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+1

Did you try restarting it?

Well, harsh personal criticism aside, sorry if I had confused space-time with a generalization of "the fourth dimension". As the video explains, better than I can since coming from the field of musical theory and not at all a proportionate study of space-time, I was more talking about the link between musical practices and theoretical mathematics, which is undeniable in my opinion. There are relevant examples to be drawn, as I think Vihart eloquently elaborates on better than I can apparently attempt to.

I'm not trying to dispel misinformation here, just part of a healthy discussion about something I don't think a lot of people have exposure to, boomlinde.

That being said, probably not super relevant to this topic, but I was excited to see that maybe other chipmusicians were open to a theoretical discussion. My bad, I suppose.

thank you, thank you. I just can't not write and unless I get it out there immediately it just hides somewhere on my computer. Trying to change that. haha

I've just been pretty bogged down with life at the moment. Sickness is alleviating though, which is good as I have to be singing for my new band's demo ep on tuesday. Thanks for asking though, everything will lighten up. and track four is basically one big defPREMIUM inspiration, no lie

Also, decided to make the EP free.

That's what I'm sayin'. I'll try to explain myself better though.

The third dimension is a cross-section of the fourth dimension, and so on and so forth. If a second dimensional being were to see a third dimensional object cross through its plane, it would see something in front of it appear, grow wider, get thinner, and then disappear. We might see a fourth dimensional object crossing through our plane as something appearing, growing taller and wider, shrinking thinner and shorter, and disappearing entirely.

In this way, back to music, in the fourth dimension, every aspect of your music happens at once, and already exists, but you are creating that linear cross-section, which becomes the music another person plays/hears. You have looked ahead and back, considered many possibilities for this collection of frequencies, and how to transform them against themselves in ways that are pleasing or interesting, and in ways which, both aurally and mathematically, are harmonious.

This comes down to really just drawing a parallel between disciplines, music theory (counterpoint, in particular) and theoretical physics, which I admittedly know much less about, but have had much personal luck in understanding through drawing these parallels in conversation.

tldr:
Here's a video explaining this better than I can

I'm gonna chime in and be that asshole for a minute:
There are 7 notes in the western scale, there are twelve notes in western music, but there are infinite possibilities lying between the notes we have decided upon. (see: microtonal music)

The rest of what you said was very interesting, I'm just a snob

4 track recorder? I very well might nab that. $4 shipping for continental 48?