StaticNomad
LONDON, United Kingdom
Joined : 22nd Apr 2011 - 14 years ago
Last Online : 1st Jun 2024 - 1 year ago
StaticNomad comments on tracks
StaticNomad has posted 1053 comments on other peoples tracks.
on Limelight by PapaNelson
This is some quite pretty and definitely mega chilled music.
1:07 I like what sounds very distant vocals. And then that melodic, gently bouncing lead that enters. This is building nicely and the layers are locked well together.
2:28 some percussive movement and a new synth to push things forward a bit.
Maybe the groove is a bit too straight and it sounds a bit too much like old computer game music now but I do like the way you build those drums up to something quite powerful at the end. Almost a bit like metal there.
And then back down to the slow, legato, dreamy elements to end things.
It's accomplished work so well done.
on Myy Lyyfe by KnightHeir
The music here is pretty decent, with some quite funky bass playing and a pleasant synth lead.
However, your vocal is really good. Sounds like a good, natural voice and your delivery is very laidback and relaxed. Good reverb on the vocal too.
Shame the track is so short and ends so abruptly. Doesn't feel like a full track though I do appreciate the good times vibe.
Congrats.
on Mind D Ark - Weedo by Darknives
You replied so I have returned.
0:23 that's a very creative speeding up of a sample. Works well as a fill.
1:20-1:51 might be too long without there being any melodic elements. I can understand why you've done it but perhaps just a small bit of a guitar sample would help there.
2:55 and we're starting to go eastern and very psychedelic.
3:17 now it's proper dark Eastern and that rising delayed note at 3:17 is very cool. Dark bass and 3:33 it gets real intense before pulling back into the far out, high notes.
3:46 is that Tuvan throat singing? Sounds a lot like it eg by the group Huun Huur Tu.
" I really don't have that much experience, either mixing, mastering or sampling."
Maybe that's true but it sounds as though you really do know what you're doing.
This is really creative stuff and I hear it as being as much psychedelic music as it is hip hop. I'll comment on some of your other tracks now that I know you can and will reply. Some people on the site don't bother replying, which I find a bit rude.
Take care.
0.23 was a cut from the main sample that I repeated and changed the pitch. That's what I'm loving in samples, you can actually re arrange it all
1.20 was thought for a future rap but I do think I could have gone more creative there, at least for this instrumental version.
3.17 Taking aside the main guitar riff sample, everything from this point on is from this very site. I know it's not great that I don't credit the artists, but the reason is, for my work to flow, i first download lots of random samples i like, and only later i'll see what fits where or what ideas it gives me. And after that point, with so many samples, is hard to just go and see all the file's names, come to this site, search, compare and see what the user name's are.
3.46 is throat singing, a sample I downloaded from here
Taking aside the main guitar riff sample, everything else is from this very site.
Thanks for the comment man, it's nice to hear from someone more experienced that the tracks are working well mixing wise.
I love asian and oriental sounds, I'll probably always use them in most songs.
on Mind D Ark - Weedo by Darknives
I'm a big fan of stoner rock and I think it's very creative how you sample music from that genre and turn it into hip hop.
This is another cool, chillout journey with a fat beat and lots of melody and intelligence. And some far out Eastern stuff in the second half that I absolutely love.
I normally give long, detailed reviews but it seems that you don't really reply to people's comments so I won't say anymore for now.
Congratulations.
I'm glad you like the style, would love to hear more in detail from you. My production is probably subpar cause I really don't have that much experience, either mixing, mastering or sampling.
I also don't use the best samples from stoner/psych, because they come from mp3 songs, not uncompressed formats.
But I'm starting easy, trying to keep the "having fun" part above the rest for now.
on Losing you by Rhodesy
Mysterious, windy, big landscape, kind of atonal synth intro rises skillfully into a good initial bass riff. Nice the way the synth decays after 0:15.
Very solid bass sound (plus playing) and the Rhodes adds vibe.
Your 0:58 merged synth sound is an excellent one that really stands out. Try using that again in another track but probably in a quite different way. See how it works over a faster groove. And the notes it's playing are kind of catchy yet also very chilled.
1:39 clangy metal rise gives things a good lift and then we're into some widdly jazz playing. At exactly 1:50 the low note at the end of the run sounds great. Then the high playing is kind of African. Reminds me a little of some of the style that New York band Vampire Weekend go for. Their first album was interesting but I've since heard some wet pop rubbish from them.
2:31 cool wah chord/note as you hit the breakdown. Then gentle fast tremoloed note as we rise back into the drums and a tasteful guitar solo, with lots of cool ambience and activity and vibe in the background. Just what I like as it adds depth but does not detract from the lead (guitar) work. Must mean it's also well mixed. Choosing appropriate sounds that complement each other is kind of also mixing. It was the only mixing there was in the early days of recording in one room with no multitracks or overdubs.
