Yeah...I like it.....and I see I`m way late even catching up with this one (like everything else lately)...love the acoustic intro....drums are very natural sounding (like the acoustic kit you are using) many very tasty little bits with the ping-pong delay etc to add the interest/variety...Man, you really got everything working together great in this one Evan.....thoughtful composing too....best damn piece of music I have listened to all day (and then some)...big fav from this ol boy....Cheers...Ed

Regressive regreetings, Progressive Bro.

"don't knock the pull-out"

Good point. I thought about going with "vag vacationing visigoth" and "vag vanquishing visigoth" but decided that "vacating" better suited your considerate personality. How considerate of me. Anyway, who wants to vanquish vag? That would no doubt put it out of action. Better to keep it fully functioning. And not overflowing with babies.

OK, you ungrateful wretch, I will take back Killing My Good Times and turn it into a Nomad masterpiece.

"We'll discuss this further elsewhere."

Damn, it sounds like you might actually put something up for Slupergroupery collaborations. An offering to The Vulv.

Great to hear you're enjoying Superior. "EZX does not have all the mic bleeds and striker options". Is that so? I guess there have to be some differences though I have a couple of SDXs (Roots and Sticks) that have fewer drums than some of my EZXs.

I'll tell you another time about two things I find really annoying about Superior (maybe you have found a solution) but for now will give you a Progressive suggestion.

So, you've worked out that you can add additional drums using X drums though you can't alter the processing of that new drum. So, if you add a second snare, I think its output channel is the same as the initial snare. As you've only got one main kit that you're really going to enjoy (Progressive), I suggest loading a few instances of it into Studio One, giving each some different processing. This will give you a much larger range of drums sounds. You could use one kit for the verse, another for the chorus (yes, I know we don't exactly make verse-chorus-verse music).

I rarely alter the pitch of any of my individual drums but don't forget that that option is always there, as is the envelope, so you can get, for instance, shorter or longer snares.

Finally: it's a mild shame that you didn't get EZ 2 as the GUI for each kit is really cool. They're rather basic and boring in Superior (but still pretty cool). It's fun watching that kit actually play away when it plays back a MIDI file, isn't it?

Progressive Nomad, smelling your lie through the smoke and arrogance

I really like your work in general and this one is no exception. Always something very powerful in your sound.
This time the acoustic opening reminds me on Metallica, but only briefly and then piano starts raising the temperature
and after a minute and 3 quarters we're in full energetic motion...lots of interesting and effective changes along the way and splendid guitar work. One of your best moments for sure, but then again they're all well worth listening!

Compliments____Orlando

Hey Evan,

I'm really impressed with the production on this. You have always shown excellent skills in playing and composing but your really getting too good! Have to say I thoroughly enjoyed the acoustic intro. Awesome articulation there bro and and I dig the subtle delays that are timed just perfectly. I differ from sford because the piano accompanyment is in my opinion the icing on this cake. I had to re-play it 4 or 5 times before listening to the rest of the song. Sorry. Quite honestly it's fairly easy to work up a few riffs, throw some chords together, pipe it through some effects, drop in some bass and drums and viola. I'm always more impressed musically with lyrical composition than anything else. Lyrical in the sense of the artistically beautiful or expressive quality of a piece. Having said that I don't mean to understate the rest of this track. I really dig it as well. I think you and I both have similar interest in the more technical structures so I'm definitely grooving on your time signature and poly rhythmic stuff here. And yeah I'm still trying to decode the subliminal message contained in that outro! Very intellectual but also a lot of fun.

Delayed regreetings, vag vacating visigoth.

Listened again I have. I didn't notice a whole lot of difference in the update. But:

1:45 bass fill now sits better.

1:46 I believe I can hear a tiny bit of vocal in there.

"You know I dig using my mouth for skat."

I do. I also know that you dig using your mouth (no spade necessary).

You get extremely high marks for "counting samples like sheep to the rhythm of his new drums." Surely your best ever sign off. Not sure how you worked that one out but it's entirely perfect. See - there's still more that can be done with MJK lines though I haven't even attempted one in quite a while.

You should write a song called Killing My Good Times. Because I'm so thoughtful, I came up with some intro lyrics for you that I feel somewhat reflect your current life situation:

Killing My Good Times

Too bad the wife lives here and has to kill my good times
Always pushing vegetables and supplements in my face
Wondering where my paycheck is
She should know it's in my wallet
That place where my dreams die every time I look inside

Add some more and send me a demo soon!

