hello again
Just having few moments for listening to looperman. Not sure if I will be able to say something very original or useful here in terms of detailed feedback.
Basically everything seems to sound very smooth and clean to me in this production. The structure is transparent and the dynamic of the song is really good. Lots of interesting things happening inside the 'mix'. There is simply an impression that this song was something really enjoyable to write and recording for you - (I mean the process itself). I agree that your vocal work gets better. The songwriting is really good!
I will try to write more about my impressions about the entire album when I find more time for correspondence. I listened many times - making me re-think few things about the music and the sound in general.
This week is going to be a hard one too - I'll try to contact you as soon as I can.
Congrats on making such a nice song!
Best to you, A.
Hello my friend! Thank you for taking the time to comment on the song, as I know that the listening is far more important. You are entirely correct about this being an enjoyable experience! One of my favorite things in life is bring a song to completion which has the power of words which are meaningful to me. Sometimes time limits can really encourage this process, and the looming possibility of sentencing was a simple way to encourage myself. You have given me more impressions about my recent works than pretty much anyone, so I have no reason to expect more of you. You have probably heard the album more than most people as well, and that makes me happy. I will be responding to you soon, but I've just written at least 15000 characters this morning, so it may be a day or two. Thank you for listening!
hi! this is one enjoyable tune with happy vibe and nice melodies. I do not know why but the bassline, trumpet and other leads sound kind of positive while the organ chords have rather 'minor' mood qualities for me. Birds and sea backgrounds were nice too. I liked the tone of the noisy snare drum from the analog drum maschine. The way how you manage all those hardware electronic instruments is always impressive. I enjoyed listening. I liked visual artwork too. Faved! Alex
Hello again! Appreciate you being the first to offer some sort of appraisal here on the loop! Your views on the mood are interesting to me, and also most likely spot on. When I began the composition, I was feeling a glow, like I was in a good dream... then the organ part was the last instrument to be created, at a moment when I began to feel disjointed and frantic. Technically, the only trumpet sort of sound is part of the organ setup, and using that "wow" foot control almost gave me a blister on my toe... need to were socks or shoes next time! I find the modular part to sound rather saxophone-like. There is an unusual feeling throughout partly due to the C# phrygian mode which I chose to represent the color green, with subtle suggestions of A dominant bebop (resulting in a moment of honesty)... The note of A represents green in some other schools of thought, and the scales are enharmonic aside from that G which ties them together in the song. The birds are actually a flock of crows which visits our neighborhood around this time of year, and I captured them out the window of my studio last December... there is also a squirrel barking buried deep in there. The "sea" is actually the sound of the wind from the same recording... our city is one of the windiest areas in the country. The snare drums are not technically analog, though I can't say for sure the source of the sounds on the machine. This was far more involved, hardware/physically, compared to most of my synth stuff. Used foot controllers on four of the instruments to do accents in real time, as well as tweaking the string part in filter and delay domains. The artwork was a big influence on the song, and I can be thankful for that. Wonder why it didn't show me the fave on here? Oh well. Hope you are well! Thank you!
Hello again. I can connect myself to this one. I love the rhythmic fluctuations and the sound exploration you're doing here. That Kawasaki synth sounds really powerful - it's a bit like a sampled guitar metal performance getting heavily processed in a real time according to the drum loop timing. It gives the impression of having some great playability. The ending and the beginning are very similar (apart of the actual length) so I like to think of this track as a conceptual symmetry kind of thing (apart of it's apparent chaotic synth jam quality which is cool).
Amazing work!
Hi there! Happy that you listened to this one! The instrument used is actually barely an instrument, and this was it's death rattle. It sat on my bench for years as a mass of wires and plastic. I did a few long sampling sessions while I still had it around. These got chopped to death later, and turned into this. Not exactly playable as an instrument, but as samples sets for sure! I don't know when this instrument disappeared, but there it went... The "valley" idea, and the corresponding experimentation around this time regarding "audio sculpture" were based on FL Studio's pattern block setup, which is no longer supported. I would make an image with the pattern blacks, each of which corresponded to a certain arrangement in the pattern. This was a more simple one, but "foodcrow" is a more complex one with a different instrument. Was a fun piece of history. Thanks for listening!
thanks for detailed reply. Jarrett has recorded a great amount of classical keyboard music (also on harpsichord as well as some amount of church organ improvisations such as 'Spheres' https://www.youtube.com/watch?v=FUEr4TrP14c ). As for the country influences those are characteristic examples I think: https://www.youtube.com/watch?v=PCnj1PcLgrI and of course https://www.youtube.com/watch?v=o8FNeG6lmvE but in his solo piano performances there is a country style almost everywhere.
Hope it is relevant. I also say that because I plan to record few of his transcribed piano compositions I practised earlier this year.
Some of the slide guitar riffs you played are very characteristic and of course it a classic kind of sound which I am familiar with (ok, maybe in it's more acoustic form). By arranging distorted slide guitar riffs with heavier rock drumming and some synths you introduced some another interesting quality and it sounds really good to me. Raw slide guitar playing is usually always more airy.
Regarding to the volume I wasn't probably grammatically correct even.
Anyway I am trying to be open as possible and listen to very different styles (at least on Looperman) so sometimes it's a bit strange experience when moving from one track to another.
OK, I see what you mean about Keith Jarrett and country music. Definitely not my preferred type of music.
I understand now what you meant about the volume problem you had. I guess you always have to be prepared for totally different types of music when clicking on different tracks on Looperman and have to adjust how you listen.
hi again. that guitar clock-like metronomical background looped muted strumming thing was too sweet. I love the harmonics and I always enjoy listening to high frequency acoustic guitar range. Fine performance!
Perfect backing track with some excellent mood changes throughout. Always different without repetitions. Amazing how guitar and piano are corresponding in harmonics!
So maybe leave it as a teaser only. For me there is no need to add any vocals to this anymore at all. Just a thought.
You're great in songwriting anyway. Do what you want.