3:20 I like that lower playing as the guitar has a great, warm tone. Then I think you add two different layers of guitar over the top and pan them nicely so that all three can be heard. Great mixing there.
This is a far out, grooving, classy piece of jazzy soundscape work with lots of depth and emotion and I don't really have any suggestions or criticisms.
Enough detail?
No-one ,and i mean NO-ONE could ever accuse you of not listening to a track with your full attention my friend!
Thankyou for your input and great comments on this track.The track came together really quickly.I wanted to write a very slow emotive piece in a 7/4 time signature,came up with the chords on piano,added the bass guitar and i was off.
This is not my favourite track but all the musicians i admire,yourself included of course,seem to rate it highly.so it just goes to show you cannot really hear your own works as others hear them.
I changed the title as you can see as i agreed with your earlier comment.
Thanks ) Rhodesy
on Losing you by Rhodesy
This is surely the best, most classiest, confident and stylish track of yours.
Everything is just so relaxed and classy and it has a far out, deep vibe that I love. Every element is great and there's some real vibe and moody menace going on merged with the beauty.
Really sounds like a band rather than one guy so you're absolutely on top form here.
I will return to do my customary detailed review later but had to knock out these initial thoughts right now. Let's say I was inspired.
P.S. Title is a lot like The Thrill Is Gone
Thanks for that,it means a lot.
Rhodesy
on Smooth Hip Hop Loop by saintkuz
It needs to be a full track as it has such a laidback, gentle, sparse, lazy vibe.
That sound at 0:15 is killer. Great lead.
Nice, sparse drums.
Not criticisms except to say that it's at least a couple of minutes too short!
Why are you giving this away as a free download? Don't you want to develop it further yourself? Why not continue with something that's so good?
on I Will Be Fine by Cestevens1783
Big congrats on this as it's really enjoyable. You've got lots of vocal talent and I think you're getting better. The vocals are kind of subtle and I think I'd prefer them turned up above the music in places.
2:20 that's a really good vocal note. 2:25 good held note.
2:33 harmony on the vocal. Or some delay. Nice, anyway.
Overall: a really good vocal performance but the music could certainly be expanded and this turned into a better track. When the drums enter, the lack of bass after that is a problem. And the drums are way, way too simplistic and lacking in groove. That very straight, repetitive hi hat gets a bit annoying.
Well done.
on Backstabbers Harvest by Evisma
I am British*, I may even be scum but I have never stolen any of Cruella De Vil's tea. No need - I have a plentiful supply on my country estate, all hand harvested by the butler. I will speak to my friends in Parliament about getting Cruella extradited to the UK so that he can be put on trial for his online lies and defamation. At the very least, his punishment is likely to be the permanent forfeit of his Korg MS2000 and I cannot rule out a custodial sentence. If so, I may visit him inside, occasionally bringing him an extra tea bag, just to rub it in.
The thing you feel is missing in your (musical) life may be your soul. Perhaps you had one and lost it, which is why I emerged empty-handed the other night. However, I have extracted many others over the years so could send you one, if you like. Bear in mind that I got the labels all mixed up recently so can't tell which is which. For instance, I took Jon Bon Jovi's a long time ago so you could end up with his. You might have to take that risk.
Advice: take more interest in your friend's wood carving. That's good stuff. If you're nice, maybe he will carve you a nice, new custom bass g. Ozark wood is nearby.
Yes, I know you worry about safe VSTs though Paul isn't, unfortunately, a VST but a standalone bit of software. Works fine for me. Could really suit you and I recommend trying it out on lap steel parts. Say you take a 1/4 bar fill and slow it down 4 times. Now it will last the whole bar so can sit behind the original part. You'll find yourself stitching together lots of bits in interesting ways. It'll add an extra layer of ambience and depth to your stuff that will be something new for you. And it'll add to your ongoing transNomadomorphism.
"I almost never play without the DAW running anymore"
Mostly the same for me. When I used to play solo resonator guitar blues live at open mic nights, I would sit in the kitchen (so, away from computer) just sliding about and footstomping as I practised jam pieces. I used to quite enjoy that simple playing in a different location from usual.
Static Soul Swiper, counting bodies like sheep to the rhythm of the war drums
*Well, English actually but not a nationalist.
I'll pass on the Jove soul. It surely reeks of Aquanet and sweaty leather. I do, in fact, have a soul. I just keep it near the genitals, you know, so the wife wont find it.
I'll let Paul stretch my shit at a latter date. Been practicing alternate picking in the evenings. Never learned before. Frustrating, but that means I'm learning something new. Good stuff.
"I used to play solo resonator guitar blues live at open mic nights"
This kind of surprised me. I've never played anything publicly. When I used to jam with friends, I felt very self-conscious and really don't miss it. Smoking a fatty before and during surely didn't help matters.
"quite enjoy that simple playing in a different location from usual."
That I will try.
I hope all is well.
