this is some very cool electronic track with fine old-styled elements (especially played on synths) - it makes this one so classic-sounding! Sadly it feels like a teaser so far - looking forward to hear longer version sometime.
hey. nice combination of loops. and your track description is quite... extensive (which is cool). But I do not buy it all at all. Overall it is a house track. Could be rock as well. You have guitars and synths there so anything goes. Overall the vocals are quite weird sounding (I do not mind the panning) especially around 2:57. Uhhh Aha?
Are these bass additions at the end announce another track btw? Looking forwart(d) to hear it.
Thanks for taking the time out and listening to the track, and for giving us your feedback regarding the track. As I had said in an earlier reply, this was an experimental track. I do have to admit that there are weak points in the track, but overall works.
I do not know if you are questioning whether a discussion is what brought forth me creating the track, but that is the actual reason. A lot of our conversations while we are working at various mortuaries are regarding movies (usually horror), and obviously the Romero zombie world (yes, we all actually went to the Zombie Run at Comic Con a couple of years ago). Again, as described in the track's description, the whole idea came from what we thought would look cool on film if a zombie apocalypse happened in Las Vegas. Weird, yes, but true. I wish I could have labeled the track under the category of "Cinematic Rock" because that what I feel it is. Maybe I am wrong for calling it that, but that was my concept nonetheless.
Lastly, the bass additions do not announce another track. Maybe they should? hmmm....
Thanks again for your time and feedback. Looking forward to more discussions.
P.S. Just finished listening to your soundcloud track "Oceanically - Vegas Hotel (feat Promenade)". Very cool. Very dark and David Lynchish.
nice! really great work with only one loop again. Also the vocal seems to be much better recorded now as far as I remember your earlier acoustic ones. Are you still using the same recording equipment?
I do not understand why this voice sayng 'C-Dub productions' is there. Where's the rest of the vocal part? It all sounds very unfinished but anyway nice effort.
The "C-Dub Productions" is my Tag/Watermark I put on all my tracks/beat(s). I've had some of my work stolen in the past and I don't want to go through the process of suing people again.
I saw your forum post and also I was listening to the first version.
This is some really interesting collab, very unusual. Do you mind if I make my version of this song?
Exploring new Roland synth I came across heavier sounds as well. Some of them are really cool, very classic and old styled. I think it may fit your electro visions as well, who knows haha. I'll send you a private message.
and... no, you do not need anything here! It feels complete. No 'cut' or 'drop' needed (whatever that means haha).
It's darker from my usual listening prefferences but I enjoyed it. Will try do it more dark and heavy (eventually) haha.
ok. so basically you want me to check out your new loops?
haha I remember using your synth loop once (which was great! - I played it in a different speed though)
Other than all I can say is that there are very few (if any) people here interested to really improve their work. Of course improvement can't happen instantly (it may take years, even decades lol)
All I can see now is countinous uncounscious porcess of bumping up the current productions on this site (I do that a lot as well).
A.
P.S. I can send you these links if you're interested anyway
just listened again to your track. I can see that you have 3 piano tracks here - that one playing low chords is actually generating all that strangeness as there's no real bass line here.
Just wanted to point this out but I do not know how to really fix it (only You can do this). Maybe try working only on that single part alone and find a real bass line for the entire track. Bassline is always a foundation eventhough there's no actual instrument playing it.
There's so many people going for an 'effect' here (including myself) often disregarding the very basics.
I didn't mean really transposing your piano an octave higher (which would be probably very ridiculous-sounding), it's all about the piano chord voicings. If you play some of chord structures (voicings) too low on the piano it will sound very strange and harmonically unclear.
Hope some of this is useful.
Best, A.
P. S. tried to add many YT links but comment was refused
Yeah there isnt really any bass in this one, was pretty much just using the chords for it.
Well in my working version i did bump up the chords but i left a few notes down in the low chords, and it seemed to work, but had them at a lower velocity
If you check my loops the most latest one is the updated piano from the song...
Also about the bassline, yeah i agree think i need to find
one and implement it, because its not really got one haha
thanks again A for the advice,
this is why looperman is awesome for getting feedback on your songs :D
ahh... now I get it! Probably smoking that much is beneficial when finding proper track titles. ha!
Always struggling to find proper track titles...
I really like creppy synth work from 0:59, yes it's really creepy but very extemely funky eventhough a main 'theme' still remains quite simple. That's very cool.
I guess the thumb piano (I have no idea what it is) comes in around 1:38.
Double tempo drum fills are very cool and support the bass groove nicely.
Is that someone inhaling I can hear at 2:18 (and later)? Could be a reversed cymbal also, I do not know.
From 2:37 nice cymbal 'solo' section.
Very fine concept for outro - a kind of fade-out but not really. Just taking off the instruments gradually. Nice!
