Thank you.

Thank you, Anthony. I appreciate your time and kind feedback.
Take care.
V.

Thank you for the listen and the comment. I hope you enjoy part one.
Take care.
V.

Thank you. I'm glad you enjoyed it!

Take care.
V.

Greetings in return! Thank you for the kind words. I greatly appreciate it!

As far as Sylenth goes...pull the trigger and get it. It's a highly versatile synth and totally user friendly. The routing path is an easy one to follow and all the extra this-n-that's make for some sweet one of a kind patches. I bought it years ago and have used it in almost every track since then. If you check out my tune "I Hope You're Alright" you can get a good idea of what it can do. Other than the piano and drums, that's all I used. All the patches were custom built from the initial saw.
Honestly, I wish Lennar Digital has seen all the recommendations I've made. They'd have to sponsor me with free shit by now!

Thanks again.
Take care.
V.

Marco, sorry for the late reply. We are in the middle of a big move, and have had no time for anything.

That being said, Thank you for your kind words.

It's interesting that you hear pagan ceremonials. My intent was to convey a more underworld industrial setting. Just another testament to interpretation, and how one thing can be perceived so vastly different by separate entities. It amazes me, really.

Thank you again, my friend,
As always, take care.
Aaron.

Thank you. I'm glad you enjoyed it.

Thanks for the listen and the comment.

Take care.
V.

I would suggest it. There are a few people here that are a wealth of priceless advice and information. They are always ready and willing to share it without expecting anything in return. But, to find that advice, you have to take the time to dig through comments on other peoples tracks and in the forums.

It's worth the time and effort.

Take care.
V.

Thank you.

Additional minus points for absolutely no tact whatsoever.

Not only because of what Crucethus said in the comment above this one, but because sometimes you learn things by reading other comments. But, I'm guessing you aleady know everything there is to know.

You clearly don't read any other comments.

Thank you. I'm glad you enjoyed it.

Thanks for listening, man.

If I ever get around to searching a couple different storage drives to see if I still have this file backed up somewhere, I'll play around with the levels. But, until then, I've written this one off as a loss. The laptop that I created this one on took the proverbial shit and died. Along with it, this songs original file. But, I totally agree with what you mentioned, and if I could have, I already would have fixed it. But...such is life.

Either way, I appreciate the suggestion. Not enough people around here throw helpful critiques anymore. That's how we improve, right?

Anyhow...Take care, man.
V.

Thank you, sir! I'm glad you liked it.

Take care.
Aaron

Thank you, Wayne. I appreciate the kind words.

I have always tried to achieve painting with sound. It hasn't always worked, but I'm glad to hear that it did in this case.

Thanks again.

Take care.
Aaron.

Haha! Message received!

Thank you, sir.

"Bro-step". Even the name sounds ridiculous.

Back around 2012 and earlier, Dubstep was alright. It was a lot less...well, it was a lot less. Once Skrillex got his dick skinners on it, it turned to a load of histrionic garbage.

As far as the vocoder goes; No. I didn't use one. It's just a generous amount of LFO, envelope filters and added effect manipulations. Like chorus, distortion, dimension expanders, frequency shifting, etc. A lot of the times, with a good waveform a decimated distortion on the cutoff and resonance can give it a vocal effect, too.
Even though heavy metal is so deeply ingrained into my life that it may as well be part of my DNA, I still love doing this synth stuff because of all of the tweaking of knobs, and shifting of frequencies, the creating. It's the sound design more than the music really. It's like the equivalent of a painter inventing new colors.

"Its cool for me also to see others taking interest in your music bro"

Of all the comments I've received on my tracks, that is quite possibly the most meaningful. Thank you sir.

I hadn't really thought about it, but you're right. Others taking interest. After being (mostly) absent for so long, there are a lot of new "faces" that don't have any idea who Valvedriver is. It's like starting over. Which is okay. I can shed some of that notorious infamy! HAHA!

As always, my friend, it's good to hear from you. I always look forward to it when I put up something new. Even if there are tracks that never existed that might have rap in it, but don't, because Valvedriver would never do that. Ever. It doesn't exist.

Eric, take care, man.

Well, man. I'm flattered that you enjoyed it so much. It's always good to hear that as an artist, my work has an impact on someone.

As far as the dark atmosphere, there was a time when I was known here for being "the dark one". I mean, no one ever called me that...thank god. But in reference to music, that's what I was associated with.

I don't know if you ever listened to the first Labyrinth Of The Absurd or not, but if you like this one as much as you do, you will probably like that one just as much.

Thank you again for your extremely kind words. It's encouraging.

Take care.
Valvedriver

Hey man. Thanks for the trifecta! Listen, comment AND fav!

I'm glad you liked it. I agree that too many producers rely way too heavily on a limiter. Louder isn't always better. Unless you're at a Cannibal Corpse concert. Then it's pretty awesome. But as far as this kind of music goes...clipping is not an instrument!
If you haven't listened to Part 1, give it a whirl. It's different than this, but also very similar.
Thanks again, man. I truly appreciate it.

Take care.
V.

With this kind of music, tempo changes are a must. With as repetitive as everything else gets, it just gets boring without it. That's my opinion anyhow.

Yes. Treating the dubstep sounds as an instrument is very important. I've heard a LOT of dubstep that should have never been let out of it's cage because the mix was so uneven and just blasted to it's fullest levels. If used properly, the dubstep sounds can be really freakin' cool. In "Velvet Highway" (and other tracks off mine), I used them as accents and enhancers in he background to really push the main instruments forward.

This direction is actually the original starting sound of "Valvedriver" I've taken down a lot of my older work to make room for the newer. Most of what you've heard is the new direction. Even though I am a die hard metal fan since 1986 when it first got walking legs, (Like, everything from Metallica to Cannibal Corpse, and Slayer to Nile) I still love to do the synth based darker shit, too. I enjoy the tweaking and sound engineering. More so than actually making the music.

Thanks for taking the time to listen and comment.

Take care.