FizzWiki - User contributions [en]

http://fizzwiki.com/api.php?action=feedcontributions&feedformat=atom&user=Vubobinali FizzWiki - User contributions [en] 2026-09-15T10:37:13Z User contributions MediaWiki 1.45.3 http://fizzwiki.com/index.php?title=Quintuplet_Swing&diff=1784 Quintuplet Swing 2026-09-11T15:09:12Z

<p>Vubobinali: added text</p> <hr /> <div>you get it.[[File:Quintuplet Swing.jpg|alt=Common quintuplet swing beat as played on a drum set|thumb|Common quintuplet swing drum beat]]<br /> [[Category:Music Theory]]</div>

Vubobinali http://fizzwiki.com/index.php?title=User:Vubobinali&diff=748 User:Vubobinali 2026-06-18T02:08:33Z

<p>Vubobinali: </p> <hr /> <div>Hi my name is vubobinali and this is my user page. Jacobc1991 is xenclick is voidform is noproblem is zage zaaza is xenprism, never forget. vubobinali is a bastion of the fizz regime, with such defining bangers as [https://www.youtube.com/watch?v=frgds7rvr4E Fresh Air], [https://www.youtube.com/watch?v=l_vJJWaWSLI legit], and [https://www.youtube.com/watch?v=SkprrziSK5A epic gamer moment]. ok wait i have to apologize, ive made a severe and continuous lapse in judgement, vubobinali is actually not really a bastion of the fizz regime :pensive: im sorry<br /> <br /> = The Life and Times of Vubobinali =<br /> Born at a very young age, Vubobinali quickly grew to become one of the greatest prodigies of all time. At the age of 7, he learned to read, and soon after at 23 he picked up his first DAW, FL Studio. After honing his skills for several years, at the age of 56 he had the brilliant idea to bring his friends Skrillex and Louis Cole to his studio to invent Music. The subsequent track was released under the Underscores project. idk man i dont have much to talk about, but i wanted to make a user page :D ok sick yeah thanks for slopping by</div>

Vubobinali http://fizzwiki.com/index.php?title=Torus_of_Fizzosophy&diff=469 Torus of Fizzosophy 2026-06-14T02:12:51Z