As for the negative and critique: you seem to doulbe your bass melodic patterns on the thumb piano (I do that as well which is often the case when recording alone and quickly).
"smoking that much is beneficial when finding proper track titles. ha!"
Surprisingly, track titles come to me at work while outside landscaping. Got a voice recorder on my phone and I log that shit down. Gems, I tell you. Gems.
The delayed thumb piano does come in at 1:38. It's new from Samplephonics.com. I pulled it into Kontakt (though I guess I only have a demo version), and played it with my midi controller keyboard.
A thumb piano looks like a larger version on the metal comb that is plucked in a music box. Google will give you a myriad of images.
No inhaling. No mic use at all. What that is is a synth labeled "Goth Wash". Airy and organ-like. You said reverse cymbal, and I thought about taking it out and adding that or open hi-hat play, but kept the original. Timing is a touch odd, but but I like it.
"you seem to doulbe your bass melodic patterns on the thumb piano"
I have shit distortion sounds, so I try to convey "heavy" in other ways, and that is usually through reinforcement. Nearly everything I do is with a clean, yet modulating sound.
Glad you liked it, and thank you for the detailed feedback.
indeed the toms from 0:36 reminded pretty much 'Let there be drums' https://www.youtube.com/watch?v=zC9okWm8A6o (I did a little YT search:) It's an old styled special kind of rock - very bluesy, not something I am listening very often...
Thanks allot for your comment and the links. I checked them out and have heard 'Let there be drum' many times. His drumming was simple enough, that as a kid, I could play his beats, so it was a good learning exercise. I'm surprised there wasn't more of his stuff on YT. He did many albums.
I hadn't heard that particular Weather Report track, but am quite familiar with them. If memory serves, you do some styles similar to them.
Firstly I am sorry for that negative review tone. I didn't realize it will ever sound like something that negative at all! Only tried to share some concepts, ok maybe from too much negavive perspective . I can't really complain about your music because you always post high quality tracks. I would say again this is some great music very unlike from the other stuff posted on the site.
The only problem is that when I need to think too much when going into the details of the arrangement I may do not like some single sounds, which is often the case here on looperman. For example: from the perspective of the real acoustic piano sound the artificial piano used normally in looperman electronic or cinematic tracks will always sound computerized and silly. So sometimes I feel upset and am posting weird or ridiculous track comments.
Anyway I do not really want to make you shorter tracks at all, just trying to suggest using slower or faster tempos than your usual - because it may really affect the form. There's absolutely no need to use any pre-defined songs structures (but it can be a great exercise anyway). By saying that 'there's nothing happening' I do not mean that it is boring. I never feel bored listening to your music.
I know there's much of new synths sounds and impressive sonic elements on each of your new track, new guitar riffs and more but from the global perspective I think you still make the same song. This particular musical form that you're using (I do not know how to label it correctly, maybe 4/4 kind of 8- or 16- bar blues) was probably something I heard before from you many times, dressed in different sound-image. I see that you're not really interested into the form exploration, I mean: in any specific traditional classic sense. That's why I said that there's no improvements. Again this is very subjective personal opinion of mine. I do not find discussing details of the arrangement very useful when there's so much things happening. Pointing them will probably take years of ceaseless commenting.
I know that working alone is harder so I sometimes download acapellas and loops as well and try to work with them. Also I did remixes and sometimes I can find someone to make a collab with. But of course it's not going to work every time.
So this is also good way to learn when working with other's stuff. I do not think it takes anything from the originality of my work.
Again I am sorry for a strange and negative tone of the previous comment, which was totally unintentional! Also I think you go too far in analysing and exploring what I exactly meant. Probably I am unaware of some important subtleties of the language. I freely discussed some possibilities of how different your music may sound instead of pointing things I liked.
Ok, so now I am going to play your track and listen to the music itself instead of thinking too much (I want to take it with me but sadly it's not possible).
Your review wasn't too big a deal but I worry about my musical inadequacies and wonder how long I can make interesting stuff without becoming boring or repeating myself.
Most important is to know that I have large musical limitations. I'm not a classically musician like yourself and I have poor pitch, can't sing and know little about music theory. I only know the major and minor scales and rarely think about them. I don't know modes but I'm sure I use all sort of different ones just from playing with note combinations.
I have problems doing things like changing key, which is why many of my tracks are in the same key. This track has a key change (to D, my favourite as that's what my guitars are tuned to) but I don't think I've done it very well.
I've always felt a bit of musical impostor as I don't really know what I'm doing. I try to focus always on what I can do and believe I have an ability with sounds that many people do not have. I have big ideas and am good at hearing relationships between sounds. I can groove quite well on my instruments, which helps when you want to make music that grooves.