There is one low note played in the subbass register and I agree that it is not prominent enough (regarding to modern standards). not a bassline really but a modern creepy trappy kind of poor bassline.
after taking a listen to the original I must say I liked your interpretation somehow. Overall I can't help recall https://www.youtube.com/watch?v=XYsvZESoAuQ each time detuned techno synths appear in contemporary dance music. adding single filtered string notes (I see you manipulated the ROOM amount very carefully) was interesting. It changes somehow the color of the acapella and you seem adding new words and meanings even. So I assume it is kind of mental try/remix.
You seem operating on very different level. I am struggling by creating everything myself almost entirely from scratch, you know? Patterns, scales, progressions and things haha LOL
Nice to be able to listen to looperman takes of the very mainstream. Good luck!
hello. I just had a chance to listen to your tracks and I like this one probably the most. Vocals are perfectly placed and I find the arrangement very corresponding. The only thing I would change is a drum loop at 2:37. Instead of dropping it I would continue playing it along the following 2 bars. Just my opinion.
I really enjoyed background sounds and gentle strings. It is a kind of atmosphere that is always reminding me somehow of 'Seascape' by Robert Rich https://www.youtube.com/watch?v=p3SOAHSwZ3g
Congratsulations
Alex
hello. this is very good one. It is quite different from your others productions because the most chords here are major chords. When reading to the description I had some image in my mind of your song being an incredible combination of Purcell's Trumpet Tune https://www.youtube.com/watch?v=ngn77Nl9HIk with some stylish guitar blues music. Also I can hear very prominent country roots - something that always reminds me of Keith Jarrett.
I had to reduce drastically the volume when playing your track but it is not to say that it is too loud at all - it is because there are too many levels and visions on music on Looperman and I am getting easily confused sometimes.
Always good music from you and this tune is no different.
I enjoyed listening!
I know this sort of music is a bit "alien" and unfamiliar to you as you have said before that you don't really listen to hard rock music, in any of its many forms.
"most chords here are major chords"
That was not intentional. Maybe I usually go for minor chords because I like things to be deeper and a little bit sadder and darker. I'm clearly not trying to make happy, catchy pop music.
"I can hear very prominent country roots"
Good point and I wondered if anyone would notice that. I don't know why that is but the country vibe is just coming from some particular slide guitar parts. I could feel the country in that collection of notes when playing them. But I do a lot of slide playing and it rarely sounds like county - usually more like blues (which I much prefer).
I though Keith Jarrett was mostly a jazz/fusion guy. Didn't know he had anything to do with country music.
I had a listen to Purcell's Trumpet Tune and I think I know what you mean. My track also has quite a triumphant, bright sound to it.
"there are too many levels and visions on music on Looperman and I am getting easily confused sometimes."
I'm not really sure what that means but not to worry.
I like the way how you incorporated those battle elements as well as future war laser elements. Nice concept. It is basically a techno track and you did it very well. I love the positive resolutions in big classical forms in general. There is always a light.
I just played some of your other tracks and I can appreciate your acoustic ones. This one is different from others and it is way too hot mixed. It sounds very distorted at some regions to me but overall I liked your vision and the positive message of the track.
Thank you for listening my track
Im so glad you liked it
Thanks again for playing my other tracks and I should say "my acoustic tracks love you too (kidding :D)"
Thanks and Kindest regards
J_*
I had a chance to listen on better system and I really liked the overall message and your vision.
However, my observation and complain is that there is no realistic separation between instruments (regarding to the arrangement and the actual placing the layers/players within a composition). This happened to me many times when making everything myself so do not worry.
For example: there are uncontrolled frequencies coming from the bass guitar clashing with other layers - especially with middle frequency range of the electric 'rhythm guitar' section. So as a result it sounds as if there were at least 2 different chord progressions played simultaneously but in fact those are only 4 simple chords basically.
Just my opinion. Not sure if the problem is in actual playing or mixing. Maybe both or somewhere in between.
Apart of all that the vocals are cool and I truly appreciate the work you did with songwriting as well as the fact that you performed and mixed everything alone. Didgeridoo teaser was nice as well as stereo illusion on it and I really liked all slide guitar additions throughout.
Hey,
I know what you are saying, I am hearing the clash on certain speakers that I have played this on. I will eventually go back and try to fix it after I have gave my ears a break from the track for awhile. Thanks for checking out the track.
this is very fine and very bluesy. I am listening on poor laptop speakers now so there is not much to say in details.
I really liked what you did with EZ patterns - the slow tempo off beat sort of drumming works nicely. Interesting that you have both acoustic and electric guitars within the same composition - it is quite unusual but it really seem to work. I am going to download your song and will take a listen again later on headphones.
Congratulations on songwriting and production.
Alex
Your version of the song is amazing! I had a chance to listen to it very briefly this morning but the great amount of new elements you introduced was absolutely impressive to me and of course a little overwhelming by that very first listening. You definitely might reached 100 tracks total limit when working on this version! haha
It is hard to comprehend all this considering how much this piece has evolved and how many changes have been created since 'MasterA'. I love all the subtle details you added whithin the frames of composition! There is still a kind of stylistical openness in the terms of space (which I find very cool) but at the same time there is so much happening along the track (I mean the great amount of patterns, ideas pointing very different directions).
Your vocals are cool - the apparent simplicity/repetitivity (regarding to the message and the way it's delivered) is very attractive to me - it's basically a spoken word only but still very melodic and very linear oriented. I am in love with the very raw sound of instruments and raw sound of human voice.
It is impressive how many new elements you introduced here - those are hypnotic, trancy synth layers! Very cool. Also the mix is so pleasant to listen to. Recently I tend turning all the volume knobs up to the extreme on every gain stage which seems to be a good way to detect 'true dynamics' and the 'distortion' on the audio (with the gentle help of the ears haha). Needless to say that most of looperman music can't stand it!
I believe that so called very 'future' of the music (and the future of the humanity in general) can only be driven/progressed somewhere further only that moment when the actual exploring of inner creative possibilities whithin one's human body-mind is happening (I mean if it's happening in that very 'now' continous space). I believe it is a very moment-by-moment kind of 'consciousness' thing only. That's a kind of a general thought of mine haha but I hope you will agree with me at this point.
I really enjoyed listening to your version of the song a lot. Thank you for giving me such a precious inspiration and inviting me to into such a creative crazy trip!