<p>Vubobinali: Added paragraph to note relevance to the "What Is Fizz?" video.</p> <hr /> <div>[[File:Torus Of Fizzosophy.png|thumb|Torus of Fizzosophy]]<br /> The '''Torus of Fizzosophy''' is a donut-shaped manifesto which lays out the principles of [[Fizz]]. '''Jazz x Bass Music''', '''Zoomer Internet Culture''' and the '''3 Axioms''' are the main core principles from which all the other principles arise, as illustrated with the red arrows.<br /> <br /> <br /> The Torus first shows up publicly in the "[https://www.youtube.com/watch?v=w3EgoqWv6l0 What Is Fizz?]" video, posted to the [https://www.youtube.com/watch?v=w3EgoqWv6l0 IJ and phonon] youtube channel on June 24th, 2025. This video describes more loosely the existence of Fizz as a movement and a genre, but the Torus zeroes in more on the philosophy and culture driving Fizz original music and Fizz remixes!<br /> <br /> == Jazz x Bass Music ==<br /> Fizz is a subgenre of Bass Music, which itself is a subgenre of EDM. Fizz has harmonic influence from Nu-Jazz and Jazz adjacent artists (ex. Bill Wurtz, Knower, and Jacob Collier), which makes Fizz very compositionally dense compared to other Bass subgenres like Dubstep and Drum n Bass, It's also less rigid than other Bass subgenres about which sounds and BPMs you can use.<br /> <br /> == Music Theory/Sound Design Indulgence ==<br /> The online communities of both Jazz and Bass music have a significant subset of music nerds, Jazz nerds focusing on music theory and virtuosity, and Bass nerds focused on sound design and production. Despite the obvious compatibility and various instances of cross-pollination between these two groups, they rarely collide head on. One of the main missions of Fizz is to fully bridge that gap, so collaboration and knowledge sharing between the two groups is very much encouraged.<br /> <br /> == Allergy to Unstimulating, Cliche Musical Ideas ==<br /> Fizz has a culture of innovating and experimenting with music theory and sound design, and being all too aware of the endless possibilities that lie ahead. Safe, insincere and lazy decision making are widespread in music, and Fizz is the polar opposite of the mindset that gives rise to those things. Fizz fans thrive on stimulating, creative musical ideas. Fizz addicts have reported regular music feeling "empty" after listening to Fizz for too long.<br /> <br /> == Fizz Remix Philosophy ==<br /> In EDM, there’s a tradition of spicing up other artist's works, usually by taking a sound recording of a work, or the stems thereof, and playing with it. This is what everyone thinks of when they hear the word “remix”. In Jazz, there’s a similar tradition of taking the melody of a work and the harmonic content surrounding it, and playing with that. A Fizz remix is the result of combining these different traditions in an aggressive fashion, insatiably rearranging, reharmonizing, sonically transforming and improvising over a work in order to absolutely rip it apart, mock it and honour it.<br /> <br /> == Extreme Information Density ==<br /> Because of it's roots in zoomer Jazz and Bass music online communities, Fizz has a high concentration of music enjoyers who aren't afraid of intricate, layered chord progressions, bass sounds and rhythms. Within the Fizz community, It's fashionable to reject the prevalent "Less is more" artistic dogma, and embrace maximalism. Fizz has been described as "ADHD Music", which is an appropriate description as many individuals in the Fizz movement are neurodivergent, including those who are autistic or have ADHD and OCD.<br /> <br /> == Zoomer Internet Culture ==<br /> === Taking a Thing and Exhaustively Milking It ===<br /> In this age, everything gets beaten/memed to death on the internet, whether it be viral content, anything in the news cycle, or memes themselves. Remixes (video edits like YTPs and musical remixes in various EDM subgenres) are one of the more wholesome and artistic parts of that process. Remix culture as we know it today was established by millennials, but online zoomers internalized that kind of art at a young age, so it checks out that they would eventually create a high information, ironic yet sincere, fast paced, meme genre of music that reflects the environment they grew up in. This idea of taking something and ripping it apart in an over-the-top way is core to the Fizz Remix Philosophy and Fizz in general; The chaotic resampling and motivic development (and motivic abuse in some cases) in Fizz songs often makes it feel like the songs are a remix of themselves.<br /> <br /> === 2000s Nostalgia ===<br /> 2000s nostalgia is a non-fundamental, yet recurring theme in Fizz. <br /> <br /> === Post-Irony ===<br /> This other zoomer trope is explored in Fizz music in very abstract ways, but much more tangibly in Fizz edits and memes.<br /> <br /> === Self Referentiality ===<br /> Self Referentiality<br /> <br /> Zoomers are typically more accustomed to Jazz and Bass music than previous generations, making it easy for zoomer musicians from both the music theory/virtuosity side and the sound design/production side to understand the compatibility of one another. "2000s nostalgia and zoomer internet culture cut deep, meaning they’ve both been exposed to everything from Animusic to YouTube gaming dubstep intros." (from "What is Fizz"). Video games also had a hand in familiarizing a significant swath of zoomers with Dubstep (ex. Geometry Dash, Beat Saber), and Jazz (ex. Wii Sports, Mario Kart).<br /> <br /> Since the start of the Fizz movement, various instagram pages have been created by the community to post edits and memes about Fizz, and Fizz artists will often meme their own music to promote it. Fizz isn't merely conducive to memes, memes are an integral part of Fizz.<br /> <br /> == The 3 Axioms ==<br /> <br /> === We Love Everything ===<br /> We love everything. Nested tuplets, convolution reverb, polychords, vocal stacks, reese basses, earworm melodies, layered risers... We love it all.<br /> <br /> === We Hate Everything ===<br /> Fizz was born out of a love for music, but it was also born out of a hatred for the way it's treated. Trend following, overusing tropes, creating music purely for "vibes" and not art, using AI to make important production or compositional decisions, settling for less, making what you think people want instead of what you believe in, these things are the opposite of what Fizz is about.<br /> <br /> === Everything Matters ===<br /> Whether it manifests in love, hate, or an ironic layered version of either... Care and obsession over everything, including all the little insignificant details is at the heart of Fizz.<br /> <br /> == Blurred Line Between Veneration and Mockery ==<br /> In Fizz, mockery is flavoured with veneration, and veneration is flavoured with mockery. <br /> <br /> == Unhinged Musical Shenanigans ==<br /> Fizz's culture of enthusiasm for a melting-pot of music theory, virtuosity, sound design, production and rejection of the status quo make it uniquely positioned to be the home of some of the most innovative western music.<br /> <br /> [[Category:Fizz Lore]]</div>