Evan, acting just like a nurse with all the other guys.
on Backstabbers Harvest by Evisma
Sorry to hear you feel you've lost something. You've made big improvements in your music and I'm not hearing anything missing compared with stuff you did 3 years ago. Definitely don't quit! Especially if there's nothing else you truly enjoy doing.
I don't worry about whether I'm any good but constantly worry how I can continue coming up with stuff that's new and interesting to me. How will I manage to come up with multiple good riffs in, say, 30 years' time?
"If I've said all I have to say with my music"
What do you really want to say? I kind of having nothing to say - I'm just exploring good sounds + grooves. No message or particular emotion, just good sounds for the sake of it. Others are free to get whichever emotions they like out of it.
I'm very familiar with people talking over music you play to them. They also ask me questions that will have a longish answer while it's playing. As if I'm going to talk over it the only time I play it to them. And when I'm sitting there, clearly listening in silence. Then you realise you're perhaps somehow torturing people by getting them to listen so then you just give them a link and let them do it in their own time (or not at all). Or see what people you've never met who live thousands of miles away think. Nice track bro, in some cases.
"I'm not feeling sorry for myself"
Don't worry - I do quite a bit of that.
Creative technique for you: extreme timestretching of guitar parts. You liked it when I did it in tracks such as Chasm and Roar Stone so just download the free software and give it a go:
http://hypermammut.sourceforge.net/paulstretch/
Record some decent guitar parts, then bring the stretched (4x or 8x) parts back into the song and I guarantee they will fit (+ some editing) as they're the right notes. Helps make big ambiences with no synths.
Another technique: sample some Bjork records.
"Evan, looking to turn his piss to wine"
was a great sign off. So cool when you can find an MJK lyric that fits what you're talking about. Don't give up on his lyrics just yet.
My effort, from the same song:
Nomad, too connected to you to slip away, to fade away.
"What do you really want to say? "
Nothing on a whole, but each track I try to convey certain feelings in kind of a chronological fashion. The Valve mentioned my tracks ending with an air of triumph, like the end of a story or film. Eventually a writer's style gets pretty "samey". I really just need to be putting more into the process.
Really, I need to spend a few weeks without the DAW. Get back to the actual playing and the joy of it. I almost never play without the DAW running anymore. Trying to create, instead of practice. That may be the thing I've lost. The sheer joy. That shit's on its way back.
"I'm very familiar with people talking over music you play to them."
I'm a bit of a hypocrite here. My one good friend, Dave, is into woodcarving and he's shown me photos of his work and explained the process at length, and I just couldn't get engaged. He would talk about the different shapes and uses of carving implements, and my mind wanders to detuned guitar string-tension and how I need heavier gauged strings, but then I'd have to compensate with truss-rod adjustments and........ Oh shit, he just asked me a question! Ummm,... "quadrangle".
I understand the mind filters out the shit it doesn't deem important, and a person's interests are directly connected to that. Again, I need to chill. Thank you.
I will absolutely grab that time-stretcher. Most appreciated. I never know where to go for VSTs that is safe, so I use a lot of stock crap.
I will not be sampling Bjork. May give some a listen just to reinforce that there are people out there that can dig any style.
Evan, weeping shades of cozen indigo. (Damn, gotta love Maynard)
on Backstabbers Harvest by Evisma
So, last night I crept into your house as you slept and performed your lumbar puncture procedure to see how much soul harvesting I could do. I did not find that it was "thinner than muthafuckin filo dough" and there was no smell. I actually extracted nothing meaning you have no soul.
Not to worry - there are many walking among us (politicians, lawyers, celebrities, bankers, boybands etc) in the same position and they get by OK. Just live your life as normal but don't bother trying to make soul music (as if you even want to).
You've got rid of your end VSTs and it's now cleaner. The obvious thing to do in that section is to bring the slide back, which might bookend the track nicely.
Yes, I think your music is getting a bit more Nomadic due to your becoming Sliderbro to my Sliderman, more use of delay and more drum layering and combination of loops and programmed parts. If you start doing banj metal, psychedelic blue grungehop and take up the cello, I'll know you're definitely undergoing the full transNomadification.
"I've stopped playing my music for family, wife or friend"
Do they have no interest and only listen out of politeness? Don't stop playing it for them if they actually like it.
Minor criticism: while I have congratulated you on recent big improvements, I wonder if you've settled into a bit of a formulaic style. Some might say it's a distinctive, signature style but I wonder if your last 10 or so tracks sitting together on an album might sound a bit samey. I can't criticise each track on its own but as a whole they may be too similar.
I'll sometime write out a load of stuff about cycle recording ("layers") that might be of no help. Or it could add more variety to what you do. Would be good if you got into it for Slupergroupery purposes, just so that I have more versions of your parts to work with.
Take care.
Static Backstab, scalpel deep within Evan's borderline.
"Do they have no interest and only listen out of politeness?"