I will try to write more after taking a closer listening to your mix.
Thank you for always being one of the first to comment on my uploads! I don't know if it just the timing (holidays and all) or what, but your version received a far more spectacular response. With that in mind I'm happy that you released it!
There is a large variety of sounds in here, and that is partly thank to your contributions and influences. I'm particularly happy with the spontaneous additions added with my pss-470 keyboard (just got it). The FM sound of it really adds a different touch, and it is so fun to improvise on despite the mini keys (used to those).
This turned out more lyrically repetitive than my intentions, but by the time I realized it I was fond of the arrangement. I'm glad you like the general rawness... I tried to move things more in that direction with this version. That may be part of why this is not well loved.
I think the mix turned out pretty nice considering how many things are going on within. I've been trying to err on the side of quietude and dynamics lately. I'm just getting so fatigued by all the heavily layered brickwalled modern underground. It's hard for me to close my ears, you know what I mean.
I do agree about your "consciousness" comment. I was just speaking about a similar thing with a friend... my actions, not just in music, are often about changing and teaching by using the moment where energy and matter combine. I believe there are some parallels with what you were speaking about. A continuous stream of moments with decidedly and subtly life changing happenings.
I'm happy we were able to create a couple of songs together, and I think that it won't be the last time! Appreciate your words my friend!
PS. haha I should have checked your replies before commenting! I see that you actually explained some technical details regarding to your work on this arrangement in your reply to PJB. Maybe my listening perspective is quite different as I do not really use much hardware stuff for processing the sound.
This summer I started recording classical music on real instruments with quality microphones but that's an another story. It has nothing much to do with my current looperman works which are basically made using synthesizers and DAW. I plan to post some of my classical tracks on SC and maybe here as well at some point in the future.
Much of what you put forward I find difficult to respond too. The notion of abstract speculations and eventual positive very slight change of the colour of single tracks/insturments/layers I just dont understand. Similarly you suggest It is not to say that any further adjustments are necessary in your arrangement at but go on to further suggest Some processing (it might be a real-time processing when recording instruments as well) may help to add some warmth or presence or change positively the overall sound of the mix. Its confusing.
Firstly my prime goal is to produce something that is sonically pleasant to listen to. Something with some dynamic range and a balanced frequency spread. I also try my best to control the subs and achieve what I consider to be a clean sound. Starting from the back the drums and drumming are provided by Superior Drummer 2. An excellent piece of software that contains studio quality samples using multi mic kits (all of which are adjustable and controllable) with session drummers providing some nice grooves and fills (again all programmable, editable and controllable). The quality of the sounds and the playing is remarkable and who in their right mind would want to mess around with it by inserting a retro pluggin somewhere? Sacrilidge!
I also try, wherever possible, to play as much of the instrumentation as I can. Normally I would play the bass line in but on this occassion I really liked the synth bass sound so it was programmed in. There is an acoustic guitar on the verses (single chords along with the piano) and an electic rhthym guitar in the choruses. The acoustic is recorded using an AKG D202 and pre amp and the electric directly into my mic pre amp. Everything else (strings, pianos etc) are patches from Logic Pro X. Linear phase EQ to control the subs and some mid range tweaking to hopefully provide some distance between each instrument. The icing on the cake is the remarkable and talented Lisa Worth who sings and performs beautifully. Recorded using an AKG C3000 through a valve pre amp with just a little compression to control the dynamics. Some EQ and reverb added post recording and thats about it.
When recording is complete I usually leave it for a couple of days before I mix. Likewise I always leave a few days between mixing and mastering (an art I am learning about slowly). I also try to listen to the finished product on several different systems to see how it sounds. My monitoring system in the studio (JBL Control 5s with an old Quad 406 driving them) I am very familiar with and I get a pretty consistent sound from it.
So there you go. Hope that was useful and if there is anything else message me directly please. Happy to fill in some more gaps if needed.
Good luck with recording classical music with real instruments and microphones. That for me is where its all at. I would be interested to hear some of it too.
thank you for your kind reply! Indeed that's only my personal view and probably I am trying to project it too much in my previous comment.
I always tend to assume that there is something to investigate and to consider (and also to improve) when comes to music-making. Maybe I should change that attitude when commenting on other's stuff.
It doesn't take anything from my true appreciation of your work at all! Those are only some abstract speculations of mine after listening to your mix, nothing really serious. By mentioning the 'retro' processing I was only speculating about the possibilities of eventual positive very slight changes of the color of single tracks/instruments/layers. It is not to say that any further adjustments are necessary in your arrangement at all. Some processing (it might be a real-time processing when recording instruments as well) may help to add some warmth or presence or change positively the overall sound of the mix - that's just a concept.
I know that digital processing diminishes the original signal and basically it affects the sound in a negative way. Also I avoid using limiters as possible. They help to make music loud enough but here on Looperman I can just produce the music that I like so there is noo need for me to adjust it to any specific contemporary radio volume standards at all. I am only trying to get as much quality sound from the very beginning as I can and honestly I do not care about mastering to the modern level that much so far. Also I do not make music in any particular style at the moment (which is confusing to others I guess).
I really liked your vision and I truly appreciate sound-image of your arrangement. Sorry if I was a bit unclear and difficult.
This is one great song. I entirely agree with others - it could be easily played on the radio. I have a CD compilation with 70's/80's soul/discofunk titled '100% Pure Groove' and your production is so smooth and stylish regarding to this. The arrangement is very gentle. I am really enjoying keys, soft strings and funky bassline a lot.
I think you can always consider processing each instrumental track using some retro plugins for example, or maybe adding a 80's type of re-verb on drums even (I am using this simple software http://www.vst4free.com/free_vst.php?id=1872 which can make drums sound so very 80's). Also the older music is usually quieter. Listening closely on headphones yesterday I noticed a little overpower on the vox track (especially around 2:16, 2:31 and similar places) - maybe it is just a bit too hot mixed. The guitar around 2:50 may profit from adding a bright reverb to correspond stylistically with vox better. I say this because I had impression that it is placed somewhere much closer in the mix but I really liked your playing. It is a slow ballad so maybe a little bit of sax would be cool at places as well.