Vubobinali http://fizzwiki.com/index.php?title=User:Vubobinali&diff=425 User:Vubobinali 2026-06-11T01:16:11Z

<p>Vubobinali: </p> <hr /> <div>Hi my name is vubobinali and this is my user page. Jacobc1991 is xenclick is voidform is noproblem is xenprism, never forget. vubobinali is a bastion of the fizz regime, with such defining bangers as [https://www.youtube.com/watch?v=frgds7rvr4E Fresh Air], [https://www.youtube.com/watch?v=l_vJJWaWSLI legit], and [https://www.youtube.com/watch?v=SkprrziSK5A epic gamer moment]. ok wait i have to apologize, ive made a severe and continuous lapse in judgement, vubobinali is actually not really a bastion of the fizz regime :pensive: im sorry<br /> <br /> = The Life and Times of Vubobinali =<br /> Born at a very young age, Vubobinali quickly grew to become one of the greatest prodigies of all time. At the age of 7, he learned to read, and soon after at 23 he picked up his first DAW, FL Studio. After honing his skills for several years, at the age of 56 he had the brilliant idea to bring his friends Skrillex and Louis Cole to his studio to invent Music. The subsequent track was released under the Underscores project. idk man i dont have much to talk about, but i wanted to make a user page :D ok sick yeah thanks for slopping by</div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=346 Neurobass Techniques 2026-06-09T05:49:29Z

<p>Vubobinali: /* AU5 Reese Technique */</p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance as used in many classic Neurofunk tracks such as [https://youtu.be/Wz_OgmkbCXg?si=sX3liI_4Waiej7M7&t=66 Dead Limit] by the artists Noisia & The Upbeats, and [https://youtu.be/7uM9qkLaWKA?si=iancy6jn_OmcVwaS&t=72 Freedom] by the artists Synergy and What So Not.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> <br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> <br /> <br /> === Au5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == Processing Techniques ==<br /> '''Clipping/Distortion/Compression'''<br /> <br /> These processes can introduce harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <br /> <br /> '''Filters'''<br /> <br /> A crucial aspect of neuro bass is that these basses have a lot of movement and change in their timbre over time. One easy way to introduce this to craft these basses is by taking an EQ and cutting out or boosting frequencies in the bass and low mid regions, and modulating/automating the frequencies that are being affected. This process when applied before distortion/waveshaping creates changes in the introduced harmonics which can create perceived vowel-like qualities.<br /> <br /> <br /> '''Reprocessing and Combining Filters with Distortion'''<br /> <br /> As with any processing, it becomes way more powerful when applied more than once. Any of the techniques above can be applied more than once to a bass. Often a chain will be crafted with multiple EQs/filters going into multiple distortion banks and then back into more filters and more distortion banks. Go crazy!! Generally the EQs/filters are used to keep the bass clean and control the motion, while the distortion units are used to control the loudness and crunchiness of the bass. <br /> <br /> <references /><br /> <br /> [[Category:Music Theory]]<br /> [[Category:Sound Design]]</div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=345 Neurobass Techniques 2026-06-09T05:46:10Z