Yes. When I'd play a track for someone, usually they would talk through the whole thing, noticing nothing but the silence of it's ending. I've never said anything to them, that would seem demanding. If I don't like someone's shit, I don't want it forced on me. Why force them to pay attention if they don't want to? I don't want anyone to feel obligated to give praise for something they couldn't care less about, just to keep from offending me (I would never be offended), so I decided to stop putting people in that situation.
Been pretty fuckin disappointed with myself lately. A lot of time goes into my music and it's starting to feel wasted. No other way to put it. I'm not feeling sorry for myself, just a feeling that what I'm doing with my time is stupid and not productive.
"I wonder if your last 10 or so tracks sitting together on an album might sound a bit samey."
Probably so. I don't really know what to say about that. I'll do what I can to start changing things up and not stay in the rut I've gotten into. I need to pay more attention to that. I feel like I've lost something I used to have. Focus, patience, creativity, drive. Don't know, but I either need to get it back, or stop pretending like I still have it and quit. If I've said all I have to say with my music, I shouldn't beat a dead horse.
I'm going to have to do some musical soul searching. There is nothing else I truly enjoy doing, but maybe I'm done. If everything starts feeling forced, then the joy is gone.
Thank you for mentioning it. Hadn't really noticed things were starting to sound the same. The next one will be different.
Evan, looking to turn his piss to wine.
on My Contest Intrumental - Opinions Needed by BradoSanz
This all sounds good and very clean and crisp. You're really very good at recording.
This is, as usual, your brand of melodic guitar-based music, but with some added, distorted balls coming in around 0:53. Nice guitar crunch there.
And then nicely back down into your verse.
Damn, I don't actually have that much to say about this. I'm trying but it's really well done so no obvious criticisms. It's a pretty perfect bed for vocals.
You should explain how you're doing the drums as they're great.
Sorry for the lack of suggestions but that's a good thing.
Some great vocals and you might even win the competition!
Brado
on Backstabbers Harvest by Evisma
This is cool shit and it's damn fine to see there's some nice sliding about going down.
Cool slidey tone, with nice delay and reverb. Very Nomadic. You have been paying close attention, yo.
Decent groove behind it that's quite shakery with good use of delay on snare.
0:25 second guitar blends nicely. This is real melodic stuff and right up this Nomad's street. Good Nomad tempo too.
Then bass g chugging away, adding some balls.
1:28 slightly awkward change, maybe cos that nice pull off seems to be slightly faster than the previous stuff. Not really a problem, just an observation.
1:35 cool second g chugs than it all goes big and open with a nice lead g slicing through the mix. Busy bell cymbal work.
2:16 another nice change that is fairly epic and warm and moving. Could almost be a pop/rock song there, which is not at all a criticism.
2:32 new lead on top with a nice high note. Good delay again. You're really coming up with a lot of parts in this. As always, fairly rapid changes between sections.
Last minute is OK, nothing special. Guitar is good but I'm not sure about those added strings. Notes are fine, I just don't think the string sound or bamboo flute sound good enough - a bit too General MIDI. I appreciate the idea of the final movement but simply think you need to get some better synth/sample software, as I've said many times before. When you get it, you'll take your nice tracks bro to an even higher level. So much progress made in the last couple of years.
Your music is getting a bit more Nomadic all the time. Eventually you'll be able to do a Nomad tribute track, perhaps called something like Nomadicated.
If you can add more brass to your music, I can legitimately call you Brass Bro.
Big congrats.
Nomad, followed by millions of dumbfounded dip shits.
* 'gas' in American talk
"as the Nomad harvests his soul"
Oooh,.... you don't want that. I've taken out several loans on it and borrowed against it till that shit is thinner than muthafuckin filo dough. Has a pretty objectionable smell about it, as well. Like wet boot and old jizz.
"This is cool shit and it's damn fine to see there's some nice sliding about going down."
Appreciated. I asked you a while back your thoughts on doing a cover or more lap-steel or what, and you suggested lap-steel, so this is the line I came up with, added the drums, electric and bass,..... then it all went to shit. Bass went down, got sick and the flood. Everything after the first section is pretty new.
"Then bass g chugging away, adding some balls."
The lone Ibanez line. It's suicide happened directly afterward. Not the greatest playing there, but I liked it when I did it.
"1:28 slightly awkward change"
The change does lose a bit of energy, but I like the line that I'm playing. Probably could have found something to make the transition more smooth.
"it all goes big and open with a nice lead g slicing through the mix."
That is a Gate, Tube Screamer (PRS don't have very hot pickups), Nick Crow 8505 amp head sim, and Poulin Le Cab cabinet sim. Ended up getting about six different heavy guitar amp sims.
"2:32 new lead on top with a nice high note. Good delay again. You're really coming up with a lot of parts in this. As always, fairly rapid changes between sections."