Those are just few ideas of mine after listening closely to your track. I am not a professional producer haha. I hope it is relevant somehow anyway.
I am always impressed by your instrumental arranging work. Thank you for sharing with us such a nice song.
Alex
Nice to have such a detailed and diagnositic appraisal of my work. Thank you. I especially appreciate your comments regarding the the gengle arrangement and smooth and stylish production. Very rewarding indeed.
As for retro pluggins I'm afraid I can't agree at all with your view. For me any processing of of tracks has to add value to the original sound and as I wasn't after a totally 80's style the natural sound of the drumkit, albeit a more modern sounding kit, worked for me.
Again, comparing my track with "older music" isn't relevant particlarly as I mix for speakers and high quality sound systems rather than headphones.
I'm not sure what "overpower" is but perhaps my quest to include as much dynamic range as I can in my work may have some bearing. Not sure about the addition of reverb to correspond stylisitacally to the vocals. It's not how I work at all. Similarly the additon of sax is a purely personal view which was never on my agenda.
Maybe sometimes it's more difficult to read into a track what the producer had in mind and easier to interpret the song in one's own way. I am still learning and I'm grateful for your thoughts.
hello
this is one very stylish funky number! I mean not only at 0:03 but also from 0:46! 2:40 - 3:15 some brilliant guitar jazzy madness. Your instrumental skills are so impressive. The choir type of synth on the outro section is fine too.
Are you interested in collaborations? I think I could contribute some interesting synthesizers sometime.
I really enjoyed this track from you.
Thanks so much Alex for those inspiring words,glad you enjoyed the track.As far as collaboration goes, i dont really believe i would have the time to be honest as i struggle to keep my looperman input going with work committments as it is but if i do undertake that route in the future i will certainly give you a look as your work is awesome.good luck.
hello. good to see your track being uploaded on this goofy website again.
I find all those war drums and 'staccatos' very generic sounding for some reason (just my honest opinion). It's because I can't stand Gladiator emotional type of cinema music anymore. Sorry to say. The instrumental reminisces basically a kind of a simplified poor duplicate of Hans Zimmer in general.
Apart of all this I liked your guitar additions.
2:06 - was nice too (from 0:12 as well). 3:24 - cool. Good work with this. That would be the first track with live guitars you posted here, or? Can't recall any other one anyway.
Well done!
hello Evan. Acouistic guitars are wonderfully clean on the first section and there is a perfect amount of delay on them. Second part is fine too - more funky and I like synths a lot. There are so many enjoyable details throughout making me want to loop your track again and again. The character of that bass effect corresponds nicely with the drumming. It is definitely a more inventive, creative track from you.
Also the balance between melodic and dynamic elements is perfect. The narration is very smooth at the same time and it is truly a coherent composition.
Very enjoyable music to listen to!
Congratulations on making such a nice track.
Alex
Very high praise. I thank you very much. I really enjoyed doing this one and messing with the acoustic. Not an expensive acoustic, but sounds rather good. I always finger-pick the guitar and pick the bass. A bit backwards.
Thank you again for the kind words and the listen. It is appreciated.
It's great that you updated this one in a short time. Impressive how it is different
0:20 - very nice bassline, it sounds like a guitar. I do not like the synth on the left channel very much - it is filling the harmony but somehow it could sound brighter/sharper, at least to me.
0:50 - introducing single piano riff was good and it corresponds nicely with the vox
1:09 - there' is a slight distortion on the vocal track, probably caused again by the compression.
0:17 - your piano sounds like played from the distance and it has some 'pumping' qualities in this particular mix context. Which plugin did you use? Maybe it is good to reduce the reverb and delay. You can also render the single piano track without the effects then import the mixdown and work with the audio only. I do that a lot. The entire project will be definitely played much more stable inside your DAW when you remove plugins.
The section starting from around 1:17 may need some adjustments. Snare drum could be louder as well as percussions.
1:58 - new synth but it has quite similar color to the bassline. You can always find some fitting funky guitar loop or something similar here. It might help to fill the space and change positively the feel of the music. .
2:37 - kick is nice but you can introduce some other elements too. There is a synth from 2:50 but it again needs more presence (in my opinion). To me the vocal sounds wide - the rest quite narrow. Also you might consider enhancing hihats and other percussions.
Why do not play let's say a bassline and piano tracks only for example? Then maybe try observe (by ear) the actual space in the frequency range available for each instrument and see how they eventually 'clash' inside the mix. You can somehow separate them. It might be difficult because you tend to use too much of reverb and delay effects. Did you equalize instruments using eq-plugin's presets? It may help a lot - I use presets for eqing sometimes as well.
I hope some of this is useful. Those are just my opinions so do not take it too seriously haha
Congratulations on developing the arrangement into such a nice thing. I enjoyed listening!
Best, Alex
Hi Alex, ha ha you really are dedicated to music, I can tell. Thanks a lot for all the advice and giving me an idea of what to do with this.
I tried to fix the distortion and pumping issues with mixing down again, rendering to audio files and panning and rearranging and...puuuuuh also tride my hand on a simple mastering with the FL Limiter and...oh no now I forgot the name of the other plug in. Anyway - the result isn't that good but I really, really learned some new things! So it was definitely worth the effort, and kind of fun also.
So thanks again.
Cheers!
Very fine work on this one! You are making a significant progressions with your music and I entirely agree with all crucethus' remarks. I want add the 'pumping' issue overkill. It is noticable at 0:50 and 1:04 when excessive compression affects the mix.
At least this is what I can hear on headphones. Also I'd love to have more dynamics and natural presence of the instruments but that's just my prefference.
Apart of all that your choice of vocals in fine and I really liked the entire arrangement. It is a lovely song. Best, Alex
Hi Alex, nice to see you here!
Pumping issue - noticed. I'm trying to improve this today. the problem is my CPU, it's already clipping in the DAW...hard to fix anything.
More Dynamics noted also, I'll try.
hello
this is so fine and pleasant to my ears but I have few questions to ask.
Is the guitar a loop? It sounds like it is. What about the percussions? Seems like there are definitely some.
