That cat couldn’t be less impressed.
I absolutely loathe that song, probably because of having to listen to someone playing it badly over and over and over and over…I doubt if I cared much for it in the first place. But, damn, if it doesn’t work perfectly at the end of ‘The Devil’s Rejects’!!
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I never want to hear “Freebird” or “Stairway to Heaven” again as long as I live.
,ugh…
But! Freddy King’s Hideaway at 160 BPM is always a winner.
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I was in a band that was described as a race between the drummer and the band, and the drummer always won.
Ballads became funk, often.
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This one’s pretty quick.
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They win always! Being the keeper of time is a powerful thing, but I also think that the counterweight from the sticks/pedal gives them a big leg up that a pick just can’t compete with.
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Ha, yah, the drummer I’m referring to often said to us after a song, “Hey, my fault”. Then we’d laugh our asses off.
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For the purposes of this question; are there ‘accepted’ answers for exactly how creative an ‘instrument’ can be in turning human input into noises; and what level of indirection is permitted when ‘appreciating’ music?
Obviously, ‘I can press play and let my DAC budget be the limit’ is a boring answer, so probably not the one worth thinking about; but there are variations in response time among ‘real instruments’ as well, though less dramatic ones. On the ‘appreciation’ side; a naive listener probably isn’t going to notice anything above ~20KHz(maybe a touch more if they are in good condition; but that’s the usual number); but a non-naive listener might be said to ‘appreciate’ higher frequency signals whose existence he can infer from aliasing artifacts that fall in the audible range; or audible sounds produced by freaky nonlinear acoustics tricks; and it’s not at all uncommon to expect that certain features of art will only be appreciated by those with sufficient background knowledge.
That’s another weird drummer tic- they always apologize, but then do the same damn thing next chance they get.
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Like that old joke about swing bands:
Q “How late does the band play?”
A “Half a beat behind the drummer.”
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Brandon Seabrook challenging the interonset interval and probably messing up his wrist in the process.
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the answer is Zakir Hussain
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I had a high tempo piano piece that I did not nail with a title
now lost but it was ‘the whole bus’
In my experience you can enjoy right up to around 1000bpm, where a string of notes turns into a single continuous tone. Right below that is fine though. I know a guy who makes extratone though, which is more or less a subset of noise which works at post-1000bpm.
I don’t think there’s a strict upper limit, really.
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