The changes between sections thing,... yeah, you know I'm not a jammer, recording long takes and editing them, like someone we know. I'll noodle over something, find what I want to have there and play it several times till I can play it "perfectly", then record. I'm not a big fan of songs that stay on the same riff forever. I say do it a couple times, add complimenting jewelry, then move on.
" I just don't think the string sound or bamboo flute sound good enough - a bit too General MIDI."
Very much agreed. It was a last minute thing I did before uploading. I was never really happy with it. But not to worry. That shit is now history. It will not be missed.
"Your music is getting a bit more Nomadic all the time."
Is it? I don't feel I'm picking up any elements of your style, except maybe when I use heavier delays. I do, however, use every bit of advice you've given me when doing a new track. I think more about the drums and try to use less reverse cymbal, work more on structure and keeping "cheap" sounds out of tracks (which I failed at here, though it's now removed). I've stopped playing my music for family, wife or friend(s). I feel like I'm putting them off.
Evan, taking all or nothing, for life's just too short to lock it up.
on You Are Never Forgotten by crucethus
I'm surprised neither of us came up with that name for you before. Seems so obvious now.
Rustic Nutbath is also really good. Sounds like a little wash you might give your balls out in the Canadian wilderness, inbetween trapping animals and general rugged survivalism.
" the KorgMS2000 and it's lovely arpeggiator"
I think you may be the world's biggest fan of that synth. You'll probably be playing it till you die. Perhaps as you're on deathbed, knocking out a wah porn solo as you croak.
"I added no reverse cymbals or cymbal crashes directly to this piece. Not a one. It felt good."
Excellent. I like to think I have helped a little with your recovery from your reverse cymbal addiction. It's something that's ruined many people's lives.
"You have ears of steel superman, as I can barely hear that"
I certainly don't and I think those pops are really big and obvious.
Why have you got old man ears? I didn't think you were an old man. Do you have old man balls?
"restraint in the correct rhythmic places"
I couldn't agree more and I have lots to say about about getting good grooves working nicely. Quite often it's a case of adding too much stuff and then carefully sculpting and removing anything and everything that interferes with that groove. Then you realise that you can make great use of those "interfering additions" eg by using them as short, intense fills. You can screw the groove up a bit when you're adding emphasis and making things more intense.
"keep it changing (subtly)"
Yes, you just need to get a good load of elements working well together, as you've done here, and then keep varying how they're presented. So, squeezing as much as you can out of the material, which is something I try to do all the time.
"return to the beginning at the end"
I often feel like I want to do that with every track but have to resist so that albums of mine aren't too predictable. But, yes, the book-ending style of returning to where you started feels natural, like returning home. But it's also fun to add in other, crazy, unexpected twists.
Congrats again on one of your best dance and jazz tracks.
Erratic Donut.
" the KorgMS2000 and it's lovely arpeggiator"
I think you may be the world's biggest fan of that synth. You'll probably be playing it till you die. Perhaps as you're on deathbed, knocking out a wah porn solo as you croak. "
Maybe?, as I have made my will a few years ago. One of the stipulations I have is that if I go before my parents, my ashes are to be spread over my parent's living room. So my Mother could clean up after me one more time........
But the Korg MS2000 is the digital equivalent of the MS20, which is almost as important as the Minimoog. So yes, bury me with it, or burn me with it. I don't really care, when you're dead you don't actually have much a say in what happens to your cold dead torso.
"Why have you got old man ears? I didn't think you were an old man. Do you have old man balls? "
I have old man ears due to a transplant gone horribly awry trying to help poor Paul Stanleyof KISS and his microtia; , how ever I have shiny christmas like balls due to my close proximity to Santa! And my affinity of painting my balls in a shiny silver like colour every year just before St. Swithins day. ;-)
"Yes, you just need to get a good load of elements working well together, as you've done here, and then keep varying how they're presented. So, squeezing as much as you can out of the material, which is something I try to do all the time."
I was squeezing hard here mate, I was making diamonds from those squeezes.
The last few weeks I have been listening to a lot of Talk Talk which runs the gamut of awesome new wave to incredible experimental jazz and atonal. Some of the effects they used were way in your face and I realize that Mark Hollis and Tim-friese Greene were pioneering a sound unheard of at the time in popular music, but I still learn from those recordings.I mean they freaking created Post Rock. And the chord changes they made were a massive study in how to create an eighties pop tune and still hold credulity.
I still have a few tunes in the can that are over the top and use a bit of everything or have those wild solos, but my future is going to be more about creating an album of restraint and taste and to move away from the experimentation (anything goes) phase and buckle down and make something musically that will last and appeal to a wider audience and yet still keep an edge. That is my challenge, and it requires some discipline, something that has been lacking occasionally in my song structures. But I also know I needed to go way on the other side to find the right balance.
take care this evening my friend. you Spastic Cromag! ;-)
Cruesweek
on You Are Never Forgotten by crucethus
This is some nice shit, right from the off with those extensively mentioned pads.
