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Have some new sketch material thread https://soundcloud.com/jacob-staudt/drink-in-hand-analog-in-1 That trailer is pretty great; the wavering violins are Great and my favorite part about it since they add a really unnerving feel to it.
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Oct 19, 2015 09:54
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https://soundcloud.com/jacob-staudt/rocket-air-analog-in-1 Been working on this piece for a couple of weeks now.
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Oct 20, 2015 04:01
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silencekit posted:I put up two other things on the IKEA album Your stuff keeps bouncing between lo-fi grungeyness and almost dreamy. It's so nice. Where's the xylophone solo already? :P With your voice, have you ever considered doing some more ambien, shoegazey stuff? I like Trash Gendar but I think a wave of guitars would go great with your voice. Also your lyrics are ridiculous but fun at times. Are there any tips you can give about writing not-so-sappy-or-stupid words? I always feel like that's one of my biggest struggles. I really dig IKEA in general though. Is it perma-demo state or will things possibly get cleaned up and studio-tracked? sofullofhate posted:On a significantly less talented note, here's my latest modular electro goodness: tell me another one It's funky. Love the blatty bass. Any insight on getting synths to sound kinda organic? Every time I try and use them I get a very sterile result. In terms of critiquing I really like the sound around 1:50 on. That whoosh/sustained wave of sound. I've always loved that type of effect. Have you thought about vocoder stuff over the top? sofullofhate posted:Here's a short I scored (it's a teaser for an animated series that I would have scored completely, but unfortunately never made it off the ground): NTT posted:Have some new sketch material thread https://soundcloud.com/jacob-staudt/drink-in-hand-analog-in-1 How do you do so many styles. I can barely write bad alt rock. You and your fancy fingerstyle and western and poo poo. Seriously though, the first one is cool and all but I'm not a country/western guy so I don't really know what's right except it sounds like you should learn the banjo too. I really like Rocket Air. It feels a bit incomplete though. Like it should have a counterpoint piece at parts. I'd love to hear a "dueling acoustics" in that style. Same question as I have for others, but I'm curious if this stuff is just gonna get shelved or if you're looking to do an EP/album with them. I have a piece. Kinda. My friend is unavailable this week/last week/next week. So I'm by myself with no-one to bounce ideas off of. I decided to try practicing mixing and stuff. This is what I came up with: https://soundcloud.com/syntaxfunction/rock-neat It's a kinda neat riff? It came from this first take. The above was the result of learning to mix, EQ, compress and layer. It's not even remotely complete, as it only has two layers of guitar (One in each ear), the bass is actually a guitar with octave down, and the drums are boring. I haven't even added lead bits yet. Not sure if I'll bother. But, it was a fun way to spend the day. But yeah, that's what happens when I get left by myself for a while. Edit: I should mention I'm mainly looking for input about production. If it's muddy, etc. Although if you like/hate the riff let me know too! Points if you can guess what song I was ripping off too 
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Oct 20, 2015 09:29
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syntaxfunction posted:
I listen to a lot of stuff and try a lot of new things I also really love rich sounding chords so picking up a classical guitar and spending a lot of time looking at classical/flamenco music really helped make my progressions pop since I'm not just picking the normal A/C/G chord rotations that a lot of guitar players use. It would take me probably 30 minutes to actually identify which chords I'm playing though; it's all by ear. It's a lot of 'oh, this shape sounds really cool, what happens if I move it to a different string or fret?' That ends up creating a lot of the more interesting songs I play, I think. Keeping my time signatures constantly moving also makes for a really organic sound. I cut my teeth a lot on stuff like Dream Theater and 80s metal, so strange time signature and a minor sound seem to be in the vast majority of my music. its curtains for Kevin fucked around with this message at 14:47 on Oct 20, 2015 |
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Oct 20, 2015 14:29
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syntaxfunction posted:Your stuff keeps bouncing between lo-fi grungeyness and almost dreamy. It's so nice. Where's the xylophone solo already? :P With your voice, have you ever considered doing some more ambien, shoegazey stuff? I like Trash Gendar but I think a wave of guitars would go great with your voice. Also your lyrics are ridiculous but fun at times. Are there any tips you can give about writing not-so-sappy-or-stupid words? I always feel like that's one of my biggest struggles. I really dig IKEA in general though. Is it perma-demo state or will things possibly get cleaned up and studio-tracked? Blah sorry for delay. One of my uke strings broke and I haven't been able to make it to the store to replace. It will happen soon. Umm, there's a couple little sketches I did a few years ago where I was trying to gently caress with more layers of guitars and like double tracking vocals and doing tons of shoegaze messes. I thought they were kinda cool at the time, but they're mainly just silly to me now. One of them is buried in my Soundcloud and one of them I just uploaded: Slow Down, Moses! and Hillvillain These are dumb songs, but I thought you would maybe get a kick out of them, since you mentioned shoegaze, particularly Hillvillain. I'm not really sure I'm the person to consult about not writing sappy words, though. My poo poo can get kind of schmaltzy, but I guess at the same time I'm not really afraid of singing things that don't sound like poetry. Maybe that's what you're responding to. Here's my system: read a lot, listen to a lot, try to think critically about the things you admire (and don't admire) in your favorite writers and songwriters. Oh, and I guess I think it's important to use specificity, especially if you're building some kind of enormous metaphor. Your mixing/layering experiment thing seems like you're making some strides. Definitely more professional sounds than I've ever been capable of recording. But add more tracks before you spend too much time with the current mix. To the more pro production people in the thread, don't you want to wait until you have all your instruments and takes basically down before you start building a mix?