Moving to the rhythm of the moon and tide, The Indigo Nomad

Hey Evan, you pulled out all the stops on this one man, I was kicking back digging the acoustic ambience and subliminally calculating how long it might have taken you to do all the drum programming (always the most time consuming part I find) when you high dived into some metallic crowd surfing extravaganza! whoa that was a slick change up and then it morphed slightly with some eastern resonances within those tight riffing grooves. That's a massive undertaking pulled off superbly, I have no doubt about the genre on display here and at some points the fusion verges on going nuclear...an excellent track that goes beyond the sum of it's influences and strikes new ground, definitely way cool. cheers Dave

Damn, dude.

Is this the tricky track that you had to display your authority over? If so, you did well, my friend.

I'm amazed at how far you've come since we were new here. To be completely honest, I think you've far outgrown any suggestions I may have. So, I'll just sit back and listen to it again, and enjoy it for what it is. Amazing work, brother.

I dig the transition into the heavier section.

I think the only thing I hear that's not quite right, is the levels on the lead in the last section. But Static already touched on that, so there's no need for me to go into it further. Other than that, the mixing is spot on, and crystal clear. It is kind of interesting to listen to one of your tracks where the bass isn't up front and center in the mix. (so to speak). But, even so, it's presence is still known, and unapologetically so.

I told the ladies that I was in The Vulv. They just looked at me with a disgusted look on their face. Then I told them what it was. It changed nothing. They just asked about the other two guys. So, I went home and fed my dog, ate some frozen pizza and binge watched Brooklyn nine nine until I crashed out on the couch.

Alright, man. I have to agree with Steve. This is quite possibly your best work. At least of that which I've heard, anyhow.

Catch ya on the flip side.

Dig the title! Piano and acoustic guitar always works so I must say the intro really was a cool way to start the track. The song transitions nicely into the harder more loud part of the song. I do like the timing changes as the song progresses.

I read your response to Steve about the vocal/percussive part you did and it's pretty effective and interesting. Curious as to how you tune normally if not in standard tuning?

Wayne

I really loved the intro to the track. The piano was well played however in my biased opinion it ruined the track. I hate piano in tracks unless it's edm.

Aye aye, Captain.

StatEyec Nomad here, running aground whilst listening to this.

As you know, I heard the first min of this a while ago but it sounds much better now. Good acoustic tone and then the drums sound great, sitting nicely in the background. The kind of drum sounds I should get into using. No complaints about the piano or bass g and this is all rather chilled and melodic but I know it has to get heavier.

1:38 riff has a nice rise to it. Bass g fill just before drums enter at 1:47 is good but I wonder if it interferes with guitar on top. Seems like a clash so things might work better without it.

And now we're rocking, with stuff being thumped in a pleasing manner. Meaty bass tone, of course.

2:37 cool cymbal fill. Would work fine without the reverse in there as well. And now some soloing though it's a bit low in the mix.

2:54 is that transition a bit too abrupt? What it goes into is cool and different for you. Very acoustic sounding and with a fun, bouncy groove. A bit like reggae before the nice 3:12 lead g comes in. And then you're getting more progressive and creative with the percussion. The kind of stuff I like to do. Another guit solo with a distorted tone and then 3:47 return of guitar is most welcome. Easily the nicest guitar sound in this. Very clean and pleasing to the ears.

Shit is fading away and then you're doing some percussive skat singing for an ending. Good stuff. I liked all of it but 2:54 to the end is the best section as it has a good sense of space and groove (and melody etc). Fix a couple of small problems and it will be a fully fledged nice track bro.

Staticgynaecological Vagmad, fidling about with vag all day.

I had to fave this before I even got to the end.
You've mixed all the acoustic phrases so wonderfully that the song feels like it's breathing. Then the piano glides in and adds an extra shimmer to the airiness of the intro.
For me, the first 2 minutes sound like a lost track from Metallica's Master of Puppets. The light and the heavy parts blend seamlessly, driving the song forward and allowing new motifs to unfold. Then the final part brings in that funky bass and the track becomes it's own sound as it struts into the outro. We are left in silence to wonder 'WHAT THE HELL JUST HAPPENED!?". Then we hit 'play' again and all is good :)

(I think this means I liked it)

TA

Greetings my blue friend.

lovely acoustic intro that builds with Piano. smart arranging and composing. Your bass is mixed perfectly in the rear of the mix. I know it´s there but it´s not overwhelming, nice work. Then we build nicely into the harder heavier section. Again all the elements are working here. I like the time sig changes as well. 2:56 caught my attention, nice reverse into that section. what sounds like claps are interesting. Also nice ending as well, de-constructed well. Evan this is your best work in my opinion. High marks for composition, mixing, arranging, instrument choices. just good all around. fav
Steve (The Canadian who watched the Simpsons episode in 2000 and listened then and got out ;-))