0:31 kick drum + shimmering, clangy, delayed parts that I really like. That's probably Promenade's loop.
0:54 nice slow pads and then some fatter bass arrives. Real warm low end and there's some bass g too. Nice to hear the sound of its strings rumbling away.
1:17 blippy, liquid, bubbly synth sound that I never use in my music. I'd like to.
1:41 killer jazzy ride drum groove. Busy snares real cool too. Nice layering of drums. Bass is also awesome.
Then some fun, slightly triumphant brass parts.
Then piano sounding a bit discordant so not quite my kind of thing but certainly very jazzy.
3:37 back to dance fatness, with a new, insistent, scrapey, snarey element banging away. Maybe like a snare drum with a slow attack effect on it played with brushes.
4:22 funky, blippy synth is good on the top end.
4:39 cool, psychedelic lead synth with lots of movement merging nicely with everything else. Bass hasn't got boring yet. I'm not sure it ever does.
6:56 onwards there is a problem with an audio pop on the slow attack bassline at the end of each measure till the end. Maybe crossfade between the samples to get rid of that?
This is actually very 'FutureSoundOfJazz'. I've heard lots of that sort of stuff and it fits nicely in and is very well produced (apart from the audio pops at the end) so could easily be on a commercial release like that. Deeply chilled and uptempo and really quite sophisticated.
Congrats.
Static JazzMad
Welcome to the deeep House.
"0:31 kick drum + shimmering, clangy, delayed parts that I really like. That's probably Promenade's loop."
Nope, his loop is a soft subtle sound that underbellies the whole track. That jangly guitar pad was a royalty
free pad from a Future Music Mag disk back in 2000.
"0:54 nice slow pads and then some fatter bass arrives. Real warm low end and there's some bass g too. Nice to hear the sound of its strings rumbling away." I love that bass detuned down to G to sound even gruffer.
"1:17 blippy, liquid, bubbly synth sound that I never use in my music. I'd like to. "
"You'll be happy to know that it was me and the KorgMS2000 and it's lovely arpeggiator.
"3:37 back to dance fatness, with a new, insistent, scrapey, snarey element banging away. Maybe like a snare drum with a slow attack effect on it played with brushes.
"
I had a tremendous amount of fun planning out the percussion for this piece. Fun Fact, I added no reverse cymbals or cymbal crashes directly to this piece. Not a one. It felt good.
"4:39 cool, psychedelic lead synth with lots of movement merging nicely with everything else. Bass hasn't got boring yet. I'm not sure it ever does."
That solo was played by myself on the Korg Microkorg with some knob twiddling as I made it. Originally made for another song ,looped and added as an afterthought as it worked.
"6:56 onwards there is a problem with an audio pop on the slow attack bassline at the end of each measure till the end. Maybe crossfade between the samples to get rid of that? "
You have ears of steel superman, as I can barely hear that (and only when you pointed it out) on my car speakers and studio speakers with my old man ears, but you are right it is ever so slightly there.
"Deeply chilled and uptempo and really quite sophisticated. "
People don't realize how hard it can be to do a minimalist piece. And I think what I have learned about doing that is restraint in the correct rhythmic places. Complex percussion that unfolds as a natural progression and doesn't overwhelm the mix. Simple piano lines and arpeggios that hint at melody. Try not to get to far off track (as I love to do) with the essence of the song. keep it changing (subtly) but true to it's core and return to the beginning at the end.
It was a fun track to make.
PS, Cruella de vil (thats a clever one)
Well Thanks for listening and commenting Rustic Nutbath. Always a pleasure.
Crutopia
on Nebenwirkungen with Toax by promenade2239
0:31 I really like that pad fading in and the plucked harp(?) sound on top is very elegant and graceful.
Such a small waveform but it sounds fine.
Then the plucked, delayed instrument (a little like a koto as well) does lots of delicate, beautiful stuff.
1:52 nice warm,bassy pad emerge and the groove is still minimal and gentle. Very relaxing, peaceful music. And intelligent as well, which is one of my favourite types.
Around 3:00 I'm really appreciating the wide stereo spectrum. Lots of fun hearing those delays moving between my headphones. Such a graceful, gentle groove that it feels like you could bring any sound in and it might work.
4:20 nice low piano note and then some louder cymbal work (just for variety).
5:05 now some jazzier grooving from keys and bass plus a brush snare on the kit.
5:53-6:08 is some spacey weirdness. OK but nothing special.
And then the vocal returns, so you're sort of ending where you began.
Congratulations on some intelligent, spacious chillout music.
Thank you for listening in details!