What about 3:23 slight detune? Was it intentional?
Hahahaa
Apart of all that I find the recording very cool sounding and soothing - you're definitely a favourite female vocalist on here.
Alex
Hello Alex,
Thx for your nice comment :)
Well, I found the instrumental version of the song and just sang it.
I guess the guitarist knocks his guitar while he's playing.
Yes, the detune is intentional, that's the same in the original song.
Merci for your words. I really tried to be make it sound tidy and I'm not good at mixing in general, due to poor equipment.
Happy you enjoyed the listening.
Peace,
Carole
I really like this one. I must say when the glassy pad started I was expecting the bass in other key. Also that very soft string pad sounds a little disconnected harmonically. Overall quite strange combination but it makes the beat sound sort of mysterious and intriguing. Nice minimal work.
hello.
the first section sounds really stylish. The transition around 2:00 with male choir is quite strange but that second part is interesting. Overall those 2 sections of the track seem a bit disconnected for some reason, at least to me. I guess it was intentional so I won't bother.
I just checked the original on yt. Your vocal version is definitely much more western-influenced but it is still very evocative. Your vocal possibilities are really impressive.
I enjoyed listening, Thank you for posting this song. Alex
Hello Alex and thx for your nice and detailled comment :)
You're right about the intended disconnected parts. Sounds a little awkward, I know, but I wanted to create a sort of soothing after a tensed beginning. Sthg like a hopeful opening.
Merci for your visit & words,
Peace,
Carole
Just to say to you that I've been trying to apply external thoughts/concepts on sidechain compression which I guess is very crucial in/at house genres. In other words I have tried sidechain compression but couldn't even touch that kick light/delight pumping as present on on your track.
Very cool one track otherwise!
Sorry for a comment in negative regarding to my efforts. I truly enjoyed listening!
hello. I really like what you did with the Mind Fields. Interesting that you sampled the intro/outro - your version is minor 3rd lower than original.
To me the guitar is somehow starting to affect the drums from 0:23 inside your mix too much so they seem to almost dissapear at places. I might be totally wrong though as I do not listen to heavier music at all so do not take that remark too seriously.
I like that section from 1:22 with a little bit of guitar solo as well.
Kind of a straightforward approach and obviously not that funky as the original but considering the genre you really did a great job with this one.
on Modern Disease by Spivkurl
Just having few moments for listening to looperman. Not sure if I will be able to say something very original or useful here in terms of detailed feedback.
Basically everything seems to sound very smooth and clean to me in this production. The structure is transparent and the dynamic of the song is really good. Lots of interesting things happening inside the 'mix'. There is simply an impression that this song was something really enjoyable to write and recording for you - (I mean the process itself). I agree that your vocal work gets better. The songwriting is really good!
I will try to write more about my impressions about the entire album when I find more time for correspondence. I listened many times - making me re-think few things about the music and the sound in general.
This week is going to be a hard one too - I'll try to contact you as soon as I can.
Congrats on making such a nice song!
Best to you, A.
on Roots and Branches by Spivkurl
on Valley by Spivkurl
Amazing work!
on Roar Stone by StaticNomad
thanks for detailed reply. Jarrett has recorded a great amount of classical keyboard music (also on harpsichord as well as some amount of church organ improvisations such as 'Spheres' https://www.youtube.com/watch?v=FUEr4TrP14c ). As for the country influences those are characteristic examples I think: https://www.youtube.com/watch?v=PCnj1PcLgrI and of course https://www.youtube.com/watch?v=o8FNeG6lmvE but in his solo piano performances there is a country style almost everywhere.
Hope it is relevant. I also say that because I plan to record few of his transcribed piano compositions I practised earlier this year.
Some of the slide guitar riffs you played are very characteristic and of course it a classic kind of sound which I am familiar with (ok, maybe in it's more acoustic form). By arranging distorted slide guitar riffs with heavier rock drumming and some synths you introduced some another interesting quality and it sounds really good to me. Raw slide guitar playing is usually always more airy.
Regarding to the volume I wasn't probably grammatically correct even.
Anyway I am trying to be open as possible and listen to very different styles (at least on Looperman) so sometimes it's a bit strange experience when moving from one track to another.
Best, A.
I understand now what you meant about the volume problem you had. I guess you always have to be prepared for totally different types of music when clicking on different tracks on Looperman and have to adjust how you listen.
Take care.
on Just Let It Go - Instrumental - Vocal Ready by BradoSanz
Perfect backing track with some excellent mood changes throughout. Always different without repetitions. Amazing how guitar and piano are corresponding in harmonics!
So maybe leave it as a teaser only. For me there is no need to add any vocals to this anymore at all. Just a thought.
You're great in songwriting anyway. Do what you want.
Brado
on Remixed Seeing Whats Next by Darklighter
after taking a listen to the original I must say I liked your interpretation somehow. Overall I can't help recall https://www.youtube.com/watch?v=XYsvZESoAuQ each time detuned techno synths appear in contemporary dance music. adding single filtered string notes (I see you manipulated the ROOM amount very carefully) was interesting. It changes somehow the color of the acapella and you seem adding new words and meanings even. So I assume it is kind of mental try/remix.
You seem operating on very different level. I am struggling by creating everything myself almost entirely from scratch, you know? Patterns, scales, progressions and things haha LOL
Nice to be able to listen to looperman takes of the very mainstream. Good luck!
on Prison by the Sea by toastedavalanche
I really enjoyed background sounds and gentle strings. It is a kind of atmosphere that is always reminding me somehow of 'Seascape' by Robert Rich https://www.youtube.com/watch?v=p3SOAHSwZ3g
Congratsulations
Alex
on Roar Stone by StaticNomad
I had to reduce drastically the volume when playing your track but it is not to say that it is too loud at all - it is because there are too many levels and visions on music on Looperman and I am getting easily confused sometimes.
Always good music from you and this tune is no different.
I enjoyed listening!
I know this sort of music is a bit "alien" and unfamiliar to you as you have said before that you don't really listen to hard rock music, in any of its many forms.
