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Comments
Thanks for listening to both versions and for the kind words! I kept your comment from last month about the clean guitar being a little low in the mix when I mixed this one, so thanks for commenting on it this time.
Thanks Def! yeah that toy piano sample from UVI is great! I love the mechanical sound you can hear in the background, and I'm glad you think it fits the song. You're right about the goth thing... the slow version is the one I did first - I wanted that slow morose vibe, but after it was done, I just felt it needed to be faster, so I decided to do the second more uptempo version. Modstep really made the midi part of the tempo increase pretty easy. It increases by 3 or 4 bpm per bar over 16 bars from 64 to 120.
I like a lot of the sounds here. It seems like bits gradually come in, in the first few bars, and once they're in, they all stay there for the duration. In an instrumental, it might add more interest if instruments come and go in prominence, adding to the texture and dynamics. I also think the part where it drops down could be extended to 4 or 8 bars. I can hear this working with a nice vocal melody over it as well. Nice track!
Just a placeholder demo of my track - no obligation to listen or comment (I'll post the finished thing later in the month, knowing me probably around the 28th...).
This is just a live take with a guitar and a USB mic. The final song probably won't have any guitar on it, I just use the guitar to figure out the chords to go below the vocal (I try to write the vocal melody away from any instrument if I can). The song is about the downside/dark side of fame. Very loosely based on Whitney Houston (maybe I shouldn't give that away)
Need to get reviewing....
Tantalising fire, well you burned so hot and red
She looked into your embers, but all she saw was charred and dead
She wanted to control you, but you would feed on her instead
Every light will cast a shadow, there are things she never said.
She took it all on faith
Stepped out to fall from grace
And lost everything that she believed in
She took it all on faith
Stepped out to meet her fate
And lost everyone that she believed in
In a life that's lacking kindness, it's easy to forget
That people got to know her, just to see what they could get
But no-one ever told her that she would die out here alone
A queen in a hotel bathroom, sitting on the throne
She took it all on faith
Stepped out to fall from grace
And lost everything that she believed in
She took it all on faith
Stepped out to meet her fate
And lost everyone that she believed in
Already enjoying this, Richard! Looking forward to hear the finished song!
Thanks
Obviously I don't get the intricacies of Samba then
@aaronpc I love that.
Some great sound design in there - those metallic knife-like sounds: the reaper and his scythe collecting souls. Your "sound" is really original, and interesting to listen to. The vocal melody and treatment is great as well, but as everyone says the vocal needs to come up in the mix.
As for the meaning of the lyrics, I take it to mean that death comes for everyone, eventually.
Anyway it's got that perfect mix of originality (with a dash of weirdness) and catchiness - the holy grail. Well done. One of the best tracks I've heard all year, from anyone (including commercial releases!).
here is my new one, i hope you enjoy
@JeffChasteen some unusual and interesting sounds in there, I particularly like the intro - again this is a nice blend of the weird and the musical - experimental without losing the listener in noise.
The synth lead line does meander somewhat and could do with more focus and purpose (and melodic cadence might also help) but all the background sounds are very cool and atmospheric. The track seems to go out of time at the end, I'm presuming that's not intentional.
Dxxx. > @Shaken&;Stirred said:
Thanks for listening.
Ha, great minds!
MrsChasteen wants to me to get rid of the headfuck timing shifts, back off on the Bebot, and use it for a faux Flaming Lips backing track. Maybe...
Hey, I like this tune, very catchy, and fun feel to it. I think it needs more slapback and reverb to capture the 50's vibe, if that's what you're going for, but I'm not saying you should change a thing! It sounds more 70's to me. The specific band names that this reminds me of aren't coming to me, but a style I've definitely heard back then. You track has a nice clean arrangement that suits it very well. The mix/levels are spot on, IMO. great job!
@marliess your song is a pretty smutty and innuendo-laden take on 50s rock, in the vein of Chuck Berry's my ding-a-ling (which you reference in the song). It's pretty funny, I was smiling most of the way through it.
The Marty Mc Fly stuff actually almost feels like it should be a different song, there's no mention of him until the final third of the song and when he appears I actually found it a bit confusing, because up til then the song seemed to be about sexual euphemisms vague enough to pass under the censor's radar. Then suddenly it's not about teenage sex but about a movie from the 80s, referencing the fifties, I get a little lost at this point...
Anyway, it's a funny song. Production is very tight, singing is good, and the video is excellent - great job all around.
Very clean playing, I wish I had your chops! I agree with the Santana comparison, I hear that too. Nice mix as well, and the keys add a nice touch! good job!