I focus on the change in sounds and mood rather than understanding how to progress chord sequences. If you're listening for those sorts of changes, you may always be disappointed. I don't know about the cycle of fifths and find all music theory really hard work and no fun. I'm also bad at maths so music theory seems to me as being like algebra. I prefer to listen and feel and groove and see what I get.
I probably cover up my music theory failings by making sounds and instruments do a lot so that it doesn't sound like I'm playing in one key most of the time.
I know how to get an Eastern sound by using semitones but don't know any Eastern scales.
I don't know how to describe the musical form you say I use. It's 4/4 but I have no idea if it's 8 or 16 bar blues.
"you're not really interested into the form exploration, I mean: in any specific traditional classic sense"
I don't know how to! I could maybe learn from other musicians who know this stuff but I've never spent that much time working closely with them. I don't count jam sessions (I have done many of those).
" nothing is really happening other than just that 'holding on to nothing' (for example from 6:48 - just a bass groove)."
The bass groove is there as a break from the higher frequency guitar parts, then I move to other, newer parts. It's just a way of separating sections so the listener gets a rest from the busy, top end melodies and frequencies.
"trying to suggest using slower or faster tempos than your usual"
I will try and you're right that it does change things. I still haven't done 3/4 though I have done a bit of 6/8. But 4/4 is simple for me and offers so many possibilities.
so nicely performed! I remember listening to this female acapella, it sounds really interesting in the context of this tune.
Clarinet solo is really fine as well as the entire performance. NICE!
I think you played some chords on piano too low (I mean a lower keyb. range). There's also too much processing added when going for a 'modern sound' - that very final 3:17 chord doesn't sound anymore like a real piano to me anymore. Probably there's too much of lower freqs in there, I do not know...
Yeah i totally agree. like phatkatz says up there^ maybe bumping it up an octave will help but ive tried that and it doesnt really give me the sound im looking for.. ill need to mess around with it and use some of the ideas in that forum and see what happens.
I know there's a clock in it. I can hear it from 0:00. Also as I am getting old time seems to slow down gradually. Maybe it's because I practise awareness.
hi. so just sitting this early afternoon and listening to your new track I realized that this is very much a kind of 'levitating' while 'holding on to nothing' smoky music. For example from 5:50 I can hear a guitar solo starting in a lower range and it really seems to gradually progress till 6:48 at first (but it doesn't really evolve too much). It sounds still like a teaser a bit. I mean... guitars are great as always! but there's too much of drum sequencing for my taste and way too much of 'echoing' of your guitars by other instruments. Still it's very skillfully made and very impressive but why do not create something which would be much simple than that sometime?
I say that because there are many places on this composition (and probably on many others compositions from you) where nothing is really happening other than just that 'holding on to nothing' (for example from 6:48 - just a bass groove). That way you can easily continue and transform this one into a 30 min song I guess.
Ok, there are very interesting guitar riffs but it's only a little part of this composition. If you will ever try to place them in a totally different context (without all synth 'echoing') you could have much shorter but very powerful tracks eventually, who knows. I say that because after listening to your productions over a longer period of time I can't see many very significant improvements (maybe you can point them?). It's more like you are 'already there' with very specific sound and type of music prefference.
Anyway this title sounds to me bit like a big ego thing, something similar to your '3000 miles of funk' if I remember correctly.
I found your review quite negative and depressing, perhaps even insulting, but it's given me some things to think hard about.
"why do not create something which would be much simple than that sometime?"
I think that is your main point and your main problem with my music. I actually try to make my tracks shorter. I have split a lot of tracks that were between 11 and 19 mins in two in the last year. You want me to make shorter, simpler music. I find that boring and it doesn't give me time to do the exploring that I like and need to do. How long do you want it to be? 5 minutes? 3 minutes with a verse-chorus-verse structure and middle 8?
"nothing is really happening other than just that 'holding on to nothing'"
There's so much happening in my tracks all the time. You also perhaps have a lot of 'nothing really happening' in your tracks.
"too much of drum sequencing for my taste"
What does that mean? Too many drum fills? Too many drum sounds? I have no idea. My tracks almost all contain lots of drum sequencing so I have no idea what is wrong with the drums here. I like them.
"I can't see many very significant improvements (maybe you can point them?)."
You want me to go through and explain all my improvements in my tracks? Or just this one? That would take a long time and be boring. If you don't think I make improvements, why would me trying to explain them to you make you feel any different? Every track I do contains new sounds, structures, melodies. They're new to me so if they're not new to other people, I don't know what to say.
You know that I try very hard to explain what I do in my track replies but I'm not going to go through and point out every thing I think is interesting to someone who thinks there's a lot of nothing going on.
You seem to mostly make one genre of music (jazz fusion) and I don't really make music in that genre so there's no reason for you to like any of my music.