Regarding to the first section (till 4:30); for layering given midi files I used plugins: 'MrRay22' (epiano) and 'Wavestation' (plucked instrument) as well as 'Il Drum Synth' (some lighter ghost drumming in the background on the first section - till 4:30). All the rest is myself playing/recording everything from Roland's keyboard but also adjusting manually all recorded audio sequencies carefully a lot. So, in this case I came up with ideas by tweaking different synth sounds - I had no concrete vision or ideas what to do with midi's and audio stems at first because Toax's style is very different. Basically chord progressions and some melodies were already programmed so I had to build entire arrangement around it. Dminor-Aminor on the first section, DMajor7 on the jazzy section when keys are busy (5:04).
There is a plugin called 'Groove Delay' in Studio One that can 'animate' nicely plucked instruments and I used it here. Also a lot of delay used but always played 'live', not applying it afterwards - this just doesn't work for me. I didn't use Koto instrument actually - I think it might be low register of Harp or some other layer that has similar tone. Some of the sounds are layered so they may already contain Koto sound, I do not know. I used Basson (at 4:08) and many other instruments: synthesized pads and some single percussive weird shots along with huge reverb.
0:00 - 4:30 was my first take on given midi - then vox and bass were added. I had no idea what to do with it and how to manage the structure of the piece so yes, the music is just weird at some sections. I wish I could develop more funky section with jazzy keys more but there are many limitations regarding to CPU and human energy as well. Toax is making really fine music, we will probably continue our collab action in the near future (which is nice). Basically online collabs are challenging and might be a strange experience sometimes even but I do it a lot anyway.
Thanks a lot for very appreciative comments on this one. I did a lot to get the best sound as possible.
Im glad you enjoyed the results.
A.
on Kodaline - All I Want Ft Amenci by BradoSanz
She's a good singer for a 15-year-old, with a very heartfelt and sweet tone. Only problem with her vocal is the noise on it. You can hear it starting and cutting out as she stops singing.
If you could apply some sort of specific noise removal plugin, that would probably completely clean it up. Never tried one but I hear they can perform wonders.
Otherwise, it's a hearfelt little, short song, with pleasant guitar parts and your favourite minimal bit of shakery percussion and cymbals. Nice and wide, as you generally (always?) do. Bit of a country vibe on the chorus beginning 0:46. It's a good chorus.
Fadeout ending isn't quite right. Held, triumphant chord at 1:37 would probably have been a better end.
Congrats.
Brado
on -WTF- by TinyFinger
Oooooh shit.
Shit. I said shit, baby. Not, not again!
Haha, this is some funny music.
Congratulations...
on Beat The Dead Dog by Tinka0
"I love the fact that you do rolling comments like me.. "
I'm not totally sure what you mean by that. Maybe that I comment on different aspects of the track in chronological order? Sure, if I like something, I got through it and point out what I can actually hear and make suggestions or criticisms or ask questions or whatever.
Most people on the site are content with variations of "Nice track, bro" for their whole track comment, as if that's in any way interesting or helpful. So damn lazy and uninteresting.
"No pedal, just a whammy bar"
Yeah, I should have guessed that. I think I was thinking of the related pedal that gives you some good screams that I think Tom Morello might use. Probably a whammy pedal. I've never used a whammy bar but would like to. Would really suit what I'd like to do in terms of heavy playing if I got decent at it. I love bends and vibrato so pitch bend by other means would really suit me.
And now I know how you got those mega detuned bits in the weird intro. That's great and almost sounds like you're detuning with the tuning heads.
"Before you do, I think I have the files on an old hard drive, let me clean it up a bit"
Not sure what you mean. I wasn't suggesting I add anything to the track or do anything at all with it apart from listen to it. I did send a message and link to a few Facebook friends telling them they're gonna love it. Just a single one sentence response so far. I'll tell some more Looperman people about it soon.
"you're giving me the urge to dust off my guitar."
You really should. You're a much better heavier player than I am.
I will eventually get round to commenting on many more of your tracks as they're really very good. Again: you're my best new discovery on Looperman in ages.
Take care.
on Beat The Dead Dog by Tinka0
Crazy, weird doom intro with lots of odd details and mega detuned stuff and weird scratching.
And then....
The most mothafuckin' badass, ripping, life-affirming riff I've heard in ages.
0:30 massive fat drums.
0:46 wish I could do those mental high screams. Low chugging is also fucking cool. I love that simple kind of thing. Killer dirty metal tone.
1:44 why not do a bit more on guitar - just because you can.
1:57 such a cool held note. Maybe using a pedal in there for that particular tone.
2:16 awesome distant, screaming, reverbed highs. Nice to get some distant reverb in there as the guitar previously has been quite close and dry.
This is really inspiring stuff and I wish I were this good. Only complaint is the rushed, abrupt end.
I'm adding this to my thread
https://www.looperman.com/forum/thread/182742/what-are-your-favourite-tracks-on-looperman
as it's so damn good. Might get this mighty track a bit more exposure.
You should add some tracks to that thread as well.
Massive congrats.
Those metal screams are chugging whilst holding your fingers above the 3rd frets (all strings) with a little whammy bar work simultaneously.