@theconnactic the bass is my favourite thing in this one, both the bassline and the bass solo (which is excellent, nice and funky).
The lead guitar playing is technically flawless but it would work better for me if there was more of a focus on melodic lines rather than scalar runs - some call-and-response type phrases for example.
Love the keys, and of course the whole overall technique. Most of us crappy guitarists will never have anything like your playing technique or impeccable sense of timing.
Wow, thanks Richard! That means a lot considering I've been knocking around on this song's parts for almost 5 years. I had it all tracked out at one point, decided I hated it, and started over. Don't even remember how I made that main part anymore, but I knew I would get around to using it some day.
Good catch on the zither scythe, and bingo on the theme. I find it amusing that it will sound like a love song until you start hearing the little gotchas, and I was afraid putting death in the title would be too much of a giveaway. Of course, If you're just hearing it without seeing the title I'm not sure many would figure it out, but that's okay. Most people I knew thought "Every Breath You Take" was a love song.
Most of the dickhead jocks at my school were really into this band called "Queen", never realising that yes, the name does actually mean something...
@marliess Fun song. Good mix and tight performance. The video is well done, but carries too many early 80s hallmarks to pass for 50s— The downward camera angle and wide angle lens made me think of the faux 50s Elvis Costello. Still, bonus points and flat 50s video is boring anyway.
As for the song itself, my favorite line was the last, where you talk about Marty and the flux capacitor. If ever there was a couple words with entendre potential, it's "flux capacitor"! I'd replace trampoline with that and you're off. Did they even have trampolines in the 50s?
Last thing I'll mention is lyric fatigue. You seem to sing throughout the whole song, which doesn't let the listener relax. This may be exacerbated by how your vocals and guitar follow each other so closely. I think if you pulled the vocals out at the Lalala Ahhh part it would help a bunch, but you could probably air it out even more.
Thanks for listening, Richard. The intro was inspired by listening to the unfairly maligned Their Satanic Majesties Request. I agree that Bebot's guest appearance as a theremin could do with some reigning in and more structure. Believe it or not, the timing slip is intentional, but now I am reconsidering its use; sometimes strangeness and unsettling for strangeness and unsettling's sake is not always well-considered.
Thanks for your kind words.
Thanks for listening.
I agree that the irrepressible Bebot should be reigned in a bit. The beginning was inspired by The Rolling Stones TSMR (glad to see it is being reassessed in this year of its 50th anniversary)
Thanks for your kind words.
I agree that Bebot needs to be reigned in a bit.
The drop was pointless. Perversity for perversity's sake.
Thanks for listening and for your kind words.
My favorite use of time slip is the high hat skitter in Stevie Wonder's Master Blaster. It reinforces the shady undercurrent of the song in a subtle way, but once you hear it, you can't not hear it.
@studs1966, great mix and sound, as always. You get a great sense of space in your mixes. But definitely needed something more musically, some kind of break in there, especially at that length.
@aaronpc, it's got a very late 60s psychadelic rock feel to it. I love how it sounds for the most part, but the vocals are too low in parts, it's tough to make out the lyrics. Reading them, it just sounds like you're forgiving something, despite the unfortunate things they've done.
@JeffChasteen, strange you got. Not sure about plaintive, it's a bit too steady and driving for me to really hear that. I like the pieces all seperately, interesting mix of sounds, nicely recorded, but not sure about the transitions. They were almost a fade out/in, which was a bit unsettling as far as continuity.
@marliess , I think you hit the 50s vibe, though there's some mid 60s in there as well. Nice, tight little rock tune. I do like the video, that's fun. Excellent mix. Love the offbeat jogs in the melody, which is to me where it comes out of the 50s a bit. Ending is awesome.
@theconnactic , smile when you shake those keys.
Great playing in there. Love the interplay between the guitars, going back and forth from harmony to fingerpicked on the nylon. Lovely sound from the strat as always.
How do you mic your nylon string? I'm just starting to work on some recording of mine.
@Shaken&;Stirred , great tune. You got a nice slightly twisted feel about it, perfect to the subject. Love the mix; everything is nicely in place, the vocals are very clear. The break with the toy piano sound is awesome; excellent use of it then the slow acceleration back into the song. And last, very well ended.
Thank you for the kind words, I appreciate the feedback!
@Bartlinux, that's a great, moving little piece. Nice transitions, keeps the interest going at just the right times. Not sure about the mix; a lot going on, and a lot of seems to be occupying the same sonic space. Part of that is the very compressed main synth, and the very low quiet bass, which makes it a bit muddy. That being said, it's not that it's bad, and might be exactly what you're looking for.