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Oct 20, 2015 21:45
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I feel like there needs to be more discussion than just "I have a thing. Your thing is cool." So I'm gonna try and discuss people's stuff a bit further if that's cool. If people want specific feedback on pieces rather than just a general feel I'd be happy to try.NTT posted:I listen to a lot of stuff and try a lot of new things It certainly shows! I've been trying to branch out lately, and my white whale as it were is metal. I cannot for the life of me play metal. I love your stuff though, and it actually inspires me to try new things. At the risk of making this place a discussion area, do you basically just pick "random" notes to make a chord? I love the moving chord shape thing too, but I haven't had a chance to really work with it. Maybe I should give it a shot. I actually try a lot of different genres, but I never feel like I have them down to the point where I feel super comfortable with it, although I am getting there. Would you suggest flamenco/classical for someone who doesn't really want to do lead stuff? I'm not even going to attempt Dream Theater at the moment, that poo poo scares me. If I can, can I ask how long you've been playing for, too? I know time is a poor judge of skill but I'm just curious. silencekit posted:Blah sorry for delay. One of my uke strings broke and I haven't been able to make it to the store to replace. It will happen soon. Umm, there's a couple little sketches I did a few years ago where I was trying to gently caress with more layers of guitars and like double tracking vocals and doing tons of shoegaze messes. I thought they were kinda cool at the time, but they're mainly just silly to me now. One of them is buried in my Soundcloud and one of them I just uploaded: Slow Down, Moses sounds like synth-pop without the synth. I like it although I think the chorus (?) on the vocals is a bit too high. Is the "woahweewoo" (I am bad at describing things, it starts at 0:20) a synth? To that matter, is the lead lick at the end (3:15 for example) a synth or is it vocals with a bunch of effects? I'm always super interested to see how people get certain effects. The creative process always interests me and I love hearing the nitty gritty about how people get sounds. Hillvillain is exactly what I was talking about! I love it. I am a bit disappointed it's not a full song though. In my head there'd be a buildup of noise that releases at the end for a resolution. I'd love if you could detail how you got the sounds too. I think I hear flanger/phaser on the guitars, possibly some delay? The vocals are great too, nice reverby feel and I like the double tracking. As far as being silly I disagree. This is a great track and, to me, screams that it should be "completed" if not "finished". I would love to hear what your inspirations for this track specifically were. Like, any artists that you were feeling, or was it just a spur of the moment thing? Thanks for the tips on lyrics, too. I think I have a problem as some of my favourite lyrics seem to be singled out as stupid or "sophomoric poetry" by a lot of people. Think Hummer by the Pumpkins, specifically. I honestly think it's got some of the best lyrics in a song but a lot of people seem to disagree. I do always veto the word "babe" or "baby" though! That's like my only rule. I think you've got a point that you aren't afraid of lyrics not being poetry. I struggle with the whole "I like this message but it's not even close to rhyming or whatever". The songs I'm most proud of actually have completed lyrics and vocals (Crossing Tides, Daylight) for the most part, and it's when I had a message and not worried so much about other things. As far as the mix experiment, I wasn't really going to add any more. It was more a test of if I could get decent results from a home setup. The left ear is my amp recorded with a AU$75 mic and a cheap interface, with some EQing, and the right is AmpliTube running a Thunderverb. Part of the aim was to test amps to see what I can pair up with the Night Train to get a "full" sound as it didn't sound fat enough with the NT double-tracked. But the Night Train/Orange combo seems to work really well although in hindsight I think it's a little muddy? I really wanted to see what would work at least kind of before I plunked down the money. I tried a Soldano, 5150 and Dual Rec and didn't get the results I wanted and ultimately kept going back to the Orange.