<p>Vubobinali: </p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance as used in many classic Neurofunk tracks such as [https://youtu.be/Wz_OgmkbCXg?si=sX3liI_4Waiej7M7&t=66 Dead Limit] by the artists Noisia & The Upbeats, and [https://youtu.be/7uM9qkLaWKA?si=iancy6jn_OmcVwaS&t=72 Freedom] by the artists Synergy and What So Not.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> <br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> <br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == Processing Techniques ==<br /> '''Clipping/Distortion/Compression'''<br /> <br /> These processes can introduce harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <br /> <br /> '''Filters'''<br /> <br /> A crucial aspect of neuro bass is that these basses have a lot of movement and change in their timbre over time. One easy way to introduce this to craft these basses is by taking an EQ and cutting out or boosting frequencies in the bass and low mid regions, and modulating/automating the frequencies that are being affected. This process when applied before distortion/waveshaping creates changes in the introduced harmonics which can create perceived vowel-like qualities.<br /> <br /> <br /> '''Reprocessing and Combining Filters with Distortion'''<br /> <br /> As with any processing, it becomes way more powerful when applied more than once. Any of the techniques above can be applied more than once to a bass. Often a chain will be crafted with multiple EQs/filters going into multiple distortion banks and then back into more filters and more distortion banks. Go crazy!! Generally the EQs/filters are used to keep the bass clean and control the motion, while the distortion units are used to control the loudness and crunchiness of the bass. <br /> <br /> <references /><br /> <br /> [[Category:Music Theory]]<br /> [[Category:Sound Design]]</div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=327 Neurobass Techniques 2026-06-09T02:31:58Z

<p>Vubobinali: </p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance as used in many classic Neurofunk tracks such as [https://youtu.be/Wz_OgmkbCXg?si=sX3liI_4Waiej7M7&t=66 Dead Limit] by the artists Noisia & The Upbeats, and [https://youtu.be/7uM9qkLaWKA?si=iancy6jn_OmcVwaS&t=72 Freedom] by the artists Synergy and What So Not.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> [[File:Basic Reese G2 1.mp3|left|frame|checking]]<br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> <br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == Processing Techniques ==<br /> '''Clipping/Distortion/Compression'''<br /> <br /> These processes can introduce harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <br /> <br /> '''Filters'''<br /> <br /> A crucial aspect of neuro bass is that these basses have a lot of movement and change in their timbre over time. One easy way to introduce this to craft these basses is by taking an EQ and cutting out or boosting frequencies in the bass and low mid regions, and modulating/automating the frequencies that are being affected. This process when applied before distortion/waveshaping creates changes in the introduced harmonics which can create perceived vowel-like qualities.<br /> <br /> <br /> '''Reprocessing and Combining Filters with Distortion'''<br /> <br /> As with any processing, it becomes way more powerful when applied more than once. Any of the techniques above can be applied more than once to a bass. Often a chain will be crafted with multiple EQs/filters going into multiple distortion banks and then back into more filters and more distortion banks. Go crazy!! Generally the EQs/filters are used to keep the bass clean and control the motion, while the distortion units are used to control the loudness and crunchiness of the bass. <br /> <br /> <references /><br /> <br /> [[Category:Music Theory]]<br /> [[Category:Sound Design]]</div>

Vubobinali http://fizzwiki.com/index.php?title=File:Basic_Reese_G2_1.mp3&diff=326 File:Basic Reese G2 1.mp3 2026-06-09T02:31:28Z

<p>Vubobinali: </p> <hr /> <div>this one is an mp3. testing</div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=322 Neurobass Techniques 2026-06-09T02:28:41Z