"most chords here are major chords"
That was not intentional. Maybe I usually go for minor chords because I like things to be deeper and a little bit sadder and darker. I'm clearly not trying to make happy, catchy pop music.
"I can hear very prominent country roots"
Good point and I wondered if anyone would notice that. I don't know why that is but the country vibe is just coming from some particular slide guitar parts. I could feel the country in that collection of notes when playing them. But I do a lot of slide playing and it rarely sounds like county - usually more like blues (which I much prefer).
I though Keith Jarrett was mostly a jazz/fusion guy. Didn't know he had anything to do with country music.
I had a listen to Purcell's Trumpet Tune and I think I know what you mean. My track also has quite a triumphant, bright sound to it.
"there are too many levels and visions on music on Looperman and I am getting easily confused sometimes."
I'm not really sure what that means but not to worry.
Thanks for the feedback.
on Stop the wars by JasonCroft
I just played some of your other tracks and I can appreciate your acoustic ones. This one is different from others and it is way too hot mixed. It sounds very distorted at some regions to me but overall I liked your vision and the positive message of the track.
Good luck with your music!
Im so glad you liked it
Thanks again for playing my other tracks and I should say "my acoustic tracks love you too (kidding :D)"
Thanks and Kindest regards
J_*
on In Too Deep by ImproveWithError
I had a chance to listen on better system and I really liked the overall message and your vision.
However, my observation and complain is that there is no realistic separation between instruments (regarding to the arrangement and the actual placing the layers/players within a composition). This happened to me many times when making everything myself so do not worry.
For example: there are uncontrolled frequencies coming from the bass guitar clashing with other layers - especially with middle frequency range of the electric 'rhythm guitar' section. So as a result it sounds as if there were at least 2 different chord progressions played simultaneously but in fact those are only 4 simple chords basically.
Just my opinion. Not sure if the problem is in actual playing or mixing. Maybe both or somewhere in between.
Apart of all that the vocals are cool and I truly appreciate the work you did with songwriting as well as the fact that you performed and mixed everything alone. Didgeridoo teaser was nice as well as stereo illusion on it and I really liked all slide guitar additions throughout.
Greetings, Alex
I know what you are saying, I am hearing the clash on certain speakers that I have played this on. I will eventually go back and try to fix it after I have gave my ears a break from the track for awhile. Thanks for checking out the track.
Kyle
on In Too Deep by ImproveWithError
this is very fine and very bluesy. I am listening on poor laptop speakers now so there is not much to say in details.
I really liked what you did with EZ patterns - the slow tempo off beat sort of drumming works nicely. Interesting that you have both acoustic and electric guitars within the same composition - it is quite unusual but it really seem to work. I am going to download your song and will take a listen again later on headphones.
Congratulations on songwriting and production.
Alex
on Premonator With Promenade2239 by Spivkurl
Your version of the song is amazing! I had a chance to listen to it very briefly this morning but the great amount of new elements you introduced was absolutely impressive to me and of course a little overwhelming by that very first listening. You definitely might reached 100 tracks total limit when working on this version! haha
It is hard to comprehend all this considering how much this piece has evolved and how many changes have been created since 'MasterA'. I love all the subtle details you added whithin the frames of composition! There is still a kind of stylistical openness in the terms of space (which I find very cool) but at the same time there is so much happening along the track (I mean the great amount of patterns, ideas pointing very different directions).
Your vocals are cool - the apparent simplicity/repetitivity (regarding to the message and the way it's delivered) is very attractive to me - it's basically a spoken word only but still very melodic and very linear oriented. I am in love with the very raw sound of instruments and raw sound of human voice.
It is impressive how many new elements you introduced here - those are hypnotic, trancy synth layers! Very cool. Also the mix is so pleasant to listen to. Recently I tend turning all the volume knobs up to the extreme on every gain stage which seems to be a good way to detect 'true dynamics' and the 'distortion' on the audio (with the gentle help of the ears haha). Needless to say that most of looperman music can't stand it!
I believe that so called very 'future' of the music (and the future of the humanity in general) can only be driven/progressed somewhere further only that moment when the actual exploring of inner creative possibilities whithin one's human body-mind is happening (I mean if it's happening in that very 'now' continous space). I believe it is a very moment-by-moment kind of 'consciousness' thing only. That's a kind of a general thought of mine haha but I hope you will agree with me at this point.
I really enjoyed listening to your version of the song a lot. Thank you for giving me such a precious inspiration and inviting me to into such a creative crazy trip!
I will try to write more after taking a closer listening to your mix.
Best to you, Alex
There is a large variety of sounds in here, and that is partly thank to your contributions and influences. I'm particularly happy with the spontaneous additions added with my pss-470 keyboard (just got it). The FM sound of it really adds a different touch, and it is so fun to improvise on despite the mini keys (used to those).
This turned out more lyrically repetitive than my intentions, but by the time I realized it I was fond of the arrangement. I'm glad you like the general rawness... I tried to move things more in that direction with this version. That may be part of why this is not well loved.
I think the mix turned out pretty nice considering how many things are going on within. I've been trying to err on the side of quietude and dynamics lately. I'm just getting so fatigued by all the heavily layered brickwalled modern underground. It's hard for me to close my ears, you know what I mean.
I do agree about your "consciousness" comment. I was just speaking about a similar thing with a friend... my actions, not just in music, are often about changing and teaching by using the moment where energy and matter combine. I believe there are some parallels with what you were speaking about. A continuous stream of moments with decidedly and subtly life changing happenings.
I'm happy we were able to create a couple of songs together, and I think that it won't be the last time! Appreciate your words my friend!
on All Woman featuring Lisa Worth by RichieWinn
This summer I started recording classical music on real instruments with quality microphones but that's an another story. It has nothing much to do with my current looperman works which are basically made using synthesizers and DAW. I plan to post some of my classical tracks on SC and maybe here as well at some point in the future.
Much of what you put forward I find difficult to respond too. The notion of abstract speculations and eventual positive very slight change of the colour of single tracks/insturments/layers I just dont understand. Similarly you suggest It is not to say that any further adjustments are necessary in your arrangement at but go on to further suggest Some processing (it might be a real-time processing when recording instruments as well) may help to add some warmth or presence or change positively the overall sound of the mix. Its confusing.