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Oct 21, 2015 03:54
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syntaxfunction posted:
I've been playing for about a decade now. Guitar Hero was a hell of a reason to get started. Metal is the most equipment reliant genre, imo. Good gear is required to really make metal pop. Play Iron Maiden until you're good enough to play Metallica, until you're good enough to play Megadeth, until you're good enough to play Metallica solos, until you're good enough to play Megadeth solos. Spend a lot of time on individual techniques.
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Oct 21, 2015 05:10
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Also buy Jazz IIIs e; https://soundcloud.com/jacob-staudt/mixdown I plugged an electric I haven't touched in literal months and wrote something in seconds. Playing all these complicated chords and progressions on a classical makes an electric REALLY easy, imo. Since there's so few notes to play at once in metal, you can effortlessly turn a SINGLE chord and some rhythm into its own entire lick. Kind of surprised it was so easy, actually. https://soundcloud.com/jacob-staudt/lament-with-distortion-and-reverb Haha I forgot how fun electric was its curtains for Kevin fucked around with this message at 05:56 on Oct 21, 2015 |
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Oct 21, 2015 05:11
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syntaxfunction posted:
I don't have any specific secrets - try modulating everything with everything, feedback is good, delay is good, reverb can be good, multiple envelopes are good, subtle randomization is good; lather / rinse / repeat until I've got a patch that inspires me or fits the gap in the track. I've been playing with hardware and software synths for more than 20 years, so I guess I have a workflow and an ear for what sounds good to me. I definitely seem to have a style, or general types of voicing / timbre that I prefer, and it tends to be one of the things that defines any of my synth-y tracks. My wife tends to name them things like "don't go upstairs, woman alone in the house" and "the murderer is in the alley", which is I guess a compliment? Some vocoder stuff over the top could be a lot of fun! I'll have to play with that a bit. e:  I uploaded another sketch here: mamma told me and I think it pretty much fits in the mold I described above
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Oct 21, 2015 05:11
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syntaxfunction posted:Slow Down, Moses sounds like synth-pop without the synth. I like it although I think the chorus (?) on the vocals is a bit too high. Is the "woahweewoo" (I am bad at describing things, it starts at 0:20) a synth? To that matter, is the lead lick at the end (3:15 for example) a synth or is it vocals with a bunch of effects? I'm always super interested to see how people get certain effects. The creative process always interests me and I love hearing the nitty gritty about how people get sounds. That "wah" spot at the beginning of "Slow Down, Moses" was guitar, and the more bassy thing at the end is a stock sound from a MicroKorg. Beyond that, it was long enough ago that I don't remember what I did to set up the sounds, and I certainly don't have the raw files anymore. I agree with you, though. That chorus didn't really work. Listening back on it though, I'm still pretty proud of that bouncy MicroKorg line. I believe I was trying to make a Ween song when I did this. As for Hillvillain, I remember even less. I know that I built like an artificial stereo thing by doubling a vocal take and either staggering it by a millisecond or adding reverbs of different lengths or something, but I have no loving idea how many guitars are there or what happened to them. You may be right about finishing it. I'm sort of inspired to take another pass at it starting from scratch with some new perspective, but I have too many other sloppy demos that deserve proper tracking before I revisit something that I'm not super gung-ho on...anyway. Glad you got something out of it! I think you're doing yourself a disservice by completely ruling out any word. "Baby", like any other word, has some power if you know how to activate it (look at this loving mastery). Point me toward the lyrics you like in "Hummer". Siamese Dream was for sure one of my favorite records when I was growing up, and "Hummer" has straight up one of my all time favorite guitar parts during that beautiful outro thing, but I don't look back on it with any particular admiration for the lyrics. This, for example, is vague and meaningless to me: Ask yourself a question Anyone but me I ain't free Do you feel Love is real That's just from my memory, so maybe I hosed up. If I got it right though, it kind of speaks to what I was talking about in my earlier post, about how I like to engage with specificity. It's so much more interesting to me when I have something concrete to hold onto, some kind of clear image, or at least a fully formed thought. That said, that particular song is kind of spacey and trippy enough that I can get over it, because it's so buried behind poo poo that gives me more of a foothold. But as long as you're making iPhone or two track demos, you don't have a lot to hide behind. Sometimes when I'm writing, I don't quite realize what I'm writing about or trying to say until I've carved out part of a verse, or a chorus, or maybe even more. Then it clicks, and I can finish it out and revise whatever I had down initially to better adhere to what I've decided I want to talk about. Try starting with more of a narrow scope, like a writing prompt: "What does your favorite animal look like?" or something like that. I bet you'll make some associations that will totally surprise you, and you'll end up with more content, more complexity, and more emotional power. Anyway. I discovered that this old song of mine is possibly a funk song. Bonus: uses the word "baby"
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Oct 21, 2015 05:29
