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Song Of The Month Club - November 2023
What is the Song of the Month Club?
It's a place where musicians come to give and receive feedback on their work. Anyone is welcome, whatever their level of ability.
The spirit of the club is to contribute: if you submit a song for others to comment on, you should also have the courtesy to listen to everyone else's contributions and give as much feedback as possible. Posting a track and not listening and commenting on others is not cool.
The purpose of feedback is to be honest. Essentially you should give your truthful impressions of the song, whether good or bad. Negative feedback, if done in the right spirit and with courtesy, can be the most useful and can help the artist to grow and__ improve and correct their mistakes.
All submissions are welcome, don't hesitate if you want to contribute. We like all kinds of music and we are particularly fond of vocals (but of course we still love a great instrumental). If you are thinking of experimenting with vocals this is a good place to get started.
We ask that you only post one song per month in this thread - if you're lucky enough to be able to produce more, then please just submit your strongest material
And finally, iOS is not a requirement for posting here. If you've recorded your song using nothing but a ukulele and a Fostex 4 track, that's fine.
Comments
My entry for the month, lyrics in the spoiler:
All the colours
The heartbroken lovers
And all the stories
You yearned to tell me
What they are there is no knowing
Who can tell us what they’re showing
In the kaleidoscope you are to me
See the spectrum
The glowing reflection
Of light and shade
That burn so radiantly
What they are there is no knowing
Who can tell us what they’re showing
In the kaleidoscope you are to me
All these colours
Against one another
They dance together
And flow beautifully
What they are there is no knowing
Who can tell us what they’re showing
In the kaleidoscope you are to me
Here is my entry for this month. Classic music made with MUSIO (thank you @klownshed for the reference ). Still wondering if I should buy the app, do you think it sounds real ?
Great track as always. Something between the Cure (for the feeling) and Muse (for the structure). The master could have been a little bit more punchy but overall it is hard for me to criticize something I won’t be able to do myself
I won't comment on how real it sounds as I'm far from being an expert on orchestral music, so hopefully those who know more about this stuff can offer their opinions (but I will say that it sounds real enough to me as a non-expert).
I like the arrangement though, it's nicely varied and there is always something interesting going on. I love the variety of timbres that you used with the layers of different instruments, and the cello at the start sounds great and contrasts beautifully with the strings and piano that come in later.
This is a music track that I improvised on two MIDI keyboards connected to Bitwig Studio on a desktop PC. There the MIDI was routed to Solo for the flute and Omnisphere for the background instruments.
After bringing the audio recording into Vegas Pro, I applied the Lurssen Mastering Console plug-in to the audio mix.
It's titled Night Visions.
My entry for this month is a collaboration with our great SOTMC host, @richardyot
Few months back he sent me a raw demo of the track (guitar+voice) and let me free to build the arrangement for it
Lyrics in the spoiler
If you say you don’t wanna
If you say there’s no way
That we can see each other
Through the haze and the pain
Well here am I and here are you
Always believing the things that we do
It’s never gonna go the way you want it
I’m never gonna show the love you wanted
You’ll never get to know the dreams of comfort
That you wanted to
In the end does it matter
If we go our own way
It’s your dreams that were shattered
When they got in my way
That’s an amazing collab. Remind me a bit The Cranberries, should you have an irish accent.
Nice track, Richard!
I especially like the vocals melody on the verse. The minor coloration of the backing vocals on "Who can tell us what they're showing" always get me (in a nice way) as my ears are expecting major harmonization. I also really like the saturation on the guitar, did you use your pedalboard for this sound?
I feel the track could gain with some distant synth pad in the background especially during the transition between parts to fill the gap when you break the dynamic.
Great track with lots of great arrangement ideas. Something tells me that you reached a point in your orchestral journey where you need proper tool to develop your skills.
I am not familiar with MUSIO but from what I saw on their website, they are using Cinesamples librairies which are great (a bit on the bright side in terms of sample). I am using their Voxos and Cineperc inside staffpad and I like them a lot. For other part of the orchestra I opted for Orchestral Tools and Spitfire but I know Cinesamples libraries sound great too. Did you have limitations in terms of articulations with the free version of MUSIO ? It seems your using very limited set of articulations for each sections ?
At this point you need libraries with huge array of articulations to extend your creativity. But with proper tools, you will come with great music, it is obvious with this track you shared !
EDIT: thank you for listening and commenting on my entry. Didn't hear the similarities with the Cranberries. Must be @richardyot singing which sound very similar indeed to Dolores O'Riordan's 😄
I listened to this in the dark while laying on my bed as I mostly to do for each of your beautiful creations. After a while, the familiar Silhouette of a long passed loved one appeared clearly in my mind. Strange memory convolution? A dream? A disruption in the space time continuum? The answer doesn't matter. What really matters is that I got the chance to get reunited for a short while with that relative thanks to you David. Thank you for that 🙏
:-)
Musio is very good. It has a ton of articulations in some of the libraries such as cinestrings pro. You are covered for articulations with strings, brass and woodwinds. And you get lots of legatos which traditionally only come with very expensive libraries (check out Spitfire legatos for example).
You can check out what’s available at Musio.com. Click on catalog and you get a full list of what’s included and you can listen to short previews of all the different articulations and presets. You can also get a no credit card required 30 day trial. If you have a desktop it’s well worth a trial.
At the moment all you’re missing with Musio compared with their cinesamples parent libraries are the multiple mic mixes (which are coming soon and anybody with musio1 gets them for any included library and obviously if you sub you get everything as it’s released) and some advanced scripting features such as the phrase builder in the cinesamples Kontakt version of Voxos for example.
