Resolver & Brutality - Revision history

Jason.Kreitzer at 15:59, 28 September 2021

2021-09-28T15:59:05Z

Jason.Kreitzer at 01:36, 21 July 2021

2021-07-21T01:36:29Z

Spider of Destiny at 20:24, 16 November 2020

2020-11-16T20:24:37Z

Maroual at 22:46, 21 May 2008

2008-05-21T22:46:55Z

Maroual at 13:43, 31 March 2008

2008-03-31T13:43:26Z

Maroual at 13:40, 31 March 2008

2008-03-31T13:40:00Z

Maroual at 13:02, 23 January 2008

2008-01-23T13:02:28Z

Maroual at 20:15, 30 November 2007

2007-11-30T20:15:00Z

Duncan: Removed dead link [http://www.online.ee/~afka/Books/resolver-brutality.htm article from afka (at) afka.net]

2007-11-30T16:35:50Z

Removed dead link [http://www.online.ee/~afka/Books/resolver-brutality.htm article from afka (at) afka.net]

Maroual at 15:15, 30 November 2007

2007-11-30T15:15:29Z

@@ Line 3: / Line 3: @@
 {{Album Release Infobox |
      Home           = [[Bootlegs (by Cover)|Bootlegs]] |
-     Previous album = [[Austin 26 October 1973|Previous]] |
+     Previous album = [[Mr. Gene's Greens - Detroit '68|Previous]] |
-     Next album     = [[Frankie Meets Bobby|Next]] |
+     Next album     = [[Perhaps The Most Outrageous Bunch So Far|Next]] |
      Cover          = Resolverinsert.jpg |
      Name           = Resolver & Brutality |
-     Released       = ? |
+     Released       = 2005|
      Related        = See also:<br>[http://www.afka.net/resolver-brutality.htm afka article] |
 }}

@@ Line 14: / Line 14: @@
 ==Players==
-*[[Frank Zappa]] ([[Synclavier]])
+*[[Biography|Frank Zappa]] ([[Synclavier]])
 ==Tracks==
@@ Line 32: / Line 32: @@
 ==Background Information==
-From a tape [[Frank Zappa|Zappa]] recorded around 1985/1986 -  about the time of [[Frank Zappa Meets The Mothers Of Prevention]] and the [[Z-Pack - Opening Letter|PMRC campaign]]. It is largely [[Synclavier]] compositions utilising vocal samples from assorted sources.
+From a tape [[Biography|Zappa]] recorded around 1985/1986 -  about the time of [[Frank Zappa Meets The Mothers Of Prevention]] and the [[Z-Pack - Opening Letter|PMRC campaign]]. It is largely [[Synclavier]] compositions utilising vocal samples from assorted sources.
 '''Zappa explains Resolver:'''
 <blockquote>"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard,
 you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."</blockquote>
-<div align=right>— [[Frank Zappa]], ''[[The Sin In Synclavier]]'', [[Guitar Player Magazine]], June 1986.</div>
+<div align=right>— [[Biography|Frank Zappa]], ''[[The Sin In Synclavier]]'', [[Guitar Player Magazine]], June 1986.</div>
 ==Conceptual Continuity==

← Older revision		Revision as of 20:24, 16 November 2020
Line 59:		Line 59:

	[[category:bootlegs]]		[[category:bootlegs]]
		+	[[Category:1985]]

@@ Line 3: / Line 3: @@
 {{Album Release Infobox |
      Home           = [[Bootlegs (by Cover)|Bootlegs]] |
-     Previous album = [[Mr. Gene's Greens - Detroit '68|Previous]] |
+     Previous album = [[Austin 26 October 1973|Previous]] |
      Next album     = [[Frankie Meets Bobby|Next]] |
      Cover          = Resolverinsert.jpg |

@@ Line 3: / Line 3: @@
 {{Album Release Infobox |
      Home           = [[Bootlegs (by Cover)|Bootlegs]] |
-     Previous album = [[Frankie Meets Bobby|Previous]] |
+     Previous album = [[Mr. Gene's Greens - Detroit '68|Previous]] |
-     Next album     = [[Perhaps The Most Outrageous Bunch So Far|Next]] |
+     Next album     = [[Frankie Meets Bobby|Next]] |
      Cover          = Resolverinsert.jpg |
      Name           = Resolver & Brutality |

@@ Line 8: / Line 8: @@
      Name           = Resolver & Brutality |
      Released       = ? |
-   Related        = |
+    Related        = See also:<br>[http://www.afka.net/resolver-brutality.htm afka article] |
 }}
 </div>
@@ Line 56: / Line 56: @@
 ==See Also==
+*[http://www.afka.net/resolver-brutality.htm article from afka (at) afka.net]
 [[category:bootlegs]]

@@ Line 1: / Line 1: @@
 ==Players==
@@ Line 5: / Line 18: @@
 ==Tracks==
-===Side A===
+<div id="CS"><big>'''CS'''</big></div>
+'''Side A'''
 #[[Resolver ED.]] (19:57)
 #[[Big Sequence]] (15:54)
@@ Line 13: / Line 26: @@
 #[[Oral Sex At Gunpoint]] (5:18)
-===Side B===
+'''Side B'''
 #[[Bondage|Bondage (Maniac Mix)]] (4:11)
 #[[Oral Sex At Gunpoint|Oral Sex At Gunpoint (Maniac Mix)]] (1:49)
@@ Line 20: / Line 32: @@
 ==Background Information==
 From a tape [[Frank Zappa|Zappa]] recorded around 1985/1986 -  about the time of [[Frank Zappa Meets The Mothers Of Prevention]] and the [[Z-Pack - Opening Letter|PMRC campaign]]. It is largely [[Synclavier]] compositions utilising vocal samples from assorted sources.
+'''Zappa explains Resolver:'''
 <blockquote>"For the sounds that don't resemble any other instruments, we have a whole classification of noises: one being the Evolver, where a sound starts off to be one type of an instrument, and by the time the note is finished, it's been turned into maybe two or three other instruments, all with a smooth transition. Then we have Resolvers, where different types of resynthesized vocal or instrumental timbres are located on each of the four partials, and by depressing a single key on the keyboard,
 you get a four-note chord that is actually four independent melody lines that resolve against each other to a final payoff. Then if you depress the key at the end of the payoff, you get a bonus of another bent. So you can have little melismas, little eight-note melodies, that occur, and all you do is push the key down, and it sings some kind of Renaissance cadence or whatever. Two of the partials could be resynthesized voices, one could be a resynthesized violin, and the other a resynthesized bassoon. Instant Renaissance ensemble when you hit each key. So you imagine what happens when you play a chord [laughs] -- it gets very absurd. It enables you to write things that you couldn't deal with under any other circumstance."</blockquote>
@@ Line 40: / Line 40: @@
 ==Conceptual Continuity==
 ==See Also==