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I guess Hummer is a bad example, mainly because thinking about it, it is very vague. And I like that. Thinking about it, I guess I kind of am drawn to vague and sort of meaningless lyrics because you can sort of project your own feelings on them. Which is probably bad if you're trying to get a message or story across. The "baby" thing is just because every time I've tried putting it in it's come across as corny and forced, so for me I've basically said I'm not gonna use it. I don't hate on songs that do, though. I might try the writing prompt thing. I am working on an acoustic song at the moment that might be fun. I dunno, right now I spent like three hours trying to track a 30 second solo for Rock Neat and hated every take. I really need to learn how to play lead. Edit: NTT, I will learn some Iron Maiden! Digging the metal too. Now add in some sick djent breakdowns like all the cool kids are doing now! With your classical leanings it definitely sounds more Yngwie than Friedman. Really cool, especially the second one. Love the fade out note. Sofullofhate, mamma told me is good. I am not so good at analysing synths except the initial arpeggio (?) bit is a bit metallicy for me. Other than that I dig it. I thought you had females vocals when the lead line kicked in originally. syntaxfunction fucked around with this message at 07:31 on Oct 21, 2015 |
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Oct 21, 2015 07:10
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syntaxfunction posted:I guess Hummer is a bad example, mainly because thinking about it, it is very vague. And I like that. Thinking about it, I guess I kind of am drawn to vague and sort of meaningless lyrics because you can sort of project your own feelings on them. Which is probably bad if you're trying to get a message or story across. Yeah, I gotcha. I don't totally disagree, either. I like when Thom Yorke writes totally impenetrable, vaguely sinister nonsense. So, I tracked 'Netflix and Chill' and ended up having a lot of fun with this groove I created. It's possible I went overboard on my violin. The xylophone part falls well short of a solo, but I think you guys will still dig: https://soundcloud.com/monsterfurniture/netflix-and-chill-tracked
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Oct 21, 2015 21:10
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I think it has just the right amount of violin! The xylophone sure ain't doing a solo but I think it's almost always safer to err on the side of caution rather than accidentally hamming it up. I kinda like that it's less than three minutes now. It gets to the point and doesn't drag on. I noticed it's on your bandcamp page too. I'd buy an album of chill, sorta silly music if I wasn't so broke. Soundcloud was being a prick to me this afternoon when I tried to upload a really basic outline of a song. So I kept tinkering. Like I'd take my own advice on erring on the side of caution. I hammed it up. It was meant to be the guitar outline for a song based on the production experiment. Really straight forward, verse chorus verse chorus bridge chorus chorus. Pretty simple. Instead it turned into a five and a half minute thing where I ripped off pretty much every trick I liked from a specific artist (It's Billy. It's always Billy) and tried cramming them all into one song. I haven't even done vocals, I intend to pinch the vocal styles from a few different songs from the same artist too. The lyrics will be stupid filler, but not actual gibberish and I need a real ending. Title is a joke obviously. Anyway here it is. Should I bother continuing with this? I was hoping to get the outline of guitars and vocals down, track them for realsies, maybe get my friend to track bass and another friend to do a solo or two if he's free. And then use it to practice self-producing, with the result sounding like Rock Neat. This is probably gonna be part of my "side project" as it's quite different from the echoey, droney stuff I'm doing for my actual band. Also I explain too much.
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Oct 22, 2015 12:22
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syntaxfunction posted:I think it has just the right amount of violin! The xylophone sure ain't doing a solo but I think it's almost always safer to err on the side of caution rather than accidentally hamming it up. I kinda like that it's less than three minutes now. It gets to the point and doesn't drag on. I noticed it's on your bandcamp page too. I'd buy an album of chill, sorta silly music if I wasn't so broke. I think you should definitely continue with this, it's a solid foundation. I will point out that there are timing issues with the guitar in several of the transitions, but I suspect that you know that. Tone-wise, I like the guitar and riff, but it's a little sterile - I might consider either double-tracking or a really subtle reverb just to make it a little dirtier, to go with the tone. Especially after the transition to clean - the delay with (I assume) low-pass filter on the feedback is nice, but the guitar itself is too sterile. What amp are you using, actually? I kind of want this clean portion to be a little more saturated - on my tube heads, I would switch to a lower-gain preamp but bring the pre gain up to 2/3 or so and dig in with the pick to get slightly compressed attack but nice shimmery clean sustain. That is clearly my aesthetic preference though. The second half is pretty noodle-y. I like it, but it needs some kind of soaring vocals over top to make it more interesting. syntaxfunction posted:Sofullofhate, mamma told me is good. I am not so good at analysing synths except the initial arpeggio (?) bit is a bit metallicy for me. Other than that I dig it. I thought you had females vocals when the lead line kicked in originally. Thanks! Especially on the vocals note, that makes me feel pretty great about that patch (which I already loved). I can appreciate that some people don't like the more metallic sounds that can be pulled out of FM, but it's one of my favourite timbres for arpeggios.
