My tier list of instruments

Orchestral Instruments Tier List

How I ranked them-

Comparing instruments that work on completely different principles loses its point. Saying that Bassoons can’t play 15 notes a second is just unfair. I will be grading these instruments by versatility(as in what a professional would be able to pull off), tonal value, and how difficult it is to get good at, and comparing them mostly to instruments in the same group so it’s fairer.

String section

Violin-S tier. Out of all the instruments listed, this is the instrument that has the most versatility. As Twoset has demonstrated to us, the different bow strokes, contact points, vibrato, extended technique such as left hand pizz, sul ponticello...you name it. I would not argue with twoset that this is an instrument that deserves an S tier position. A simple melody is enough for it to make elegant sounds, yet it can do so much more, like Bach with the chords and counter melodies, Paganini with you know, his stuff, and Ysaye with his explorations on tonality...yes, it is a great instrument.

Viola-B tier. Twoset jokes about them in every single video, and to a certain extent, I agree that it is less versatile compared to the other instruments in the string family. Personal opinion- when it plays high notes, it starts to sound like a violin because of the 3 strings they share. The big difference is on the C and G strings, where the viola has its own distinctive tonal features. Listen to the viola transcription of Zigeunerweisen by Sarasate, The slow sections are self-explanatory. Sure, if you try to do artificial harmonics and that crazy stuff on the viola, it would be extremely difficult for it to sound good, that’s why I did not rank it any higher. Yes, it is joked about not getting melodies, but that’s just because not many people wrote melodies for it in orchestral works-and I feel sorry for the violists-who I have massive respect towards.

Cello-S tier. Most things you do on the violin, you can do on the Cello. In fact, if we talk about roles in the orchestra, the violin can’t go very low so it can only play either the melody or harmonic support in the middle. Cellos, however, can go low enough to be the bass, can stay in the middle for coloring, and can go high to play melodies. Solo pieces for cello are also extremely beautiful, and I think everyone knows that.

Double Bass-A tier. Unarguably a VERY important instrument in the orchestra, plays the bass most of the time, without them, the music will hav

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Bibio AMA Transcribed

Q1: What was your first instrument and when was the first time you picked up a camera?

Bibio: My first instrument was a Bontempi Electric Organ. My first camera was a tiny plastic thing that used 110 film cartridges. I was probably 8 or 9, that's a guess. I probably took the odd photo on my mom's or dad's camera, which probably would have been a 110 camera too, they were popular in the 80s. They're pretty lofi as the film is only 16mm.

Q2: What inspires you the most?

Bibio: (There are a few questions about inspiration) It’s impossible to single out any one thing, inspiration comes from within, as a reaction to what's outside and one's own experiences, but inspiration is a feeling, a feeling of motivation and love of thinking, the joy of having and developing ideas.

Ideas and inspiration come in a multitude of forms from a multitude of sources and experiences. Being open and observant of the world around you increases the chances of inspiration. I usually start every day with lying in bed for an hour, just thinking.

Q3: What songs of yours would you like people to listen in the rain...it's to each their own...

Bibio: Any of them, but to pick a few that I think would be suitable: For walks in the rain in suburbs or town, I'd say Wet Flakey Bark, Puddled in the Morning and Raincoat. For walks in the country in the rain, Capel Celyn or any of Phantom Brickworks.

Q4: What were some of the most challenging songs to complete? Which took the longest?

Bibio: I can often remember which tracks took the least time, but I lose track of the ones that took ages, because the ones that took ages probably went through several completely different versions before I settled on one. The tracks that take the least time tend to be ones that arise from experimentation, they tend to form as I start recording. Where the tracks that take longer tend to be songs that are developed prior recording, as a series of evolving sketches that I record as videos on my phone, then eventually I'll take them to my studio and do a 'proper' version. Some of the Phantom Brickworks tracks were the quickest to make, because they were pretty much straight improvisations recorded with a delay pedal straight to tape. So apart from the setting up time of the mikes etc, they took as long as the track is in duration. As for the most challenging - hmmm, not sure. I have some new material coming out soon that was challenging in that I played lots of violin, viola and cello parts, and they are relati

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53 YEARS AGO - Through the lens of THEN.