Firstly my prime goal is to produce something that is sonically pleasant to listen to. Something with some dynamic range and a balanced frequency spread. I also try my best to control the subs and achieve what I consider to be a clean sound. Starting from the back the drums and drumming are provided by Superior Drummer 2. An excellent piece of software that contains studio quality samples using multi mic kits (all of which are adjustable and controllable) with session drummers providing some nice grooves and fills (again all programmable, editable and controllable). The quality of the sounds and the playing is remarkable and who in their right mind would want to mess around with it by inserting a retro pluggin somewhere? Sacrilidge!
I also try, wherever possible, to play as much of the instrumentation as I can. Normally I would play the bass line in but on this occassion I really liked the synth bass sound so it was programmed in. There is an acoustic guitar on the verses (single chords along with the piano) and an electic rhthym guitar in the choruses. The acoustic is recorded using an AKG D202 and pre amp and the electric directly into my mic pre amp. Everything else (strings, pianos etc) are patches from Logic Pro X. Linear phase EQ to control the subs and some mid range tweaking to hopefully provide some distance between each instrument. The icing on the cake is the remarkable and talented Lisa Worth who sings and performs beautifully. Recorded using an AKG C3000 through a valve pre amp with just a little compression to control the dynamics. Some EQ and reverb added post recording and thats about it.
When recording is complete I usually leave it for a couple of days before I mix. Likewise I always leave a few days between mixing and mastering (an art I am learning about slowly). I also try to listen to the finished product on several different systems to see how it sounds. My monitoring system in the studio (JBL Control 5s with an old Quad 406 driving them) I am very familiar with and I get a pretty consistent sound from it.
So there you go. Hope that was useful and if there is anything else message me directly please. Happy to fill in some more gaps if needed.
Good luck with recording classical music with real instruments and microphones. That for me is where its all at. I would be interested to hear some of it too.
Best regards.
Richie
on All Woman featuring Lisa Worth by RichieWinn
thank you for your kind reply! Indeed that's only my personal view and probably I am trying to project it too much in my previous comment.
I always tend to assume that there is something to investigate and to consider (and also to improve) when comes to music-making. Maybe I should change that attitude when commenting on other's stuff.
It doesn't take anything from my true appreciation of your work at all! Those are only some abstract speculations of mine after listening to your mix, nothing really serious. By mentioning the 'retro' processing I was only speculating about the possibilities of eventual positive very slight changes of the color of single tracks/instruments/layers. It is not to say that any further adjustments are necessary in your arrangement at all. Some processing (it might be a real-time processing when recording instruments as well) may help to add some warmth or presence or change positively the overall sound of the mix - that's just a concept.
I know that digital processing diminishes the original signal and basically it affects the sound in a negative way. Also I avoid using limiters as possible. They help to make music loud enough but here on Looperman I can just produce the music that I like so there is noo need for me to adjust it to any specific contemporary radio volume standards at all. I am only trying to get as much quality sound from the very beginning as I can and honestly I do not care about mastering to the modern level that much so far. Also I do not make music in any particular style at the moment (which is confusing to others I guess).
I really liked your vision and I truly appreciate sound-image of your arrangement. Sorry if I was a bit unclear and difficult.
Best to you, Alex
Yes a bit unclear and difficult just about sums it up!!! LOL. See my response above.
Richie
on All Woman featuring Lisa Worth by RichieWinn
This is one great song. I entirely agree with others - it could be easily played on the radio. I have a CD compilation with 70's/80's soul/discofunk titled '100% Pure Groove' and your production is so smooth and stylish regarding to this. The arrangement is very gentle. I am really enjoying keys, soft strings and funky bassline a lot.
I think you can always consider processing each instrumental track using some retro plugins for example, or maybe adding a 80's type of re-verb on drums even (I am using this simple software http://www.vst4free.com/free_vst.php?id=1872 which can make drums sound so very 80's). Also the older music is usually quieter. Listening closely on headphones yesterday I noticed a little overpower on the vox track (especially around 2:16, 2:31 and similar places) - maybe it is just a bit too hot mixed. The guitar around 2:50 may profit from adding a bright reverb to correspond stylistically with vox better. I say this because I had impression that it is placed somewhere much closer in the mix but I really liked your playing. It is a slow ballad so maybe a little bit of sax would be cool at places as well.
Those are just few ideas of mine after listening closely to your track. I am not a professional producer haha. I hope it is relevant somehow anyway.
I am always impressed by your instrumental arranging work. Thank you for sharing with us such a nice song.
Alex
Nice to have such a detailed and diagnositic appraisal of my work. Thank you. I especially appreciate your comments regarding the the gengle arrangement and smooth and stylish production. Very rewarding indeed.
As for retro pluggins I'm afraid I can't agree at all with your view. For me any processing of of tracks has to add value to the original sound and as I wasn't after a totally 80's style the natural sound of the drumkit, albeit a more modern sounding kit, worked for me.
Again, comparing my track with "older music" isn't relevant particlarly as I mix for speakers and high quality sound systems rather than headphones.
I'm not sure what "overpower" is but perhaps my quest to include as much dynamic range as I can in my work may have some bearing. Not sure about the addition of reverb to correspond stylisitacally to the vocals. It's not how I work at all. Similarly the additon of sax is a purely personal view which was never on my agenda.
Maybe sometimes it's more difficult to read into a track what the producer had in mind and easier to interpret the song in one's own way. I am still learning and I'm grateful for your thoughts.
Best
Richie
on The thrill is back by Rhodesy
this is one very stylish funky number! I mean not only at 0:03 but also from 0:46! 2:40 - 3:15 some brilliant guitar jazzy madness. Your instrumental skills are so impressive. The choir type of synth on the outro section is fine too.
Are you interested in collaborations? I think I could contribute some interesting synthesizers sometime.
I really enjoyed this track from you.
Best, Alex
on Genesis by Joyce
I find all those war drums and 'staccatos' very generic sounding for some reason (just my honest opinion). It's because I can't stand Gladiator emotional type of cinema music anymore. Sorry to say. The instrumental reminisces basically a kind of a simplified poor duplicate of Hans Zimmer in general.
