (or at least a presentation) that has defined itself as being fundamentally non-representational.


    For example, the visual narrative in this piece could be interpreted as follows: Signal from AM rock and roll station is heard on car radio, and the spirit of physics appears and speaks of bouncing around on the Rock-y (meaning rock-and-roll-ish oscilloscope display) Mountains of music.


    Another song structure that works well for supporting an abstract visual narrative is “before and after”, where the first part of the song is a melodic incantation and buildup leading to a turning point, and is followed by a transition into a second and musically different second part.


    This song structure is evident in numbers including Lunar Sea, Silk Aurora, Phobos And Deimos Go to Mars, the segment of Awaken used in Starship, and is also obvious in the songs One Of These Days and Careful With That Axe Eugene.


    Valid objections to the digital clunkiness intrinsic in frame based output and multiplexing notwithstanding, an excerpt comprising some of what I remember of the original choreography of the ending of Rocky Mountain Way may be found here:


    https://www.youtube.com/watch?v=jSxnnsbQnqs


    On a technical note: Anyone care to comment on the use of external audio signals in the 6b? I think maybe the number "The Wait" used external audio in some way.
    Attached Thumbnails Attached Thumbnails RockyMountainWay2.jpg  

    RockyMountainWay1.jpg  


  9. #99
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    Default Great rendition and some show notes

    Quote Originally Posted by Greg View Post
    If one’s goal is to consider and perhaps identify the presence of some patterns common to and / or characteristic of a “really good laser number”, then one could inspect the number Rocky Mountain Way from Laserock II for structural devices that might suggest more generally applicable patterns.


    (1) The choreography of the visuals emerges from, and thus naturally follows, the structure of the song. This song structure follows the familiar form of verse, verse, break, verse. Also to note, a novel sonic element (sequencer, talk box, etc.) is featured in the break section. The summary, or closing verse brings a sense of triumph in musical completeness, which is successfully expressed visually through the bringing together of previously introduced elements.


    This song structure is also evident in numbers including Turn Me On, Hyper Gamma Spaces, and Red.


    (2) The imagery is minimal in that it is a small number of graphical forms being used in a variety of ways. By virtue of that minimalism, an abstract musical and visual narrative is successfully developed, and with that comes a rare humor unique to laser shows. The humor lies in the recognition that a reference to, or a representation of, a specific thing or concept is being made in a medium (or at least a presentation) that has defined itself as being fundamentally non-representational.


    For example, the visual narrative in this piece could be interpreted as follows: Signal from AM rock and roll station is heard on car radio, and the spirit of physics appears and speaks of bouncing around on the Rock-y (meaning rock-and-roll-ish oscilloscope display) Mountains of music.


    Another song structure that works well for supporting an abstract visual narrative is “before and after”, where the first part of the song is a melodic incantation and buildup leading to a turning point, and is followed by a transition into a second and musically different second part.


    This song structure is evident in numbers including Lunar Sea, Silk Aurora, Phobos And Deimos Go to Mars, the segment of Awaken used in Starship, and is also obvious in the songs One Of These Days and Careful With That Axe Eugene.


    Valid objections to the digital clunkiness intrinsic in frame based output and multiplexing notwithstanding, an excerpt comprising some of what I remember of the original choreography of the ending of Rocky Mountain Way may be found here:


    https://www.youtube.com/watch?v=jSxnnsbQnqs


    On a technical note: Anyone care to comment on the use of external audio signals in the 6b? I think maybe the number "The Wait" used external audio in some way.

    Greg,

    Fantastic! You would have done well in the Laser Images studios in Van Nuys. Loved the whimsey. We never did Laserium '79 in San Francisco and I have no video or still assets in my Laserium Archive. Your flashback made me smile a big one. Great job.

    Your notes about the structure of musical numbers applies to at least 95% of all musical numbers (especially rock). That's what the "middle 8" does. It breaks up the song with a different sound, often a different pacing. What most laser shows seemed to forget is that you need a structure to the whole show too. Pacing may be one of the most important considerations when planning a show. You can't just smash the audience in the face with a brick for 45 minutes. There must be an ebb and flow to the show, just as there should be in most musical numbers. The audience needs to take a breath once in a while in a high intensity show. For instance, in the Metallica show it was extremely important to include "Nothing Else Matters", a ballad, in the middle of the show to give the audience a break. After that number they are ready for more (the next number was "Blackened"...) I really came to appreciate what Scott and all those other folks did in the studio. They really crafted an art piece from the musical numbers

    Ron

  10. #100
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    Or as John Tilp put it, “You can’t boogy all the time...”
    "There are painters who transform the sun into a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun." Pablo Picasso

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