@felixarden.bsky.social

OK. I've put this off long enough. I'm scheduling the surgery for the end of the month/ early August, whatever the orthopedist suggests. This gives me time to finish whats on my plate. But I'll need to raise funds for recovery time. So.. No obligations. Shares appreciated. gofund.me/e2e4e9960

Donate to Arm Surgery Recovery Fund, organized by Kisle Burkett

Hey all, I go by Bubba among friends and acquaintances. Many of you may already know… Kisle Burkett needs your support for Arm Surgery Recovery Fund

gofund.me

Not having gone into music professionally has the pleasant consequence that the question of where the industry is going has no existential relevance to me. I can't be "left behind" because I'm not participating in a competition to begin with.

When using multiple different ways of drawing lines in Inkscape (e.g. straight lines versus circular arcs versus function plots), is it possible to get the pieces to come together into proper vertices where the corners of the strokes for the separate line segments don't stick out?

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I've always felt that the upper three notes of the trombone chord are in too pedestrian a register for cellos for a voicing where each is covered by only half of them while all the basses have the bottom note to be satisfactory, especially since the chord tone of the bottom note is doubled.

A string section voicing of the chord B1, F#2, B2, D#3 where half the cellos play F#2 and D#2, the other half play B2, one double bass each plays F#2 and D#2, and the remaining basses play B1.

A divisi that starts for the purpose of differing pitches, contains for the sake of differing fingerings, and continues further for the sake of differing bowings.

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I wish I knew of a staging of Strauss's Salome on record where the Dance of Seven Veils is actually compelling, not embarrassing, to watch. Someone do a staging where the singer swaps out for a professional dancer for that part like in the premiere, and let Matthew Bourne choreograph it.

Mahler's 6th symphony is frustratingly editorially sloppy, especially in the places that were revised. The top is the original and the bottom is the revision.

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These trumpet glissandos in Debussy's Jeux are such a strange touch. I usually think of glissandos on valved brass instruments as a crude, raucous effect, but these are supposed to be quiet, and embedded in a rhythm that requires precision.

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I'm tired of the assertion that instruments should categorically strive to imitate the human voice. I'm mostly not that interested in vocal music, so treating it as some unsurpassable summit of musicality seems perverse.

🖼️ It’s been a minute (well, a lot longer than that) since we posted a Fan Art Friday! Today we’re featuring art by Cartoonboingsfx on Tumblr & Grayson D. They captured Gehn’s affinity for… shall we say, contemplative combustion. 🔥

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The idea of doubling the woodwinds in orchestral works by Brahms and the like when the string section is large bugs me from the perspective that the resulting woodwind voicings are probably not always what one would choose if one were writing for that number of woodwinds in the first place.

Strange how, while the English horn resolves its concert G downward, as expected for chordal 7ths, the French horns don't, leaving the English horn the only instrument in the whole orchestra playing a concert F in the resolution chord.

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If having phase-aligned samples allows a virtual instrument to crossfade seamlessly between dynamic layers, I don't see why it can't also crossfade seamlessly between a point near the end of a sample to a point near the beginning of the same sample.

And I think sometimes we overcorrect that into thinking that it's ignorant to believe in hope. I think people don't want to get caught out having said, "We can do this" and then having it not happen. But it's a lot less likely to happen if folks are too demoralized to try.