{ "schemaVersion": "v1", "slug": "motion-over-time", "title": "Motion Over Time", "kind": "solo", "listenUrl": "https://podcasters.spotify.com/pod/show/lovemusicmore/episodes/Motion-Over-Time-e3ff9ja", "contentStartSec": 65.22, "publishedAt": "2026-10-14", "source": { "provider": "whisper", "model": "faster-whisper:base", "normalizedSchema": "v1", "transcribedAt": "2026-06-09T09:42:51.256Z" }, "paragraphs": [ { "startSec": 65.22, "endSec": 85.54, "text": "What's good, everybody?Scoobert Doobert here.Welcome back to love, music more.I want to talk about kind of a companion pod to the vocabulary one that I did is my lastsolo pod.I want to talk about why we talk about music the way that we do.And I think that it reveals something interesting about the way that we think about music and" }, { "startSec": 85.54, "endSec": 113.46, "text": "the ways that you can communicate to others, but also communicate to yourself, and thinkabout like what technique or effect or change or surprise you're going to deploy in orderto achieve a certain type of emotion.Because really a lot of talent is internalized craft where you know what is appropriate inthe given time, given your taste, given your experience." }, { "startSec": 113.46, "endSec": 133.26, "text": "And so at first it can be really slow and it could be a lot more thinking in the same waythat like we're just watching the winter Olympics.And you see how effortless and fluid each of these athletes are.They are all incredible athletes and I bet if you dropped any of them into any of the othersports, they would look a lot better than I would." }, { "startSec": 133.26, "endSec": 154.34, "text": "But even if they had world-class lessons, their world-class Olympic athlete, they wouldstill be showing signs of distress, not just because that their life is in danger,more than it usually is, but also because they're having to think through the steps.They've not internalized it has not become that muscle memory, but I think that there's" }, { "startSec": 154.34, "endSec": 186.46, "text": "an equivalent of that with composition, no memory of how do I decide to communicatewhat I'm feeling, what I'm trying to get at, the vibe, the energy, but at the actuallike high versus low kind of level.So why don't we start there, high versus low frequency, right?There's not really a vertical axis in a sound wave in that same way.It's actually more horizontal, how fast is something vibrating?" }, { "startSec": 186.46, "endSec": 209.98, "text": "Determines whether or not it is a high frequency or a low frequency.And so if you zoom in on Pro Tools, you see these big winding waves, those are the lowestof the lows, and they can go through walls, just like my recent podcast we were talkingabout soundproofing and how difficult it is for low frequencies because they're so frickinbig." }, { "startSec": 209.98, "endSec": 238.42, "text": "So we don't talk really about big and small or slow and fast, you talk about high versuslow, the same way we talk about rising versus falling.One of the things I love about music is how directional it is.But when I say directional, I'm actually saying how much time it takes, because that'sone of the fundamental aspects of music, is it happens over time?It's not just one note, one chord, it is the exploration." }, { "startSec": 238.42, "endSec": 262.82, "text": "And I think that's why we apply so many concepts of the pole, the pole home, from the dominantchord to the tonic, from the tension to the release, in the same way that we're in akey or we're playing outside.It's not just that we're playing in and out of the box, we're certainly part of it,but we're playing in and out of expectation." }, { "startSec": 262.82, "endSec": 288.22, "text": "It also kind of feels like a different gravity, like when I think about borrowed chordsor stranger harmony, modal stuff, I tend to think about, it's the way that I internalizeit, is it feels like different shapes or different orbits.I like orbits because you can kind of think of the home as the familiar, or the home as" }, { "startSec": 288.22, "endSec": 314.66, "text": "the root note, or the home as the melody, the head, the coda, the thing that you whistle,or the rhythm that you tap.All of that is kind of the centerpiece from which everything else orbits.You can go further out and orbit, but it typically comes back around.Not always, sometimes you just like a comet shooting out in the space, but a lot of thosesongs don't get listened to very often." }, { "startSec": 314.66, "endSec": 339.02, "text": "Usually the ones that we like have actually pretty tight orbits, and I would like to thinkof those tight orbits, is like a major key, maybe a little bit of spice that's got likea little moon or something that's distorting its orbit, but it's generally going aroundhome in a fairly expected shape.But like when I listen to giant steps, I hear a lot of intentionality and rhythm and gravity," }, { "startSec": 339.02, "endSec": 361.38, "text": "but it's gravity in a kind of a different way.One of the things about jazz is like the 251, it allows you to shift where home is ina way that creates a series of homes, and then it's like stacking expectations on eachother.It's stacking simplicity to create complexity.And really when we only have these 12 notes, there's only so much that you can do, but" }, { "startSec": 361.38, "endSec": 386.38, "text": "a lot of what you can and should do is highlight complexity by dipping in and out of those worlds.Like some of the best jazz solos, we'll be playing like a very blues-inspired melody,and then jump out in the world of the unknown.And you have the circle of fifths, where it goes from C to G to D to A, where it's kind" }, { "startSec": 386.38, "endSec": 407.02, "text": "of going around in this circle where all of these related keys, related by the fifth,related by that thing that brings you home, aka the center of gravity, aka the thing thatlike pushes you back, like think about the moon revolving around the earth.And if you didn't have that extra pull, the moon would just go off into space, or like" }, { "startSec": 407.02, "endSec": 429.02, "text": "the elliptical orbit, where there's like winter and summer, but these orbital things thatmake you feel like you're about to go off into space and then you get whipped right backaround.I'm not a physicist, but I'm trying to say this as this is like kind of the imagethat I have, and I think a lot of people have when they're soloing, is