"this title sounds to me bit like a big ego thing"
I can't tell if that is supposed to be an insult but it looks like one. If so, you're wrong as both 9,000 Years Too Young and 3,000 Miles Of Funk are other people's phrases that I discovered and liked and thought would suit my music (they're only titles - I have to have a title). They do have some meaning (especially the second one) but I can't be bothered to explain them.
"Great music as always!"
That is a strange way to end your review after mostly complaining so you have confused me there. I don't mind if people don't like my music as it's unusual, uncommercial and maybe just too long ansd complex for most people. I understand that. I'm not trying to be popular, just trying to get better at the kind of sounds I like. I work alone so it's lonely and hard to improve and understand what it is that I do.
Your words gave me some things to think about and I do try hard to improve. I'm sorry if it's not good enough - I will try harder.
hey! I really do not know how to approach this correctly - my listening system is very simple nowadays (drums, bass and other stuff...). This is very floating kind of music regarding to it's harmonic content! Nice piano introduction - I really like that quality sound, some nice female distant choirs and like... lots of twinkling synth sounds! Simple but good bass foundation.
thanks a lot alex.
got a busy time in my life right now, sorry it took so long to get back.
i haven't done any new things recently but did use the little time i had to improve some existing ideas like this one. and just some random jams every once in a while of course :)
so long my friend - hope all is well
this is some interesting stuff, pretty much something similar to what I can hear in summer at some of these open air festivals I guess. Very happy vibes (and trumpets!)
A bit too hot mixed for my taste but still nicely combined!
so after re-listening to all the stuff and loops I can say that I really appreciate what you did. For sure there's much to improve as the recording still sounds not very clear in my opinion, especially the drums. Probably it is a bass line that generates some strange frequencies at places, I do not know... But overall this is some good effort with nice additions. I understand that creating arrangements and finding perfect instruments might be difficult - I tried many times!
Some times i had to stretch/clip/move the vocal track to get it less offset to my music. The intention was that Charlene would re-record the vocals, but it somehow just didn't happen. But the result is ok anyway.
So I managed to play this one on speakers and definitely can appreciate very solid bass foundation now. Good synth sounds, particulary I like that kind of drone synth sound pretty much, can't really label it very precisely - it adds some very nice, kind of organic and insect feel. I guess there are many different synth layers in here.
Also that female lead-in element (0:13) is very similar to some of your older works...
Overall this is very fine synth stuff: I find it much more 'morphing' than really 'melodic' in a traditional way (nice arpeggiated kind of 'glassy' sound from about 1:08 and some other places later). When listened first time to this I realized there's actually a harmonic 'bridge' part from 2:10 which can really make this tune even more listenable regarding to the overall structure. Background choirs are nicely placed as well as the man's voice sample.
Not something that I can listen all day for sure, as I basically would preffer something that is full of light and warm haha... but I can appreciate this production too for it's decadent atmosphere! Probably Hans Rudolf Giger will fit perfectly here https://www.pinterest.com/iandenison/hr-giger/
That's a good thing to call it. That's basically, exactly what it is.
The female lead in sounds similar because I've used it in "50 Weight and Body Paint" and also in "Twas Brillig-Slithy Tove". I've always liked it when artists would somehow connect songs, or reuse an element from past works. I guess some would call it recycled, or not creative, but I like to do it.
"Probably Hans Rudolf Giger will fit perfectly here"
Almost 25 years ago, I was an 18 year old artist when I discovered Mr. Giger's work. I went out and bought all of his books and spent countless hours studying his work. I mean, right down to the individual brush strokes. The perspectives, the compositions, the textures, everything. I dissected them fully. He was like a god to me. The worlds he created and the creatures that lived within were completely original and never before seen. He is what inspired me to drive my creativity and push for the originality that no one has ever seen, or with my music, heard.
So, when you say to me that Hans Rudolf Giger would fit perfectly into my song, it is truly one of the greatest compliments I could receive. So, for that, I sincerely thank you.
this sounds to me like some kind of a raw electronic piece. Did you played synths in a real time or it's just a kind of midi sequencing and layering the plugins happening? Just curious of your creative process on this one. Also I think that you may consider letting the reverb play itself out and allow the sound dissapear into space at the very end of your composition.
Other than this is some interesting one, reminding me of an analog synth work à la Spivkurl at parts even haha...
hey, alex. my stuff is always programmed 100%. I don't have any chops to speak of on keyboard or otherwise. I took your suggestion and gave the track a reverb tail but surprisingly it did not add much. surprised that you drew a comparison to spivkurl work! nice to hear from you always! Dan
on Breathe Instrumental by 15ludwicke
simply keep them coming,
lol
Alex
on Skydiver by MagneticRecords
German electronic rules!
Greetings from poland,
Alex/Aleksander
on Rosina Dead Vegas Trek by MORTradio
Are these bass additions at the end announce another track btw? Looking forwart(d) to hear it.