No pedal, just a whammy bar and the power of a Seymour Duncan pick-up.. It was all done in a few hours, I made it for an audition (hence the dry verse riff, had to give the vocalist some room).
Before you do, I think I have the files on an old hard drive, let me clean it up a bit.. Maybe add some bass from Mr.Phatz.. I'd really appreciate that, I have such a hard time "promoting" it feels dirty XD
I'd love to but sadly I'm not allowed to post in the forums.
Thank you again for the kind words dude, you're giving me the urge to dust off my guitar.
on Witch by Tinka0
You're my new favourite artist on Looperman.
I've listened to loads of your tracks and you have an unusual way of doing things. You combine different types of heavy music in interesting ways.
The "sound of the witch from Left For Dead crying" is a very cool sample and I love the rapping in this. Yes, a bit like Beastie Boys but that's a good thing.
This has one hard as fuck beat. I'd actually say it's quite a bit too loud but I understand that's what people in the dubstep-related genres like. My preference would be to turn it down but that's up to you.
0:28 some dubsteppy stuff and then those vocals enter and they're great. This is a real dancefloor banger. A tiny bit like The Prodigy's classic Poison. I bet you're a fan of theirs.
1:36 a break that's longer than you expect but that just makes the beat when it returns more exciting.
This is totally badass and I will definitely be giving you some more feedback on your other tracks. I'm surprised I've never seen your name on here before.
Massive congrats!
I really have no idea what I'm doing, I think that's a good thing.
I try to think outside of the box for samples, there are too many ProducerLoop packs and the like all sounding the same, not very creative :/
As for the loudness I agree, the problem is it looses it's bite when quietened, I've been experimenting with other ways of achieving what I want..
I love The Prodigy, especially the darker stuff.
That's great man, I really appreciate that although when listening keep in mind I've had to cut the audio quality down due to the upload size limit, it's really noticeable to my ears :(
on Zep Step by topvega
Good, crunchy guitar tone and bass is also powerful.
0:25 I hear a filter swept synth playing a very small role. More of that sort of thing could make this kind of track more interesting.
Good timing in your playing and I like the triplet stuff around 1 min for a while.
Drums are busy and pretty good.
This does sound like a well played live jam so could do with a bit more variation to break all that riffage up. Maybe drop the guitar for a bit and open up into a bass and drums section then perhaps bring guitar back in playing some subtler, gentler stuff. Build back up to the balls out riffage.
Good stuff.
I like the idea of maybe dropping or minimizing the guitar for a bit and letting the bass shine. Thanks for the idea and for taking the time to give it a listen and comment. Much appreciated.
tv
on Mile-Deep Island by Evisma
Like Nike. Make this track more like Nike. That's what I suspect Mr MiniFinger believes is missing. More Nikeness, please.
All hail Tha Mothafuckin' Valve.
And The Nomad.
But not The Evanator. Just a half hail for him.
Nomad, just praying for you to show me where I'm to begin (incorporating the Bass Broery into the Slupergroupery)
Finally, Airwalks came out and I was in love. I was never a skater but loved, and still love, the flat-soled skateboarding shoes. I still dig the Vans. Can't shake it.
Half hail for Evan,.... No hails for Nike. They can lick a dick.
Evan, leaving you with the dead and hopeless.
on A pocketful of Drama by Rhodesy
Lots of drama here. And all packed into a single pocket.
Intro piano chords remind me a little of Simply Red's Something Got Me Started but then it's a totally different track.
0:14 some sort of vocally sound and then some jazzy guitar runs running across the sound spectrum. Funk too and they're layered well together.
Busy bass and other synth work and then some heavily delayed guitar that fades away to take us into a new section.
1:05 cool discordant stab or whatever it's called.
1:07 now shit is much funkier and sparser. You've done a lot in just one minute.
1:34 cool descending synth fill and we're into another, heavier section with fat bass and busy, psychedelic runs. I think they're synth but they also sound a bit guitarey.
2:00 new heavy pad sound to take things up bigger and higher.
Now more soloing, as expected. And then it's heavy and intense to the end, when you fade out after returning to the piano.
Good, accomplished stuff that's a bit different for you plus some of your usual stuff.
Yes I just kept coming up with grooves on this one.Those synth runs are following the chord changes,played guitar over them the last time.
Thanks again. MrR
on DeadStar - EVA - AWAKENIG EP by DeadStarMusic
I normally strongly dislike modern dubstep/wubstep and I was expecting this to be crap. Especially as the waveform indicates that it's so damn loud.
However, it's really rather well done, which is why I decided to let you know.
0:55 the two completely different leads come together in a rather cool way and then it's some vowelly madness that works well.
Very loud mix seems to work quite well for this type of track and everything hits extremely hard.
Little shouty vocal at 2:35 is effective and makes things exciting as the track rises.
Good work in a genre I rarely like.