you're kind of" }, { "startSec": 429.02, "endSec": 453.7, "text": "feeling that push and pull against the rhythm section and against expectation, and yougive into it and you push off against it, but it's that inner play that I think is verysatisfying and surprising and fun, and that's where a lot of the complexity of music cancome out of, is it's not necessarily just different combinations of notes, it's the placement" }, { "startSec": 453.7, "endSec": 478.74, "text": "over time, it's not like I'm saying, it's not just one note, you're going on a journeywith this music, and the satisfaction of that journey is often related to the directionthat it takes you high versus low, the expectations that it breaks, or the ways that it resolves.Like even think about like the drop in EDM, like dance music of like it builds, it builds" }, { "startSec": 478.74, "endSec": 503.26, "text": "the best bit, then like the thing that you came for, it drops back down again.In the same way, I like to think about mixing, like filling up a three-dimensional object,not just reverb and delay in the spatial effects, but in terms of top to bottom, in termsof how forward up in the speakers is it versus regressed back, kind of like a painter" }, { "startSec": 503.26, "endSec": 530.3, "text": "wood, like what is the focal point, but you can do so many things, particularly withpresence.So presence is the part of like the human voice that helps it be intelligible.It's that kind of one-killahertz, up to four-ish-killahertz range that when you take it away,you start to sound a little like that.So it takes away a lot of the intelligibility, it's a cool effect, but it is kind of thesweet spot." }, { "startSec": 530.3, "endSec": 545.3, "text": "I could roll off a bunch of my low end, and then it kind of would sound like this, butyou would still be able to make up those words, a lot easier than vice versa.So what you can do is you can play with that natural human tendency to hear that rangereally, really well.I feel like if you were an alien, maybe that would be different, right?" }, { "startSec": 545.3, "endSec": 571.58, "text": "Like maybe you develop different speech, so like your super-tudent on low or super-super-super-high,like dogs can hear.Anyway, maybe that's how alien music is different, but for us, we were able to control thepresence levels to create, even without spatial effects, spatial-like experience of almostlike blurry versus in focus.And that can be really satisfying too over time, because maybe you have something that" }, { "startSec": 571.58, "endSec": 594.66, "text": "is more reserved, you're taking away some of that presence, to leave room for the vocal,but then the vocal goes away, and now that guitar skits to step out into the limelight,it gets to pull forward in the mix.And I also like three-dimensional thinking because you have like, you have your own littleuniverse inside of there.Everything is rotating around that tonic or that home or whatever, the hook." }, { "startSec": 594.66, "endSec": 613.7, "text": "And then you fill up the space as much as you can, because it's a finite amount of space.You can't just make everything louder.And it's not just a mathematical thing, it just is like a perception thing.If you have everything, and it's max volume, and it's max space, and it's max presence,you just have to be able to comprehend what you're even receiving." }, { "startSec": 613.7, "endSec": 636.5, "text": "So it's trying to figure out like, how do I inflate this universe to its maximal size,so it hits really hard and feels really modern, but is a pleasant, digestible experienceand takes people on a journey.And you can do a lot of things with that journey between like, what kind of room are you in betweenthe verse versus the chorus?Is there a little bit of reverb or delay or whatever going on across the entire mix at" }, { "startSec": 636.5, "endSec": 661.14, "text": "certain sections?Are you rolling off a bunch of that high-end, top-end information so that that presencegoes away, and you're kind of put into like this older school, older vibe, but it alsomakes people lean in a little bit because they cannot fully comprehend everything thatyou're saying, crystal clean.All these kind of decisions are, I think, empowered by talking about these words, these" }, { "startSec": 661.14, "endSec": 684.7, "text": "magical words of like, where is the pull, where is the lift?How are we grounded?Like a suspended chord, that's a great, great term, but feels like it's hovering, it hasto resolve, but it has to resolve in a different way.We have all these different kind of colors of resolution from the very standard to verynon-standard, just like the jazz stuff." }, { "startSec": 684.7, "endSec": 708.56, "text": "You can, tension can be its own thing of just strange order, dissonance or strange combination,and there's a beauty in the combination between very formal and trained and very untrainedsounding.Like I really like it when great musicians have these moments of just chaos, or like Picasso" }, { "startSec": 708.64, "endSec": 733.87, "text": "ask, just like throwing paint, that is a fun thing to have in the bag because it makesthe next moment when you are rolling off into the universe like a little comet, but thenyou find your way back home somehow.Feels good, feels good, man.I hope you enjoyed this podcast, I hope it made you feel good, man." }, { "startSec": 733.87, "endSec": 756.14, "text": "And as this harmony moves, we're not just picking up relationships, we're picking upa choreography, something that is, you know, a motion made motion, so lame, but I'm goingto stick with it.No edits, no edits." }, { "startSec": 756.14, "endSec": 780.02, "text": "If you enjoyed this podcast, I invite you to check out my, uh, emotion made motion, scoobertdoobert.pizza.Yeah, very serious musician over here.Go check that out and you can listen to my music on Spotify and all of the things aswell.If you enjoyed this podcast, please share it with your friends, got some great guestscoming up.One of my favorite jazz musicians pretty soon, super excited, and it's going to be great" }, { "startSec": 780.02, "endSec": 784.06, "text": "right.So I will see you all next week.Thank you for listening." } ], "correctionsApplied": [ { "id": "fuzzy-host-url", "count": 1, "note": "Fuzzy outro URL (rapidfuzz) (93.75%): 'atscoobertdoobert.pizza' -> 'scoobertdoobert.pizza'" }, { "id": "scooperdubert-url", "count": 1, "note": "Outro URL ASR typo" } ] }