Best wishes,
A.
I do not know if you are questioning whether a discussion is what brought forth me creating the track, but that is the actual reason. A lot of our conversations while we are working at various mortuaries are regarding movies (usually horror), and obviously the Romero zombie world (yes, we all actually went to the Zombie Run at Comic Con a couple of years ago). Again, as described in the track's description, the whole idea came from what we thought would look cool on film if a zombie apocalypse happened in Las Vegas. Weird, yes, but true. I wish I could have labeled the track under the category of "Cinematic Rock" because that what I feel it is. Maybe I am wrong for calling it that, but that was my concept nonetheless.
Lastly, the bass additions do not announce another track. Maybe they should? hmmm....
Thanks again for your time and feedback. Looking forward to more discussions.
P.S. Just finished listening to your soundcloud track "Oceanically - Vegas Hotel (feat Promenade)". Very cool. Very dark and David Lynchish.
on As the World Caves In by Cestevens1783
Simple and beautiful. Keep recording!
A.
Thank you!
-Charlene
on I WARNED U by CWarren
_C-DUB_
on Montagmorgen - Mondaymorning - kaufen ohne Geld by joecramer
I saw your forum post and also I was listening to the first version.
This is some really interesting collab, very unusual. Do you mind if I make my version of this song?
Exploring new Roland synth I came across heavier sounds as well. Some of them are really cool, very classic and old styled. I think it may fit your electro visions as well, who knows haha. I'll send you a private message.
and... no, you do not need anything here! It feels complete. No 'cut' or 'drop' needed (whatever that means haha).
It's darker from my usual listening prefferences but I enjoyed it. Will try do it more dark and heavy (eventually) haha.
Best to you, Alex
:) but sure you can do it!!!
Fell free to "enhance" it. I would love to hear what you could add to this track, or what you will do with it.
I will wait for your pm
stay tuned
joe
on Xyilent - Gaia by XyIlent
do not worry I won't posting on here anymore.
Im interested in anything and everything that improves my stuff
on Xyilent - Gaia by XyIlent
haha I remember using your synth loop once (which was great! - I played it in a different speed though)
Other than all I can say is that there are very few (if any) people here interested to really improve their work. Of course improvement can't happen instantly (it may take years, even decades lol)
All I can see now is countinous uncounscious porcess of bumping up the current productions on this site (I do that a lot as well).
A.
P.S. I can send you these links if you're interested anyway
really you used my loops? haha cool! :D
Im sure there's a good number of people here to improve there work.. at least i hope so haha...
but yeah, if its not to much trouble, send me over the links and ill check them out :)
on Xyilent - Gaia by XyIlent
just listened again to your track. I can see that you have 3 piano tracks here - that one playing low chords is actually generating all that strangeness as there's no real bass line here.
Just wanted to point this out but I do not know how to really fix it (only You can do this). Maybe try working only on that single part alone and find a real bass line for the entire track. Bassline is always a foundation eventhough there's no actual instrument playing it.
There's so many people going for an 'effect' here (including myself) often disregarding the very basics.
I didn't mean really transposing your piano an octave higher (which would be probably very ridiculous-sounding), it's all about the piano chord voicings. If you play some of chord structures (voicings) too low on the piano it will sound very strange and harmonically unclear.
Hope some of this is useful.
Best, A.
P. S. tried to add many YT links but comment was refused
Yeah there isnt really any bass in this one, was pretty much just using the chords for it.
Well in my working version i did bump up the chords but i left a few notes down in the low chords, and it seemed to work, but had them at a lower velocity
If you check my loops the most latest one is the updated piano from the song...
Also about the bassline, yeah i agree think i need to find
one and implement it, because its not really got one haha
thanks again A for the advice,
this is why looperman is awesome for getting feedback on your songs :D
on Doobie Juice by Evisma
Always struggling to find proper track titles...
I really like creppy synth work from 0:59, yes it's really creepy but very extemely funky eventhough a main 'theme' still remains quite simple. That's very cool.
I guess the thumb piano (I have no idea what it is) comes in around 1:38.
Double tempo drum fills are very cool and support the bass groove nicely.
Is that someone inhaling I can hear at 2:18 (and later)? Could be a reversed cymbal also, I do not know.
From 2:37 nice cymbal 'solo' section.
Very fine concept for outro - a kind of fade-out but not really. Just taking off the instruments gradually. Nice!
As for the negative and critique: you seem to doulbe your bass melodic patterns on the thumb piano (I do that as well which is often the case when recording alone and quickly).
Good work here and enjoyable track!
Best to you,
Alex
"smoking that much is beneficial when finding proper track titles. ha!"
Surprisingly, track titles come to me at work while outside landscaping. Got a voice recorder on my phone and I log that shit down. Gems, I tell you. Gems.