Thanks for the info. I'll check the website in details later. MUSIO seems great and Cinesamples offer damn good libraires. But I left music production on desktop years ago and I am not intending to go back. And I have everything I could wish for in Staffpad for Orchestral Work, at least for now. I still haven't reach any limitations with Staffpad, it's just an incredible powerful piece of software. That being said, @cuscolima should definitely invest in some great tools, be it MUSIO or Staffpad or whatever comes with plenty of articulations. Legatos with or without vibratos are pretty standard. What changes everything are articulations like Staccato, Marcato, Tenuto, Harmonics, Trills, pizzicato and Tremolo to name the most important and at least five or six levels of dynamics for each articulations. With these l, one can start to create great orchestral mock-ups.
The track @cuscolima posted this month showed that he has great potential to create awesome orchestral pieces. Really hoping to hear more from him!
Thank you very much @JanKun for your very motivating comments. It is especially important to me as I consider your work as one of the best on this forum - I still have in mind your beautiful "classic-heroic" track for the Metropolis project (R.I.P. by the way).
I am limited with the tools I use as I do all the composition on Notion and then try to use external instruments. I have to learn how to put in place things like "articulations" that are new to me. My IPad is too old to use Staffpad but I agree that at one moment I will have to invest in better tools if I want to make progress. Maybe even more important is to spend much more time on one track and be more "exigeant" with myself (meaning, do the shitty job of re-re-re-record until everything is in place)
Just Beautiful & tranquil.. Love it..
Nicely done.. But to my ears (via the Adams).. the vocals needed to come forward a tad more in the mix.. But other than that?.. Great stuff..
Great Classical effort production.. Well mixed.. Like it a lot.. Maybe a raise the EQ on the Master a little bit to bring out the Airy effect on the mids to highs, which should excite it a little bit?.. (make the strings shine & Piano ).. eg, FabFilter Q3 (if you use it?).. from around 2K raised up about 0.8db then make it dynamic?.. That sort of thing?..
Hi Guys.. Well my Nov 2023 contribution. Its gonna be released on Veskler Records later on in the year.. There is a Radio Edit, but the Label put the Club mix out here?.. For the info of the inquisitive, I did this track with using only Arturia VST.... Enjoy..
Another beautiful and peaceful meditation, very relaxing and pleasant to listen to.
Sorry it's taken me so long to reply to this, my life is a bit hectic right now
The harmonisation is totally accidental, I wouldn't know how to do that deliberately, I just sang it the way I felt it, so it's totally instinctive
And yes, the guitar distortion is from the pedalboard, Walrus 385 in this case. There are only two distortion pedals I ever use, the aforementioned WA 385 (based on a tube projector amp) and the EHX Big Muff (Ram's Head). I'm really fussy about dirt tones and I dislike a lot of pedals and amp sims, but these two give me tones I come back to again and again.
@richardyot
Solid opening with the lighter instrumentation giving way to a deeper, heavier guitar sound. The voices blend especially well on this one. I particularly like the guitar riff and slight feedback at the end.
@cuscolima
The counter-melodies and clashing tones work well. It’s almost chaotic in spots, but quickly gets its footing. Takes the listener on a journey across a sweeping landscape. The instruments do sound real, but are they capable of subtle expression? A synthesized instrument may sound real, but does it feel expressive when you try to play it in a variety of musical settings?
@JanKun
This one has a cool wall-of-sound sensibility. Everything seems to evolve and sway along with the singer. With its strong echo, it feels like listening to a band in a large stadium, as you move from section to section along the side corridors. It also has a strong Julee Cruise dreamlike vibe that’s both retro and displaced from time.
@studs1966
Fast moving with a strong beat, terrific vocals, and distinct instrumentation. The echo effect can be a bit overwhelming in places, though you wisely use it with restraint. Lots of lose-yourself-in-the-music moments. Very polished production.
It's fascinating to hear a song that started as a simple acoustic demo turn into this lavish 60s style production. One of the great things about collaboration is seeing your ideas being taken into completely new and unexpected directions, and enjoying the beautiful surprise of seeing another artist come up with something I could never have imagined myself.
I haven’t been here in a while, so it’s good to see you and some familiar individuals once again.
Your music is original and so different to what’s on my mind, that I can’t help but wish I knew more about your thought process. The lush reverb and delay on the electric guitar’s single notes blend incredibly well with the atmospheric pad. The overdriven guitar track(s) strumming the chords sit really well in the mix. The vocals, just as I remember them from the last time that I was here close to a year ago, are ethereal, unique, and brilliantly produced. I’ll note that the drums sound solid and drive the song forward as well as lively thanks to your mixing and programming. The rimshot sound being introduced around the 1:16 mark, while a good change-up, slightly sticks out (no pun intended); likely due to its relative level compared to the snare and difference of switching to a sharper transient. I personally would have like to hear something like bass guitar fill out the low end to help glue the drums to the guitars, even though you still brought them together more than adequately.
The song’s droning sections along with the non-standard chord progressions stay true to the somewhat trippy title and concept of “Kaleidoscope.”
I’ll try and get to more of the other’s tracks, but hope you've been well.
Hey thanks so much for taking the time to listen and comment, and welcome back
I remember you did that Stranger Things-like track a couple of years back, it was great. Glad to have you back at the Club.
When the songwriting is so neat, working on a track like this is like driving on an empty highway on a bright sunny day !
Hoping for more of these Collabs, it is always a pleasure to work with your Richard !