another unfinished tune

dogcow Jun 18, 2004

  1. dogcow

    dogcow SMOKER

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  2. dogcow

    dogcow SMOKER

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    ok, I just had a friend of mine listen to it and she said it sounds too linear. now, I do understand what she means by it but I'm a bit clueless how to make some waves in there. uh, hope that made sense. any suggestions anyone?
     
  3. dogcow

    dogcow SMOKER

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    I just love making these private threads where I can talk to myself undisturbed. Hey, if you think my tune sux please do say so. ANY feedback is better then none at all. pretty please? :Sad:
     
  4. Faction

    Faction Proto-col

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    1st impression.... nice rolling bassline, great atmosphere - I love the vocally pad sound that runs through the first half. But for a 322kbps MP3 there is ABSOLUTELY no top end in it! Not that instruments are missing, but there's no sizzle or sparkle.

    In terms of linearity, I would agree that a couple of breaks in the kick would help mark different sections but this track gets a lot of its atmosphere from its sheer driving relentlessness, so if you are going to... ooh, 5:18, nice kick fill... so if you are going to break up the forward motion it has to be done with care, and not just for the hell of it - something else would need to happen at that point that would be worth breaking the flow for. Also you might want to think about marking the 16/32 bar points with something like a crash cymbal or filtered noise burst, maybe with a reversed something-or-other or filter/phase sweep of an existing instrument leading up to it. I think something like that is definitely needed when the track comes back in after the break, anyway.

    There's good movement in this track, and if it was a bit brighter it would go down well on the dancefloor at the right point in a set.

    All, of course, only my opinion! :Smile3:
     
  5. dogcow

    dogcow SMOKER

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    whoop. many thanks for taking the time :Smile3: people told me many times i need some sizzle in my trax. i sort of ignored it mostly thinking i prefer darker tunes anyway. fuck sizzle. that sort of thing. now, since i just finished listening to the samples off your webpage i think my mind has changed.

    actually, when i think about it. maybe i could combine brakes/waves/sizzle into one and have some high end freqs marking 16/32 bar points as you said. so if i have sizzly/filtered swoops leading up to break points, or to crashes on 16/32 that should prolly work. i think at least.

    oh and i have no musial knowledge what-so-ever as everyone has surely noticed from my descriptions. so, where exectly is high end? is that 15k-20k?
     
  6. Faction

    Faction Proto-col

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    This link might help identify frequency areas... it's not aimed at dance music but it roughly defines vague areas of the spectrum. In the end it's all about your ears though.
     
  7. dogcow

    dogcow SMOKER

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    thanks Colin. i just read it and noticed how very wrong i was :Smile3: ima try and do something with my new knowledge.
     
  8. saxopholus

    saxopholus Junior Members

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    think Colin is right about the sizzle/sparkle. maybe adding some more brightness to the hihats would help especially. I've been chatting to a few people about this recently and some of them tend to add sparkle to many of the different elements in the tunes (esp higher freq) as well as the whole mix if it needs it.
     
  9. RezN8

    RezN8 Ave it !!!!!!

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    Sorry for being late...

    *takes seat at the back*

    Just got a chance to hear the track and it certainly drives along - reminds me a bit of Underworld with that driving bass, but a bit nippier.

    I'd like to see some of the background ideas in the first 3rd brought through & developed over the track's length, but carefully as I think one of this tracks appeals is it's 'apparent' minimalism.

    Feel free to ignore this completely as I've got masses to learn myself (but I'm lovin every minute of it :P )

    I for one would like to see how this track develops. :bananada:
     
  10. Faction

    Faction Proto-col

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    Get it right in the mix and you won't need to add any in pre-mastering. For top end clarity - when you have sizzle in the sounds that need it, eg. hats - try low-passing eg. leads and pads at 12Khz. You'd be surprised what a difference it'll make, depending on the sounds you're using, of course.

    A good way of getting extra high-end in percussion sounds is distortion... Quadrafuzz is my fave for this as it's really adjustable in four bands.
     
  11. Speakafreaka

    Speakafreaka Champagne Rouletter

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    Yeah this is pretty driving stuff. You have a real nice bass line in there, and the kick has the right attitude to!

    These darker tunes don't have less sizzle, in fact they often have more, to keep the ear interested. Sizzle makes things (sparingly) sound fresher, and better produced. Also, when you distort things, you are adding harmonics to the sound, which are always high. That is why you will often see a Low Pass filter in a distortion unit, although it is often called smoothing.