The delayed thumb piano does come in at 1:38. It's new from Samplephonics.com. I pulled it into Kontakt (though I guess I only have a demo version), and played it with my midi controller keyboard.
A thumb piano looks like a larger version on the metal comb that is plucked in a music box. Google will give you a myriad of images.
No inhaling. No mic use at all. What that is is a synth labeled "Goth Wash". Airy and organ-like. You said reverse cymbal, and I thought about taking it out and adding that or open hi-hat play, but kept the original. Timing is a touch odd, but but I like it.
"you seem to doulbe your bass melodic patterns on the thumb piano"
I have shit distortion sounds, so I try to convey "heavy" in other ways, and that is usually through reinforcement. Nearly everything I do is with a clean, yet modulating sound.
Glad you liked it, and thank you for the detailed feedback.
Evan
on Sandys Beat by ScottB55
indeed the toms from 0:36 reminded pretty much 'Let there be drums' https://www.youtube.com/watch?v=zC9okWm8A6o (I did a little YT search:) It's an old styled special kind of rock - very bluesy, not something I am listening very often...
Nice flute action and Rhodes coming in at 3:34.
My favourite part is 3:25 - 4:00. It definitely reminds early 70's improvised funky jazz in the manner of https://www.youtube.com/watch?v=5bIk1Wl21Yk
Nice one!
Best greetings, Alex
Thanks allot for your comment and the links. I checked them out and have heard 'Let there be drum' many times. His drumming was simple enough, that as a kid, I could play his beats, so it was a good learning exercise. I'm surprised there wasn't more of his stuff on YT. He did many albums.
I hadn't heard that particular Weather Report track, but am quite familiar with them. If memory serves, you do some styles similar to them.
Cheers,
Scott
on 9000 Years Too Young by StaticNomad
Firstly I am sorry for that negative review tone. I didn't realize it will ever sound like something that negative at all! Only tried to share some concepts, ok maybe from too much negavive perspective . I can't really complain about your music because you always post high quality tracks. I would say again this is some great music very unlike from the other stuff posted on the site.
The only problem is that when I need to think too much when going into the details of the arrangement I may do not like some single sounds, which is often the case here on looperman. For example: from the perspective of the real acoustic piano sound the artificial piano used normally in looperman electronic or cinematic tracks will always sound computerized and silly. So sometimes I feel upset and am posting weird or ridiculous track comments.
Anyway I do not really want to make you shorter tracks at all, just trying to suggest using slower or faster tempos than your usual - because it may really affect the form. There's absolutely no need to use any pre-defined songs structures (but it can be a great exercise anyway). By saying that 'there's nothing happening' I do not mean that it is boring. I never feel bored listening to your music.
I know there's much of new synths sounds and impressive sonic elements on each of your new track, new guitar riffs and more but from the global perspective I think you still make the same song. This particular musical form that you're using (I do not know how to label it correctly, maybe 4/4 kind of 8- or 16- bar blues) was probably something I heard before from you many times, dressed in different sound-image. I see that you're not really interested into the form exploration, I mean: in any specific traditional classic sense. That's why I said that there's no improvements. Again this is very subjective personal opinion of mine. I do not find discussing details of the arrangement very useful when there's so much things happening. Pointing them will probably take years of ceaseless commenting.
I know that working alone is harder so I sometimes download acapellas and loops as well and try to work with them. Also I did remixes and sometimes I can find someone to make a collab with. But of course it's not going to work every time.
So this is also good way to learn when working with other's stuff. I do not think it takes anything from the originality of my work.
Again I am sorry for a strange and negative tone of the previous comment, which was totally unintentional! Also I think you go too far in analysing and exploring what I exactly meant. Probably I am unaware of some important subtleties of the language. I freely discussed some possibilities of how different your music may sound instead of pointing things I liked.
Ok, so now I am going to play your track and listen to the music itself instead of thinking too much (I want to take it with me but sadly it's not possible).
Your review wasn't too big a deal but I worry about my musical inadequacies and wonder how long I can make interesting stuff without becoming boring or repeating myself.
Most important is to know that I have large musical limitations. I'm not a classically musician like yourself and I have poor pitch, can't sing and know little about music theory. I only know the major and minor scales and rarely think about them. I don't know modes but I'm sure I use all sort of different ones just from playing with note combinations.
I have problems doing things like changing key, which is why many of my tracks are in the same key. This track has a key change (to D, my favourite as that's what my guitars are tuned to) but I don't think I've done it very well.
I've always felt a bit of musical impostor as I don't really know what I'm doing. I try to focus always on what I can do and believe I have an ability with sounds that many people do not have. I have big ideas and am good at hearing relationships between sounds. I can groove quite well on my instruments, which helps when you want to make music that grooves.