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Oct 22, 2015 18:31
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I was thinking about it and I thought it'd be neat if you tried crafting some filters on the patch to make a makeshift vocal thing, making like vowel sounds. It might be a bit too hard to do, I'm not sure, I don't know much/anything about synths. Thanks for the feedback. It's barely a sketch right now. I intend to track some junk vocals but the guitar was literally one take for each section, copy and pasted, without worrying about timing so much as long as it matched roughly. The guitar tone is actually guitar DI into AmpliTube with the "Metal Lead' (Aka Dual Rec) model. It sounds like garbage but if I continue to work on it I'm going to be rerecording all the guitar anyway so I'm not worried. The clean section is the default Fender Clean model which I pushed as hard as I could and that's as far as it goes. When/if I rerecord I'll be using my Vox pushed a little to do that section. So tonewise the thing is hot garbage but it'll all be replaced anyway. I'm hoping getting vocals done (Hopefully today?) will make it make more sense. Edit: I did some vocals. I actually had some super fun with this one. I guess because I know the lyrics and vocals are going to get replaced? Vocals are rubbish especially around the bridge, but it's just a guideline for someone else so meh. Edit 2: Version with a real ending. I wanted to do something funky like change time signatures at the end but it didn't pan out. Of note, I removed the vocals from this version because I figured no-one needed to hear them again. Opinions on the ending? syntaxfunction fucked around with this message at 11:57 on Oct 24, 2015 |
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Oct 23, 2015 04:38
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syntaxfunction posted:I was thinking about it and I thought it'd be neat if you tried crafting some filters on the patch to make a makeshift vocal thing, making like vowel sounds. It might be a bit too hard to do, I'm not sure, I don't know much/anything about synths. I definitely like it as a framework, but it really needs some bass and a much more aggressive drum presence in the heavy bits, and some tightening of the guitar. When you're going that aggressive, poo poo has got to be on the dot or it just loses a lot of its edge. A couple of new things I've been diddling with. First, an instrumental version of a track that I'm working on. It has lyrics, but I haven't recorded them yet. It's sorta jazzy lounge that's been hit with a weedwhacker: https://soundcloud.com/danwarren/oh-cannibal Second, a quick acoustic take of a song I've been diddling with recently. https://soundcloud.com/danwarren/evergreen-acoustic It was actually written to go with this music: https://soundcloud.com/danwarren/a-hundred-million-miles-away But I kinda like it as just an acoustic thing. I'm a bit torn because I like the song and I like the music, but I'm not sure if they would work well together.
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Nov 12, 2015 23:47
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quote:A couple of new things I've been diddling with. First, an instrumental version of a track that I'm working on. It has lyrics, but I haven't recorded them yet. It's sorta jazzy lounge that's been hit with a weedwhacker: How are you arranging this stuff? Are you just using samples? I make stuff in a DAW, nothing recorded. The suddenness at 0:44 was a really pleasant surprise, the whole thing has a nice carefree kind of feel.
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Nov 28, 2015 17:45
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Thanks! It's mostly Kontakt samples, with some real guitar.
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Nov 28, 2015 21:23
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Here's a little melodic piano/synth thing I've been puttering with: https://soundcloud.com/colorcodeaz/untitled-12-8-15
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Dec 17, 2015 19:34
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Drink-Mix Man posted:Here's a little melodic piano/synth thing I've been puttering with: First of all, beautiful piano sound. The track really reminded me of one of those 'inbetween tracks', for want of a better phrase, that you got on Pink Floyd albums to join major sections / songs. It does seem a tad directionless. It demands your attention for sure but then I feel like there's no pay off. Anyway, liked it! ----- Here's a future garage / chillstep / 2-stepwhatever genre track I've been working on. https://soundcloud.com/tom-w-dillinger/never
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Dec 17, 2015 21:23
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Nigel Tufnel posted:First of all, beautiful piano sound. The track really reminded me of one of those 'inbetween tracks', for want of a better phrase, that you got on Pink Floyd albums to join major sections / songs. It does seem a tad directionless. It demands your attention for sure but then I feel like there's no pay off. Anyway, liked it! Cool, thanks for the listen and the good words! It's an old digital stage piano I worked with adding some tape VST, reverb, and some other things. I felt the same way about the lack of direction, though. (It's actually saved under file name "Aimless" on my PC.) Any ideas? I dug yours. I liked the fuzzed-out lo-bit thing. Not sure what feedback to give except maybe that I think it would be nice to hear a little bit of a build, like a rise in dynamics or some more layers toward the end. Pretty cool either way, though.