Apart of all this I liked your guitar additions.
2:06 - was nice too (from 0:12 as well). 3:24 - cool. Good work with this. That would be the first track with live guitars you posted here, or? Can't recall any other one anyway.
Well done!
on Constellation by Evisma
Also the balance between melodic and dynamic elements is perfect. The narration is very smooth at the same time and it is truly a coherent composition.
Very enjoyable music to listen to!
Congratulations on making such a nice track.
Alex
Very high praise. I thank you very much. I really enjoyed doing this one and messing with the acoustic. Not an expensive acoustic, but sounds rather good. I always finger-pick the guitar and pick the bass. A bit backwards.
Thank you again for the kind words and the listen. It is appreciated.
Evan
on Update Needle In The Hay Ft VSlimm FAnalysis by SeriouslyJoking
It's great that you updated this one in a short time. Impressive how it is different
0:20 - very nice bassline, it sounds like a guitar. I do not like the synth on the left channel very much - it is filling the harmony but somehow it could sound brighter/sharper, at least to me.
0:50 - introducing single piano riff was good and it corresponds nicely with the vox
1:09 - there' is a slight distortion on the vocal track, probably caused again by the compression.
0:17 - your piano sounds like played from the distance and it has some 'pumping' qualities in this particular mix context. Which plugin did you use? Maybe it is good to reduce the reverb and delay. You can also render the single piano track without the effects then import the mixdown and work with the audio only. I do that a lot. The entire project will be definitely played much more stable inside your DAW when you remove plugins.
The section starting from around 1:17 may need some adjustments. Snare drum could be louder as well as percussions.
1:58 - new synth but it has quite similar color to the bassline. You can always find some fitting funky guitar loop or something similar here. It might help to fill the space and change positively the feel of the music. .
2:37 - kick is nice but you can introduce some other elements too. There is a synth from 2:50 but it again needs more presence (in my opinion). To me the vocal sounds wide - the rest quite narrow. Also you might consider enhancing hihats and other percussions.
Why do not play let's say a bassline and piano tracks only for example? Then maybe try observe (by ear) the actual space in the frequency range available for each instrument and see how they eventually 'clash' inside the mix. You can somehow separate them. It might be difficult because you tend to use too much of reverb and delay effects. Did you equalize instruments using eq-plugin's presets? It may help a lot - I use presets for eqing sometimes as well.
I hope some of this is useful. Those are just my opinions so do not take it too seriously haha
Congratulations on developing the arrangement into such a nice thing. I enjoyed listening!
Best, Alex
I tried to fix the distortion and pumping issues with mixing down again, rendering to audio files and panning and rearranging and...puuuuuh also tride my hand on a simple mastering with the FL Limiter and...oh no now I forgot the name of the other plug in. Anyway - the result isn't that good but I really, really learned some new things! So it was definitely worth the effort, and kind of fun also.
So thanks again.
Cheers!
on Update Needle In The Hay Ft VSlimm FAnalysis by SeriouslyJoking
Very fine work on this one! You are making a significant progressions with your music and I entirely agree with all crucethus' remarks. I want add the 'pumping' issue overkill. It is noticable at 0:50 and 1:04 when excessive compression affects the mix.
At least this is what I can hear on headphones. Also I'd love to have more dynamics and natural presence of the instruments but that's just my prefference.
Apart of all that your choice of vocals in fine and I really liked the entire arrangement. It is a lovely song. Best, Alex
Pumping issue - noticed. I'm trying to improve this today. the problem is my CPU, it's already clipping in the DAW...hard to fix anything.
More Dynamics noted also, I'll try.
Thanks!
on More Than Words -cover by janis71
this is so fine and pleasant to my ears but I have few questions to ask.
Is the guitar a loop? It sounds like it is. What about the percussions? Seems like there are definitely some.
What about 3:23 slight detune? Was it intentional?
Hahahaa
Apart of all that I find the recording very cool sounding and soothing - you're definitely a favourite female vocalist on here.
Alex
Thx for your nice comment :)
Well, I found the instrumental version of the song and just sang it.
I guess the guitarist knocks his guitar while he's playing.
Yes, the detune is intentional, that's the same in the original song.
Merci for your words. I really tried to be make it sound tidy and I'm not good at mixing in general, due to poor equipment.
Happy you enjoyed the listening.
Peace,
Carole
on half emotion problem by adamms
I really like this one. I must say when the glassy pad started I was expecting the bass in other key. Also that very soft string pad sounds a little disconnected harmonically. Overall quite strange combination but it makes the beat sound sort of mysterious and intriguing. Nice minimal work.
on Ederlazi home made version by janis71
the first section sounds really stylish. The transition around 2:00 with male choir is quite strange but that second part is interesting. Overall those 2 sections of the track seem a bit disconnected for some reason, at least to me. I guess it was intentional so I won't bother.
I just checked the original on yt. Your vocal version is definitely much more western-influenced but it is still very evocative. Your vocal possibilities are really impressive.
I enjoyed listening, Thank you for posting this song. Alex
You're right about the intended disconnected parts. Sounds a little awkward, I know, but I wanted to create a sort of soothing after a tensed beginning. Sthg like a hopeful opening.
Merci for your visit & words,
Peace,
Carole
on Dancing To The War Drums by crucethus
Just to say to you that I've been trying to apply external thoughts/concepts on sidechain compression which I guess is very crucial in/at house genres. In other words I have tried sidechain compression but couldn't even touch that kick light/delight pumping as present on on your track.
Very cool one track otherwise!
Sorry for a comment in negative regarding to my efforts. I truly enjoyed listening!
Best to you, Alex
Steve
on Mindfields by Yan87
To me the guitar is somehow starting to affect the drums from 0:23 inside your mix too much so they seem to almost dissapear at places. I might be totally wrong though as I do not listen to heavier music at all so do not take that remark too seriously.
I like that section from 1:22 with a little bit of guitar solo as well.
Kind of a straightforward approach and obviously not that funky as the original but considering the genre you really did a great job with this one.
Congratulations, A.
keep on rocking man !!!