June 1, 1967 – The Beatles: Sgt. Pepper's Lonely Hearts Club Band is released.
# ALL THINGS MUSIC PLUS+ 5/5 (MUST-HAVE!)

https://preview.redd.it/68r4dsqaeb251.png?width=600&format=png&auto=webp&s=13b3b0a0c78baf329b917a9d9c8b78b6acaca75d

Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by The Beatles, released on June 1, 1967. It topped the Billboard 200 Top LP's chart for 15 weeks, and the UK Albums chart for 27 weeks. In 2003, and again in 2012, the album was placed at number one on Rolling Stone magazine's list of "The 500 Greatest Albums of All Time".

_______________________

AWARDS

Grammy Awards

Nominated for seven Grammys in 1968, it would win four, including Album of the Year, the first rock album to receive this honor.

  • 1968 Album of the Year
  • 1968 Best Album Cover, Graphic Arts
  • 1968 Best Engineered Recording, Non-Classical
  • 1968 Contemporary Album

_______________________

>**"**Sgt. Pepper’s Lonely Hearts Club band didn’t start out life as a “concept album” but it very soon developed a life of its own. I remember it warmly, as both a tremendous challenge and a highly rewarding experience. For me, it was the most innovative, imaginative and trend-setting record of its time." - George Martin

“The Beatles definitely had an eternal curiosity for doing something different,” says George Martin, producer of Sgt. Pepper’s Lonely Hearts Club Band. Certainly, this album was entirely different from anything which had gone before, and although it has been much imitated since, it remains today a unique, epochal record one which revolutionized the entire recording industry and caused such vast repercussions that its influence will very probably be felt for as long as the music is written and performed.

The Beatles’ musical ideas progressed in a most tangible way with each album they recorded. Geoff Emerick, the recording engineer who with George Martin formed the imaginative team which translated the Beatles’ requirements onto tape, once totted up the number of hours put into the making of Sgt. Pepper and came up with 700. Please Please Me, the Beatles’ first album, was recorded in 585 minutes.

“The Beatles insisted that everything on Sgt. Pepper had to be different,” said Emerick, “so everything was either distorted, limited, heavily compressed or t

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Lizard: Uncommon Time Review

Hey, r/progrockmusic! It's us, James and Tolni, once more here to bring you reviews of King Crimson albums. Well, "reviews", as far as musical stuff and crackpot theories about Peter Sinfield lyrics can be called such. Next up is Lizard.

James: A hodgepodge of silly lyrics, analog synthesizers, and meticulously crafted solos, Lizard is quite the record. Accompanied by quite turbulent recording sessions, the lineup features drummer Andy McCulloch, bassist and singer Gordon Haskell, and woodwinds expert Mel Collins, along with half a dozen studio musicians, including a guest vocal from Jon Anderson of Yes fame. It also features the namesake of the album, King Crimson’s longest song, a multi-part fantasy epic. While different from previous albums and anything that would come after it, it retains the overall King Crimson sounds, while Fripp takes a backseat to the other sonic elements. Another thing to note about the album is the insanely detailed cover done by Gini Barris, which might be one of if not my favorite King Crimson album cover.

Tolni: Lizard is an interesting album. It's a departure from the overall style of the past two albums, opting out for a more jazzy feel and ditching the mellotrons. There's also a change in lineups, as Greg Lake quits (NOOO!) King Crimson, to create the prog rock superband, Emerson, Lake, Palmer. Good on him. He's replaced with Gordon Haskell, of Cadence & Cascade fame in the previous album. The creation of this album's been something of a clusterfuck, so as to say. The main issue came from, well, Fripp being Fripp, who stressed out various session players and musicians present. Furthermore, there was a certain conflict between Haskell and Sinfield, due to the latter's penchant for more...esoteric and off-the-wall lyrics, which was in a direct opposition with Haskell's desire to sing more blues-inspired songs, and often found SInfield's lyrics to be ludicrous. This creative difference later on led to the departure of Haskell, who himself joined on the King Crimson gig only to get money.

Fripp, as time passed, has derided his album, going as far as to call it out. Nevertheless, it remains quite the achievement, an attempt into blending both rock and jazz into one whole. The results are here to be seen...

Cirkus

James: Opening with a duet of electric pianos in E Minor, Cirkus is a rather somber album opener. Haskell’s vocals float

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