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Dec 18, 2015 01:23
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Nigel Tufnel posted:First of all, beautiful piano sound. The track really reminded me of one of those 'inbetween tracks', for want of a better phrase, that you got on Pink Floyd albums to join major sections / songs. It does seem a tad directionless. It demands your attention for sure but then I feel like there's no pay off. Anyway, liked it! This is cool - I like the contrast between the heavy synth and the light lead and percussion. The vocal layering sounds good. Its got some dissonance in it that works well. The whole thing is very energetic and calm at the same time, which is interesting. It does sound kind of stagnant after a bit and my ear wants to hear something move or evolve a little - like a very low frequency un-synced LFO modulating something on the bass for instance - especially in the section that starts at 2:46.
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Dec 19, 2015 04:16
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Drink-Mix Man posted:Here's a little melodic piano/synth thing I've been puttering with: Seconded on the excellent piano and directionless feel - I want a payoff! Around 5:50 especially it feel like its about to break into a full groove. I like how you bring layers in and out. Focus goes from one piece to the next and the piano/string combo flows well. I pay a lot of attention to the ambiance. Despite quite a lot going on it never gets muddy or distracts from the instruments. It would be interesting if it was coherent or something. Maybe told a story, I dont know.
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Dec 19, 2015 04:28
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So after 20+ years of guitar noodling I made some Trance! (without guitars) https://soundcloud.com/acelerion/12-16a Ive always wanted to blend Trance/IDM with lead guitar but had no idea where to start. After weeks of frustration I finally managed to make progress and put some thoughts down. Its pretty generic - Im mostly trying to learn to get the sounds I want out of the computer.
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Dec 19, 2015 04:37
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Love the breakdown around 0:55. The bass and analog-ish synth pad are pretty pleasing to my ear, too. I think lead guitar on trance is a great idea, would love to hear it followed through.
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Dec 19, 2015 07:07
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Thanks, I've really struggled with making synths not sound like rear end so that's good to hear!
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Dec 19, 2015 21:55
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Cleaned some stuff up, fleshed out the breakdown, and started working on a second build. Still needs an intro... https://soundcloud.com/acelerion/12-20-w-mastering
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Dec 21, 2015 03:49
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I'd love some feedback on this one because it's the first track I've made in a while that I actually feel kinda good about, if you'd be so kind. Made it with Reason 8 and a couple Rack Extensions. https://soundcloud.com/betaproject/drift-apart Acelerion posted:Cleaned some stuff up, fleshed out the breakdown, and started working on a second build. Still needs an intro... syntaxfunction posted:Edit: I did some vocals. I actually had some super fun with this one. I guess because I know the lyrics and vocals are going to get replaced? Vocals are rubbish especially around the bridge, but it's just a guideline for someone else so meh.  NTT posted:https://soundcloud.com/jacob-staudt/lament-with-distortion-and-reverb
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Dec 31, 2015 06:35
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Snipping the original posts for size.Trig Discipline posted:https://soundcloud.com/danwarren/oh-cannibal Evergreen has that perfect folky acoustic thing. I love your voice on it but feel singing it slightly lower like at 0:50. It's almost spot on for the folk/blues sound. I think the acoustic can be a bit more balanced in volume but I love that picking pattern. I kind of get that lo-fi Bright Eyes feel. On a random note, please add it to an acoustic EP on Bandcamp or allow it to be downloaded from Soundcloud. I'd like to chuck it in my collection for when my lovely internet dies. Also your version of Lie Still Little Bottle is great too. Just throwing that out. I think everyone else covered this one. Great little spots and I love the effects but I think it should really be condensed to he most important parts. I have no idea what future garage is and it sounds scary but then I listen to this and like it so that's okay. It's like nasty triphop? The bass is a little on the heavy side, I think. I always find it fascinating how people are good at making bloops and bleeps sound like this. That 3:18 or so bit is great. I am a sucker for fake "outs" and then kicking back in. Trance is one of the few areas of electronic music I am aware of. I love the ending half. I think dial the drum hits a bit further back in the mix. When they hit they really take centre stage. Aside from that, I think some more rhythmic bits in the back would help too. Nothing big or flashy but just to flesh out the sound, unless you're going for super minimal. The drums on this are kinda the opposite of above, in that I think they need more of kick. The melody is nice too but I'd say roll the high end off a teensy weensy bit, but that may just be me. Structurally it is sound, although more of an ending would've been cool. Some sort of climax/release. Otherwise I like it. Trig Discipline posted:I definitely like it as a framework, but it really needs some bass and a much more aggressive drum presence in the heavy bits, and some tightening of the guitar. When you're going that aggressive, poo poo has got to be on the dot or it just loses a lot of its edge. Rageaholic Monkey posted:That guitar tone is wonderfully nasty I had a bit of writer's block the last few weeks. So to try and do something I picked two tracks to rip off. No-one I rely on in person has been able to have a chance to hear the results and I like them, I just want to know whether they're "too close" to the original targets. First is Forgetful based off Today by the Pumpkins. Structurally the same. I recorded this quickly to get a structure, heard mistakes and decided not to work on them as 1) demo and 2) not sure if I'll have to scrap it. Second is Beigeish based off Soma, also by the Pumpkins. I feel much better with this as it was more a goal to write a progression that doesn't fit a specific major or minor key but sounds good. The quiet/loud bit was just a whim as I wanted a lot of spaceyness. The "solos" were one take each and just noodling. All criticism welcome, but my main question is whether I should just scrap them now because they're too similar.