<p>Vubobinali: checking if ogg works</p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance as used in many classic Neurofunk tracks such as [https://youtu.be/Wz_OgmkbCXg?si=sX3liI_4Waiej7M7&t=66 Dead Limit] by the artists Noisia & The Upbeats, and [https://youtu.be/7uM9qkLaWKA?si=iancy6jn_OmcVwaS&t=72 Freedom] by the artists Synergy and What So Not.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> [[File:Basic Reese G2.ogg|thumb|does this work?]]<br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> <br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == Processing Techniques ==<br /> '''Clipping/Distortion/Compression'''<br /> <br /> These processes can introduce harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <br /> <br /> '''Filters'''<br /> <br /> A crucial aspect of neuro bass is that these basses have a lot of movement and change in their timbre over time. One easy way to introduce this to craft these basses is by taking an EQ and cutting out or boosting frequencies in the bass and low mid regions, and modulating/automating the frequencies that are being affected. This process when applied before distortion/waveshaping creates changes in the introduced harmonics which can create perceived vowel-like qualities.<br /> <br /> <br /> '''Reprocessing and Combining Filters with Distortion'''<br /> <br /> As with any processing, it becomes way more powerful when applied more than once. Any of the techniques above can be applied more than once to a bass. Often a chain will be crafted with multiple EQs/filters going into multiple distortion banks and then back into more filters and more distortion banks. Go crazy!! Generally the EQs/filters are used to keep the bass clean and control the motion, while the distortion units are used to control the loudness and crunchiness of the bass. <br /> <br /> <references /><br /> <br /> [[Category:Music Theory]]<br /> [[Category:Sound Design]]</div>

Vubobinali http://fizzwiki.com/index.php?title=File:Basic_Reese_G2.ogg&diff=321 File:Basic Reese G2.ogg 2026-06-09T02:28:14Z

<p>Vubobinali: </p> <hr /> <div>Basic Reese Playing a G2</div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=267 Neurobass Techniques 2026-06-08T07:42:59Z

<p>Vubobinali: </p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance, for this reason.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> <br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> == Processing Techniques ==<br /> Clipping the sound can square off the waveform of your neurobass, introducing harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <references /></div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=266 Neurobass Techniques 2026-06-08T07:42:50Z

<p>Vubobinali: </p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance, for this reason.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> <br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> <br /> <br /> == Processing Techniques ==<br /> Clipping the sound can square off the waveform of your neurobass, introducing harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <references /></div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=265 Neurobass Techniques 2026-06-08T07:41:55Z

<p>Vubobinali: Padding</p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance, for this reason.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> <br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> == Processing Techniques ==<br /> Clipping the sound can square off the waveform of your neurobass, introducing harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <references /></div>

Vubobinali http://fizzwiki.com/index.php?title=Neurobass_Techniques&diff=264 Neurobass Techniques 2026-06-08T07:41:08Z