    Your first lead thing with the filter swirler is very nice. The bit around 4.00 minutes if ound went on a little to long, and at about 6.00 I started really enjoying it again. Put me into a nice zone :Smile3:

    About linearity, the oldest trick in the book is always leave them wanting more, so if you come up with an awesome lead, play it for 16 bars, instead of 32, or whatever. That way, you are sure to grab everyones attention, and keep it!

    :Smile3: :Smile3: :Smile3: :Smile3: :Smile3:

    Lots to be positive about though. Great ideas, great kick bass, and the percussion is grooves are great. Breaks will add direction, yes, but your basic grooves are spot on :Smile3:
     
  12. RezN8

    RezN8 Ave it !!!!!!

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    Just found a good example of what I was trying to describe here - Soliptic's track, ajipjuteket.

    "dark but bouncy sci-fi funk with a throbbing bass and ripping synths."

    Menog is about as dark as I like to go at the mo, and his tracks keep me spellbound for the entire CD with some great samples (Nameless Fear is my fave - but I have to keep looking over my shoulder :unsure:Smile3:
     
  13. dogcow

    dogcow SMOKER

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    uh. so much feedback at once :Smile3: wow. many, many thanks to all for taking the time :Smile3:

    so, I've already started a new track because this one started to annoy me a bit. i really can't hear it any more :Smile3: I WILL finish it later on though at some point. same as "dog soldiers" (which I like to think is my best still, apart from having sound issues as always). anyway...

    thanks for the undeserved comparission with underword :Smile3: I love the drive they create with their tunes. however, unlike underworld i have no idea what i'm doing and loose the plot as soon as I have a few things going on (hence the long, long second lead part. think ima drop that lead all together).

    i'm trying to use all these suggestion everyone gave me in the new tune though so hopefully thats going to sound a bit better. also, trying to do it completely in hardware which is fairly frustrating after being spoiled by the ease of use of software but I think i like the sound better.

    i read that article that Colin linked and that helped a great deal in understanding sound in general. nicely written too.

    i also found this one while looking for more info in case anyone is interested:

    http://www.recordingeq.com/EQ/req0400/OctaveEQ.htm

    one thing i have found out recently though is that completing tunes really makes a difference. i don't mean perfecting the sound or eq/mastering. i mean just bringing an idea to the end. when i start a new tune afterwards i find i have a bit more focus each time. this might be because i know nothing about music theory or composition though. just starting to figure out what all the elements in a tune can do.

    so yeah, many thanks for all the feedback. ima see what i can do with it on the next one. understanding and actually following through on good advice are very, very different things for me :Smile3:

    ...uh, must be my longest post too :Smile3:
     
  14. ERGOTSYNTHESISPROJECT

    ERGOTSYNTHESISPROJECT Junior Members

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    Hi there

    definitely a solid tune, some lovely sounds drifting around:

    enjoyed the break about a quarter way through (is that "timecodey" sound using the Buffer overdrive) ,

    thought that the snare pattern could do with an overhaul of cheeky-ness. :hehe:

    Shouldnt take long to finish it, would be nice to hear early morning-mid-day

    hope alls well

    JOhn



    esp
     
  15. dogcow

    dogcow SMOKER

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    don't know what either timecodey nor "buffer overdrive" are so its probably not :Smile3:
     
  16. dogcow

    dogcow SMOKER

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    :Grin: never heard of those before. they look nice though. although, i want to write my next tune with hardware so i better not start playing with new plugs :Smile3:

    so, i think what you meant is the part before the second lead comes in. thats just reverb at 100% and then reducing the mix of wet/dry. i dont think i'm automating anything else there. i was trying to have the lead sort of emerge out of the reverb but it didn't really work out. still sounds nice just not what i wanted :Grin:
     
  17. ERGOTSYNTHESISPROJECT

    ERGOTSYNTHESISPROJECT Junior Members

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    BY Timecode I meant the label, sorry wasnt too specific was I :Smile3: . (that wynny sound, kind of a scream like...really piereces the air) I really reckommend the "dfx plugins", the ability they have to distort, scrub and gate anything you put in there is great, When you start playing with the Skidder (one of the plugins) it can add some classic stuttered effects whichI find usually I have to tweak a gate or chop up audio...+ there free :drinking:


    John


    esp
     
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