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Jan 22, 2016 12:22
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syntaxfunction posted:
Keep working on Beigeish. I like things that develop slowly like that. Great feeling of impendingness. Speaking of which https://soundcloud.com/skudmunky/returning-violin-progressive-something-spooky Spooky ambient violin and chugga chugga guitars and my 'I can't repeat a chorus for the life of me' songwriting style.
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Jan 22, 2016 23:37
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syntaxfunction posted:Second is Beigeish based off Soma, also by the Pumpkins. I feel much better with this as it was more a goal to write a progression that doesn't fit a specific major or minor key but sounds good. The quiet/loud bit was just a whim as I wanted a lot of spaceyness. The "solos" were one take each and just noodling. skudmunky is right - keep working on beigeish. I thought the slow build was too slow for my taste, but then I realized that I was completely into it and hearing the little variations - nice work there. The right-channel guitar that comes in ~1:30 is ahead of the beat, though, and I find it really distracting. Actually, all of the rhythm guitars have some timing weirdness after the drum comes in - develop this piece though, it is beautiful and has a tonne of potential. And then holy poo poo when the big guitars come in. That's awesome. Folks, this is how you pay off a slow build, just for the record.  (if you want a bit more of the Pumpkins sound here, double- or triple-track those huge guitars to smooth them out a bit) skudmunky posted:Keep working on Beigeish. I like things that develop slowly like that. Great feeling of impendingness.  This is completely rad. You are doing an album of this stuff, right? Or scoring a zombie movie with it? You have excellent production technique, so I hope you're putting it to some use outside of making awesome tracks for goons to hear.And, well, poo poo. I finally stopped loving with adding stuff to my modular for long enough to get another track recorded, and I'm pretty drat happy with it: https://soundcloud.com/mattwalters/ympektid-have-one This one is 100% modular - no outboard FX, no processing in live aside from some dynamics and EQing.
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Jan 25, 2016 00:22
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syntaxfunction posted:
Its too similar to the original but I dont see that as a reason to scrap it entirely. Keep the progression and structure (no one gives a poo poo about progressions) and change the into riff. Also less-pumpkins ish guitar tones. If vocals are added that are different from the original it will be a totally different song. Also your rhythm section is way too distant, particularly when thats another aspect that could be used to distance it from its heir. I have two versions of the same track I'd like input on - only the first minute or so of each is really relevant, the stuff after going to be cut On one hand theres a more "driving" version, https://soundcloud.com/batteries/disappearing-nu/s-62mIz On the other there is the "lurching" version https://soundcloud.com/batteries/disappearing-5/s-oaRR1 massive spider fucked around with this message at 13:18 on Jan 28, 2016 |
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Jan 28, 2016 12:51
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Thanks for the words of encouragement! Definitely gonna get more done with Beigeish at least and try to rework Forgetful as massive spider suggested.skudmunky posted:https://soundcloud.com/skudmunky/returning-violin-progressive-something-spooky sofullofhate posted:And, well, poo poo. I finally stopped loving with adding stuff to my modular for long enough to get another track recorded, and I'm pretty drat happy with it: https://soundcloud.com/mattwalters/ympektid-have-one massive spider posted:I have two versions of the same track I'd like input on - only the first minute or so of each is really relevant, the stuff after going to be cut So I have two tracks I want to demo. This is the first one: https://soundcloud.com/syntaxfunction/tabs-demo It's the intro track to an album I'm working on. I've been using it to learn how to record and mix and stuff. The timing isn't perfect on the intro but I feel the heavy part is good. I knew I wasn't going to get that perfectly-produced sound myself, nor did I really want to. I went more for the thick, fuzzy wall of guitar kinda like Electric Wizard doing Alt Rock. No vocals yet and most of the guitar was looped rather than recorded live for various reasons. Best listened to loud! Still just a demo and will be rerecorded later, but I'm trying to get a feel for how I want my guitars to sound. The second one is more chill. Long story short, got bored, tuned to a weird tuning and recorded one take after figuring out some shapes. Pretty happy with the sound. https://soundcloud.com/syntaxfunction/dsus2-noodle