I focus on the change in sounds and mood rather than understanding how to progress chord sequences. If you're listening for those sorts of changes, you may always be disappointed. I don't know about the cycle of fifths and find all music theory really hard work and no fun. I'm also bad at maths so music theory seems to me as being like algebra. I prefer to listen and feel and groove and see what I get.
I probably cover up my music theory failings by making sounds and instruments do a lot so that it doesn't sound like I'm playing in one key most of the time.
I know how to get an Eastern sound by using semitones but don't know any Eastern scales.
I don't know how to describe the musical form you say I use. It's 4/4 but I have no idea if it's 8 or 16 bar blues.
"you're not really interested into the form exploration, I mean: in any specific traditional classic sense"
I don't know how to! I could maybe learn from other musicians who know this stuff but I've never spent that much time working closely with them. I don't count jam sessions (I have done many of those).
" nothing is really happening other than just that 'holding on to nothing' (for example from 6:48 - just a bass groove)."
The bass groove is there as a break from the higher frequency guitar parts, then I move to other, newer parts. It's just a way of separating sections so the listener gets a rest from the busy, top end melodies and frequencies.
"trying to suggest using slower or faster tempos than your usual"
I will try and you're right that it does change things. I still haven't done 3/4 though I have done a bit of 6/8. But 4/4 is simple for me and offers so many possibilities.
I hope that explanation helps...
on The Way Side by Musicante
Clarinet solo is really fine as well as the entire performance. NICE!
Alex.
Ciao,
M.
on Xyilent - Gaia by XyIlent
I think you played some chords on piano too low (I mean a lower keyb. range). There's also too much processing added when going for a 'modern sound' - that very final 3:17 chord doesn't sound anymore like a real piano to me anymore. Probably there's too much of lower freqs in there, I do not know...
There's some interesting thread about it https://www.looperman.com/forum/thread/183362/mixing-grand-piano-from-hell
Hope some of this is useful.
Best, Alex
AWESOME feedback Alex,
Cheers :)
on 2 Girls by LuigiCWB
You can always play the guitar solo in the middle or simply post the link to the complete production if there's any.
on times passing by silverman
There's no time in the very present.
on DJ The Observer FT KATE BUSH- Bad Dreams 2015 -- by djtheobserver01
HerEs ThE PrOpeR liNk:
https://www.youtube.com/watch?v=BW3gKKiTvjs
i CaN sAy I ObSerVeD youR trACk TherefORe
mY HApPy
LoL, its to slow for me...
But i like the sample and i always wanted make the ultimate track with this sample..LoL
Greetz !
on we have to dream by philkawf
I get it now.
Some people experience haluciations
for sure
on we have to dream by philkawf
The spice extends life haha.
https://www.youtube.com/watch?v=zOjjnIPwd7c
We have to dream in order to sleep? Am I correct?
The spice is vital to space travel for sure.
on 9000 Years Too Young by StaticNomad
I say that because there are many places on this composition (and probably on many others compositions from you) where nothing is really happening other than just that 'holding on to nothing' (for example from 6:48 - just a bass groove). That way you can easily continue and transform this one into a 30 min song I guess.
Ok, there are very interesting guitar riffs but it's only a little part of this composition. If you will ever try to place them in a totally different context (without all synth 'echoing') you could have much shorter but very powerful tracks eventually, who knows. I say that because after listening to your productions over a longer period of time I can't see many very significant improvements (maybe you can point them?). It's more like you are 'already there' with very specific sound and type of music prefference.
Anyway this title sounds to me bit like a big ego thing, something similar to your '3000 miles of funk' if I remember correctly.
Great music as always!
I found your review quite negative and depressing, perhaps even insulting, but it's given me some things to think hard about.
"why do not create something which would be much simple than that sometime?"
I think that is your main point and your main problem with my music. I actually try to make my tracks shorter. I have split a lot of tracks that were between 11 and 19 mins in two in the last year. You want me to make shorter, simpler music. I find that boring and it doesn't give me time to do the exploring that I like and need to do. How long do you want it to be? 5 minutes? 3 minutes with a verse-chorus-verse structure and middle 8?
"nothing is really happening other than just that 'holding on to nothing'"
There's so much happening in my tracks all the time. You also perhaps have a lot of 'nothing really happening' in your tracks.
"too much of drum sequencing for my taste"
What does that mean? Too many drum fills? Too many drum sounds? I have no idea. My tracks almost all contain lots of drum sequencing so I have no idea what is wrong with the drums here. I like them.
"I can't see many very significant improvements (maybe you can point them?)."
You want me to go through and explain all my improvements in my tracks? Or just this one? That would take a long time and be boring. If you don't think I make improvements, why would me trying to explain them to you make you feel any different? Every track I do contains new sounds, structures, melodies. They're new to me so if they're not new to other people, I don't know what to say.
