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About RatFace

  • Birthday 11/23/1973

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    Rats, Concertinas + Programming. Often all at once (quick tune whilst compiling some code, with a little beast on my shoulder :o). Also cello and looking for dragonflies... ravens.... magpies... anything with wings really.
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    Oxford, England

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  1. I bought a Blue Yeti a while back - wanting the convenience of a USB microphone plus the stereo etc options. I sent it back a few days later for a refund (which I got) - the audio quality was really bad, considering the price etc, giving nothing like a flat frequency response. I replaced it with a Rode NT-USB Mini Microphone which is excellent - a decent condenser mic with a USB interface, and nothing more. I think the problem with the Blue Yeti is that (a) it's over-hyped and (b) 95% of its users are doing spoken voice. I guess that it has internal processing which makes spoken voices sound great, but is inappropriate for instrumental recording where you want the response to be as even as possible. I advise keeping away from it...
  2. Get hold of some easy/intermediate guitar music (e.g. some/one of the volumes from "The Classic Guitar Collection"). Over time you will figure out how to recognise which arrangements work well and which won't, how to adapt it at sight (especially handling the missing F and E notes on a standard treble), including reducing the tendency for the lower notes to drown out the top. Quite a lot of the simpler renaissance (originally lute), baroque and classical (e.g. Sor). can be made to work. There's some harmonic violin music that works too - e.g. the Bach sonatas/partitas, Telemann 12 fantasias, Campagnoli divertimenti etc
  3. Sounds great - as has been said above - very good balance of sounds
  4. Here's In Dreams (following your request on Facebook). I didn't know it, or anything about it (probably don't watch enough films, and certainly don't remember them!), so the speed I picked ended up a little faster than the original. Also... I played it as written (except for the addition of a low A which seems essential in bar 31), even though some of the arrangement is a little odd (and, now I listen, different to the soundtrack!). InDreams.mp3
  5. The link is to Cormac Begley playing concertina. It's not good etiquette to just post links with no description since (a) sensible people won't follow them because they are typically clickbait, and sometimes ending up in horrible stuff and (b) it's not a good idea to get people used to clicking on links with no indication of where they're going.
  6. I recently accompanied the telling of the story of a variation on Sanji and the Baker. The setting and characters made it impossible not to base the music on Ketelbey's In a Persian Market, which describes the scene of a Persian Market (no surprise there!) through the day - with the caravan of camels arriving in the morning, the hustle and bustle of the beggars in the market, the beautiful princess passing through, the jugglers and snake charmer, and the Caliph making his entrance. And then the evening comes and everyone leaves and stillness returns. You can find orchestral versions on YouTube etc. I remember playing it years ago with the Butleigh Court Concertina Band. After doing that it seemed to make sense to arrange the actual original, complete, piece for tenor-treble English, so here it is: https://musescore.com/user/33705254/scores/5887541 I also made a rough recording of it (just to prove it's playable!) - though need to practice and recover my microphones before making a decent one! https://drive.google.com/open?id=1Pc0aX2GhxvLxcVT6BAX2jQT8EfD6zX5q
  7. That won't be a significant problem. When you stream audio (and video) your computer will be downloading and buffering ahead of what you're actually watching/playing - so if you're playing an audio clip (e.g. via youtube), at any time your computer will have already downloaded the next X seconds (not sure how many, but it will be a significant number), enough to passing on any variability to your ears. Of course if you have a _terrible_ internet connection then it may stutter, but that's not really common these days, assuming you have an at least reasonable internet connection. Dropouts down to less than 1ms will be audio (e.g. as clicks), and timing glitches <1ms every few seconds would be irrelevant. If you don't hear dropouts or clicks, but can't play along to the online drum beat, there's either something wrong with the original recording, or your own inner metronome! If using youtube to play drum tracks, this Chrome extension might be useful (other loopers are available!)
  8. Of course - so long as they like concertina!
  9. Facebook kindly informed my that it was a friend's birthday, and before I knew it, this (mp3 attached, or here) had happened. I'm still not quite sure how. Here are the dots, in case you want a go. I had to fudge the lack of a top d. HappyBirthday.mp3
  10. Congratulations - it's funny actually, because I supervised the two guys who implemented the physically based animation for characters in that game - technology we (at NaturalMotion) called "Euphoria". I guess that means if it's possible to shoot the character whilst he's playing the concertina, I'd have to take some responsibility for that. English vs Anglo
  11. There's a handful of "clarionet" concertinas around. These have "fishtail" reeds (i.e. narrower at the base than the tip), each of which sits above a tuned chamber which then resonates. I don't know which of the two features is most significant, but together the sound is pretty nice - much more "woody" and interesting, if I remember correctly. It's been about 20 years since I played one... The downside is that they're pretty big and single action...
  12. Here it is pitch shifted (electronically) down into Gm - sounds great there (though it shows up the mistakes more!): https://www.dropbox.com/s/xg6v3h67p5k14tj/ShostakovichWaltz2InG.mp3?dl=0
  13. OK... I sneaked in one quick recording session whilst my family popped out for a few minutes (leaving me lots of jobs to do - guess whether any of them are done yet!). This is the first (and currently only) time I actually managed to play bars 21-24 - I was so surprised I decided to do the repeat and got lucky again! Apart from the bum notes, I would have liked to have got the transition from bar 4 to 5 smoother. ShostakovichWaltz2.mp3
  14. It's rather nice. I've made some small modifications, mostly to the middle part. I'd say that bars 21-26 definitely county as extremely awkward, but they're playable. The changes preserve the movement in 6ths in the upper part, which I think is important (actually in the notation I would clarify that by making the d stem go up in bar 23, and the e stem go up in bar 26). The last two chords are a bit odd in your arrangement as they're both missing the fifth - is this intentional?! My inclination would be to add it. The big thing though is that the bass minims need to be played as (long) crotchets. The sound is better, and it's the only way that the fingering is really practical. In order to keep the "long-short-long" phrasing in the bass, you can try to avoid jumping with the same finger from the first to second beats... but in some cases you just have to (e.g. bar ll left-3 needs to play the E long, and then the Bb) I'll try to make a recording - but still need to get those bars 21-26 secure! For anyone else who tries, the G# is easier played as an Ab. And if you could transpose it down a fifth to give a version for us tenor-treblers, that would be great!!
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