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Jan 31, 2016 08:17
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Dsus2 noodle reminds me a lot of a the Cure; I like it a lot. imo you should actually crank your effects a little bit more since it's alone. song https://soundcloud.com/jacob-staudt/dune-destination
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Feb 23, 2016 23:02
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syntaxfunction posted:I have no idea what future garage is and it sounds scary but then I listen to this and like it so that's okay. It's like nasty triphop? The bass is a little on the heavy side, I think. I always find it fascinating how people are good at making bloops and bleeps sound like this. That 3:18 or so bit is great. I am a sucker for fake "outs" and then kicking back in. Awesome. Cheers for the feedback. I'm mixing on headphones so that probably explains the bass. Need to find a work around for properly judging the bass levels This reminded me a lot of Rob Scallon's acoustic work. There's a couple of finger scrambles in there which I'm sure you know about. I feel like it could benefit with you playing along to a quiet metronome in headphones. That said I like all the ideas here but I think it does need a rhythmical element to tie it all together. --- Here's my track. Having fun with a djenty thing. Shamelessly aping Meshuggah but with much less skill etc. https://soundcloud.com/tom-w-dillinger/dread-demo/s-mURPo
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Mar 27, 2016 14:07
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I like the style but it seems like it's everywhere in terms of tempo and rhythm, but sadly not in the fun way. I agree that it needs a central theme to return to because as it stands now I feel like it's something you might play in between sets to keep people interested, but not an actual song. I figure it feels a little rush because it's a demo, but yeah, gotta lock down that tempo. Nigel Tufnel posted:Here's my track. Having fun with a djenty thing. Shamelessly aping Meshuggah but with much less skill etc. I have a thing. https://soundcloud.com/syntaxfunction/adbis-new-version Old, old, old riff, everything replaced. Was a quick demo I threw together in a couple hours to explain to my friend.
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Mar 28, 2016 10:11
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I was messing around with some new (old) gear and did some ambient downtempo electronica on the fly. Didn't intend it to be an actual track, but I kind of liked some of the sounds, so I'm considering fleshing it out. Just not sure if it's simplistic in a good way or not. Maybe? https://soundcloud.com/eric-zak/intensive-care
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Apr 16, 2016 04:09
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NTT posted:Have some new sketch material thread https://soundcloud.com/jacob-staudt/drink-in-hand-analog-in-1 Nice riffing, man! Reminds me a bit of Björn Berge. Just picked up the guitar after almost a year of not recording anything and did a little crappy sketch today. There's some crappy parts but it's starting to sound like a song at least! https://soundcloud.com/fourtalkingwalls/grow
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Apr 20, 2016 14:41
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Drink-Mix Man posted:I was messing around with some new (old) gear and did some ambient downtempo electronica on the fly. Didn't intend it to be an actual track, but I kind of liked some of the sounds, so I'm considering fleshing it out. Just not sure if it's simplistic in a good way or not. Maybe? This is so incredibly chill. It's so difficult for me to give any crit about a song when it's this good. I get a Gary Numan vibe from it in some places. Nice ending with the drums, too. I don't know what to do with my drums. I have a lot of re-recording to do, but this is the general idea: https://soundcloud.com/pointnineteen/document
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Apr 22, 2016 01:38
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bad posts ahead!!! posted:This is so incredibly chill. It's so difficult for me to give any crit about a song when it's this good. I get a Gary Numan vibe from it in some places. Nice ending with the drums, too. Thanks, man. That's very encouraging. Drums aren't really my forte so I'm not sure what feedback to give you there but I did think it was a cool rhythm. The only thing I can think of was that I kind of hoped to hear more variation in the beat after the breakdown (like a more complex pattern), though the synth/bass you added after that part kind of filled that need too. Was your concern more with mixing or composition?
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Apr 22, 2016 19:02
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