<p>Vubobinali: Started page lol</p> <hr /> <div>A Neurobass is a complex type of reese bass.<ref>https://thisvsthat.io/neuro-bass-vs-regular-bass</ref> Neurobasses are typically built to have complex, controllable movement parameters which a producer can "perform" through modulating these parameters.<br /> <br /> Historically, sound design techniques have been gatekept, whether out of ego or lack of care to teach and spread understanding of such techniques; and the world of neurobass sound design has unfortunately been no different. Sound design has also been prey to the "Method" fallacy where producers learn a method to create a sound without understanding the underlying techniques used to create the sound, such that they do not actually gain proficiency in sound design. This article's intent is to clearly lay out any and all neurobass techniques, so if you have a technique that isn't listed here, feel free to add it yourself or suggest that it be added!<br /> <br /> == Oscillator Techniques ==<br /> <br /> === Basic Reese ===<br /> [[File:A_basic_reese_oscillator_setup..png|left|thumb|A basic reese oscillator setup. The unison is set to 2 voices, and the detune controls how fast the beating is; more = faster.]]<br /> The most basic form of a reese bass is a single saw wave with 2 voices of unison. This causes "beating" in the sound, where you can hear the phasing between the 2 detuned voices of the saw as another oscillation in amplitude and a phaser sound. This beating is controlled by the amount of detune on the unison voices, ''and'' the frequency of the note played; so higher pitches have faster beating! Pairs well with pitch bending in performance, for this reason.<br /> <br /> As a note, in Vital, you should also go to the advanced tab and turn the stereo unison for your given oscillator all the way down to make it mono; otherwise you'll just be playing each voice hard panned apart from each other such that they don't interact. Be sure to check whether your unison is stereo in your synthesizer of choice.<br /> <br /> This is a solid place to start a bass from, but its consistency and lack of control can make it hard to make unique. However, if you want that recognizable reese bass sound, this is perfect.<br /> <br /> === AU5 Reese Technique ===<br /> [[File:Au5_Reese_bass_technique.png|left|thumb|In Vital, LFO 1 is 1/2 Tempo, ramps up from min to max, and is on the phase of Oscillator 2. This is then resynthesized to oscillator 3 to execute the technique.]]<br /> In a short form video, the producer Au5 goes over a method of creating a more controllable / modern reese bass, using a wavetable synthesizer.<ref>[https://www.youtube.com/shorts/z9GgE12CSkw Au5 Tempo Synced Reese Bass]</ref> This is confirmed possible in Vital and Serum 1 and 2.<br /> <br /> The technique he uses to create a controllable beating saw is to create a single beat of the saw wave and resample that into a wavetable. This is done by using two identical saw waves, and then using a ramp up LFO to modulate the phase of one of them. Then, as the phase goes from 0 to 360, the moving saw loops and completes 1 "beat." Then, the entire patch can be resampled to another oscillator! Thus, in the final output, you get a wavetable such that moving through the wavetable from minimum to maximum value ''also'' completes 1 beat, as a single oscillator. This lets you control the beating of the saws and their pitch separately. This can then be applied to tempo sync the beating of the saws, by making the LFO modulating the wavetable of this single beating oscillator tempo synced.<br /> <br /> This is a fantastic extension of the reese bass which grants the producer greater control over the aspects of the reese. However, there is at least one drawback, as witnessed on Vital. When resampling, there can be aliasing artifacts, where the final wavetable can have random inaccurate jagged edges moving through the frames of the wavetable. This shouldn't affect the final sound too meaningfully beyond causing inaccurate clicking, but it may sound particularly digital, which might not be what you're looking for in a reese bass, especially if you intend to use it with minimal processing.<br /> <br /> <br /> <br /> == Processing Techniques ==<br /> Clipping the sound can square off the waveform of your neurobass, introducing harmonics and high end, and increasing the perceived loudness of your sound. This can be used effectively to prevent peaking in a chaotic patch, or creatively to fill out and give character to a bass.<br /> <references /></div>

Vubobinali http://fizzwiki.com/index.php?title=File:Au5_Reese_bass_technique.png&diff=257 File:Au5 Reese bass technique.png 2026-06-08T07:15:45Z

<p>Vubobinali: </p> <hr /> <div>Resynthesizing the preset to the third oscillator, where the preset is a single oscillation of beating.</div>

Vubobinali http://fizzwiki.com/index.php?title=File:A_basic_reese_oscillator_setup..png&diff=252 File:A basic reese oscillator setup..png 2026-06-08T06:56:57Z

<p>Vubobinali: </p> <hr /> <div>An image of a sawtooth oscillator in Vital. There is 2 unison voices with a fair difference in pitch between them.</div>

Vubobinali http://fizzwiki.com/index.php?title=Mote&diff=243 Mote 2026-06-08T04:53:27Z

<p>Vubobinali: Clarified and formalized wording.</p> <hr /> <div>__FORCETOC__<br /> <br /> In music, the word '''Mote''' refers generically to ''any'' musical building block that can be used to create a song when utilized alongside other motes. It's the concept of a musical element, in abstract.<br /> <br /> Some examples of musical objects that may be labeled as motes are:<br /> <br /> * Singular notes<br /> * Note intervals<br /> * Melodies<br /> * Chords<br /> * Chord progressions<br /> * Sounds<br /> * Samples<br /> * Rhythms<br /> * Words/phrases in lyrics<br /> <br /> Although the word mote may sound similar to other terms such as "Musical Idea" or "Leitmotif," their meanings and use cases diverge, depending on their contexts.<br /> <br /> == Mote versus Leitmotif ==<br /> While the term [[wikipedia:Leitmotif|leitmotif]] can be used to describe a general musical idea, it is important to note that leitmotifs are musical ideas that are subsequently repeated (with or without modifications), in order to be associated with a particular person, place, or idea. Motes, on the other hand, can exist without ever being repeated or having any sort of significance.<br /> <br /> A mote could be a single melody that is only played once, while a leitmotif can only be considered a leitmotif with repetition of said musical element and association with another object in a story.<br /> <br /> == Mote versus Musical Idea ==<br /> Motes and [[wikipedia:Subject_(music)|musical ideas]] have many overlaps, but it is important to mention that motes are musical building blocks of any size while musical ideas imply complete phrases, usually within the context of an entire composition. A singular F# note on its own cannot be a musical idea since it is not a complete phrase, but it ''can'' be considered a mote, since it can still be used as a musical building block regardless of its size.<br /> <br /> Motes and musical ideas may not the same thing, but they still have an overlap in meaning. A melody or a chord progression can be both a mote and a musical idea at the same time, but "mote" is the broader term of the two, being able to describe many other musical building blocks such as individual sounds, samples, notes, words, etc.<br /> <br /> == Examples of sentences using the word Mote ==<br /> <br /> * "I really have no ideas for this song I'm working on, I have a lot of different '''motes''' written down but I can't find a way to arrange them properly."<br /> * "I am working on a collaboration with one of my composer friends. We haven't recorded anything yet, but we came up with a lot of '''motes'''!"<br /> [[Category:Music Theory]]</div>