You know that I try very hard to explain what I do in my track replies but I'm not going to go through and point out every thing I think is interesting to someone who thinks there's a lot of nothing going on.
You seem to mostly make one genre of music (jazz fusion) and I don't really make music in that genre so there's no reason for you to like any of my music.
"this title sounds to me bit like a big ego thing"
I can't tell if that is supposed to be an insult but it looks like one. If so, you're wrong as both 9,000 Years Too Young and 3,000 Miles Of Funk are other people's phrases that I discovered and liked and thought would suit my music (they're only titles - I have to have a title). They do have some meaning (especially the second one) but I can't be bothered to explain them.
"Great music as always!"
That is a strange way to end your review after mostly complaining so you have confused me there. I don't mind if people don't like my music as it's unusual, uncommercial and maybe just too long ansd complex for most people. I understand that. I'm not trying to be popular, just trying to get better at the kind of sounds I like. I work alone so it's lonely and hard to improve and understand what it is that I do.
Your words gave me some things to think about and I do try hard to improve. I'm sorry if it's not good enough - I will try harder.
on midnight hindsight by doudei
This one will help me fall asleep for sure!
Lovely sweet piece! Alex
got a busy time in my life right now, sorry it took so long to get back.
i haven't done any new things recently but did use the little time i had to improve some existing ideas like this one. and just some random jams every once in a while of course :)
so long my friend - hope all is well
on Less is more - more or less by aelmen
this is some interesting stuff, pretty much something similar to what I can hear in summer at some of these open air festivals I guess. Very happy vibes (and trumpets!)
A bit too hot mixed for my taste but still nicely combined!
Alex
Agree, totally. Happy vibes and sunny festival, life is good! :)
Cheers!
/Anders
on Just Because ft Charlene Stevens by aelmen
so after re-listening to all the stuff and loops I can say that I really appreciate what you did. For sure there's much to improve as the recording still sounds not very clear in my opinion, especially the drums. Probably it is a bass line that generates some strange frequencies at places, I do not know... But overall this is some good effort with nice additions. I understand that creating arrangements and finding perfect instruments might be difficult - I tried many times!
Really good take on this one.
Best to you, Alex
Some times i had to stretch/clip/move the vocal track to get it less offset to my music. The intention was that Charlene would re-record the vocals, but it somehow just didn't happen. But the result is ok anyway.
/Anders
on Labyrinth Of The Absurd by ValveDriver
So I managed to play this one on speakers and definitely can appreciate very solid bass foundation now. Good synth sounds, particulary I like that kind of drone synth sound pretty much, can't really label it very precisely - it adds some very nice, kind of organic and insect feel. I guess there are many different synth layers in here.
Also that female lead-in element (0:13) is very similar to some of your older works...
Overall this is very fine synth stuff: I find it much more 'morphing' than really 'melodic' in a traditional way (nice arpeggiated kind of 'glassy' sound from about 1:08 and some other places later). When listened first time to this I realized there's actually a harmonic 'bridge' part from 2:10 which can really make this tune even more listenable regarding to the overall structure. Background choirs are nicely placed as well as the man's voice sample.
Not something that I can listen all day for sure, as I basically would preffer something that is full of light and warm haha... but I can appreciate this production too for it's decadent atmosphere! Probably Hans Rudolf Giger will fit perfectly here https://www.pinterest.com/iandenison/hr-giger/
Best to you, Alex (which I prefer:)
"I like that kind of drone synth sound"
That's a good thing to call it. That's basically, exactly what it is.
The female lead in sounds similar because I've used it in "50 Weight and Body Paint" and also in "Twas Brillig-Slithy Tove". I've always liked it when artists would somehow connect songs, or reuse an element from past works. I guess some would call it recycled, or not creative, but I like to do it.
"Probably Hans Rudolf Giger will fit perfectly here"
Almost 25 years ago, I was an 18 year old artist when I discovered Mr. Giger's work. I went out and bought all of his books and spent countless hours studying his work. I mean, right down to the individual brush strokes. The perspectives, the compositions, the textures, everything. I dissected them fully. He was like a god to me. The worlds he created and the creatures that lived within were completely original and never before seen. He is what inspired me to drive my creativity and push for the originality that no one has ever seen, or with my music, heard.
So, when you say to me that Hans Rudolf Giger would fit perfectly into my song, it is truly one of the greatest compliments I could receive. So, for that, I sincerely thank you.
Take care, Alex.
Aaron.
on Master and Servant by DanGoldstein
this sounds to me like some kind of a raw electronic piece. Did you played synths in a real time or it's just a kind of midi sequencing and layering the plugins happening? Just curious of your creative process on this one. Also I think that you may consider letting the reverb play itself out and allow the sound dissapear into space at the very end of your composition.
Other than this is some interesting one, reminding me of an analog synth work à la Spivkurl at parts even haha...
All the best to you, Alex