Vubobinali http://fizzwiki.com/index.php?title=User_talk:Jacobc1991/&diff=181 User talk:Jacobc1991/ 2026-06-07T22:15:03Z

<p>Vubobinali: Created page with "Hi Jacobc! i love you. -vubobinali"</p> <hr /> <div>Hi Jacobc! i love you. -vubobinali</div>

Vubobinali http://fizzwiki.com/index.php?title=User:Vubobinali&diff=180 User:Vubobinali 2026-06-07T22:13:18Z

<p>Vubobinali: Created page with "Hi my name is vubobinali and this is my user page. Jacobc1991 is xenclick is voidform is noproblem is xenprism, never forget."</p> <hr /> <div>Hi my name is vubobinali and this is my user page. Jacobc1991 is xenclick is voidform is noproblem is xenprism, never forget.</div>

Vubobinali http://fizzwiki.com/index.php?title=Fizz&diff=152 Fizz 2026-06-07T21:01:11Z

<p>Vubobinali: Clarified and formalized wording throughout the Fizz page.</p> <hr /> <div>[[File:Fizz Art (IJ and Phonon).jpg|thumb|200x200px|Fizz Art (IJ and Phonon)]]<br /> [[File:Torus Of Fizzosophy.png|thumb|200x200px|Torus of Fizzosophy]]<br /> [[File:The Fancy f.jpg|thumb|200x200px|Fancy f]]<br /> Fizz is a music genre, community and cultural [[Fizz Movement|movement]] started by Phonon and Israel Strom in 2025.<br /> <br /> As a genre, Fizz is most comparable to a subgenre of EDM, originating from the combination of Jazz and Bass music; if you take EDM and turn the music theory and sound design knobs up to 100, you get Fizz. Some of the most stereotypical Fizz elements include catchy melodies, basses, dense harmony, sound effects, jumpy bass lines, shredding, chaotic song structure, semi-ironic music theory concepts, and drops. However, none of these elements are requirements.<br /> <br /> Music theory and production memes are ubiquitous in the Fizz community, and are often used by fizzheads to spread Fizz culture online.<br /> <br /> Fizz is (arguably) some of the most innovative music being created today, and broadly speaking, fizzheads have a principled enthusiasm for music generally. Its roots in Gen Z Jazz and Bass music culture have given rise to many core values which define the genre, all of which can be found on the [[Torus of Fizzosophy]].<br /> <br /> The [[fancy f]] is the main symbol for Fizz. Many fizzheads include the f in visual aspects of their art, and it’s a tradition to spam the f (or its variations) in the live chat of any big Fizz project premieres.<br /> <br /> The [https://www.youtube.com/playlist?list=PL8y3WWx3Sq3bwc9nqmtAfwapoRUKqYjxT every fizz song] playlist on Youtube contains over 70 songs, all of which are confirmed Fizz by the artists who made them.<br /> <br /> [[Category:Fizz Lore]]</div>

Vubobinali