ValveDriver
Not every song requires vocals
Portland, United States
Joined : 25th Sep 2012 - 13 years ago
Last Online : 1st Jan 2026 - 1 day ago
ValveDriver comments on tracks
ValveDriver has posted 520 comments on other peoples tracks.
on Cages and Caves by BlancFroid
This has a nice 80's vibe to it. Like, it could have come straight out of 1984. I like it. Good work.
Take care.
V.
on Intoxicated by HenryPascal
I agree with Danke in the sense that it has a bit of a DepMo feeling. But, I think even more so, it’s very reminiscent of Assemblage 23.
It’s a good tune. It’s a nice full mix. Good use of the ‘pellas. It may just be the headphones I’m listening on, but the bass synth seems to be a little buried down behind everything else. Other than that, good work.
Keep it up.
Take care.
V.
on OBLIVION with vocals by AlleyCatLuca
Let me start with the fact that this isnt my genre of choice, so I don't have a very extensive knowledge on the in's and out's of what it's supposed to sound like.
With that being said, here are my thoughts:
First, your voice. I don't know why you seem to think it's not good. It's clear, you're on time, the rythm fits the beat, you're projection is strong. You don't seem to be hesitating. Dude, that's your voice. Embrace it. Based on what I heard, you ARE a rapper. Run with it, amigo.
Second, the music. Again, I don't know the genre, so I'm listeneing with fresh ears.
Lets start with the beat. It's very minimal. Which is a good thing. It's not crowding the place up. Even with its minimalism, it's still varied, so it doesn't get boring. I don't know if you're using loops, or if you programmed them yourself. If you did program them, excellent work. If they are loops, excellent choice.
I dig the use of the vocal sample. It's almost like another piece of percussion.
The gated squarewave synth is good. It brings a higher octave into the mix. That way, it doesn't seem like everything is competing for the same low end. Which, sometimes, I'm guilty of myself.
Third, the overall mix. It's very clear. It's nice and wide. Everything seems to be sitting exactly where it should be. Nothing is clipping, or ducking. The hats are crystal with no sizzle, the kick is nice and deep without squashing everything else.
The vocals are sitting perfectly front and center. This is a good mix. My only complaint is that it's only a minute long. Keep working on this until it's at least a solid 3 and a half minutes, dude.
Fourth, your presentation of yourself to us, the listeners.
You have what I refer to as the "Bullshit Check Off List."
That's where, instead of just stepping up and saying, "this is my work. Enjoy it!" You list off all the things you don't like about it, or that you feel isn't good enough. That just puts all of the flaws into the minds of the listener, and as they listen to it, they can check off all the bullshit that you listed. Your job as the creator is to create for us to hear. Your job is not to decide if we should like it or not. 99.9% of the time, my friend, nobody will even catch the mistakes that you think will ruin it. I can't tell you how many times I've posted a track with a cringe in the back of my mind, only to have comments of the highest praise from some of the most talented and respected members here. What I'm saying is, if they didn't catch it and say anything, then it wasn't anything to worry about. Do yourself a favor, and toss the clipboard.
Alright, man. I've been up on this soapbox long enough. Bottom line, dude...with this track as my only exposure to your work, I'd say you have a pretty good handle on what you're doing. Get yourself a little confidence, and keep doing it.
Take care.
V
on The God Unknown by StaticNomad
The slow droning intro definitely sets a darker mood. The pads that come in around 1:00 almost give it a hopeful sound. Which, really, is good.
Nice subdued percussion that gives it a nice forward movement. It keeps it from stagnating.
2:48 Is that a guitar with some pitch bending effects? I like it.
Now the percussion speeds up. Only to nearly drop off completely. This is a cool little, almost minimal section. The distorted, sustained guitar in the background is a good addition.
5:08 Those low tones are looowww. Very ominous. I'm digging them. What effects did you use to give them an almost vocal quality? Is that a phaser of some sort?
Not a whole lot of changes. At least, not drastic ones. They're subtle enough to keep it moving without getting boring. 6:28- complete drop off of the percussion. Good job.
7:32- picking up the pace just a touch with those drums.
A litle layering with the snares. Sounds good.
9:09- I would have liked to hear the drums pick even more. Not a lot, but enough to give it a little more "cruising speed." Maybe just more cymbals, rides, and hats to fill in some blank spaces. But, that's just personal preference. It's just fine the way it is.
Overall, it does have a great chillout vibe. It's fairly dark in comparison to what you normally do, so you accomplished what you set out for on that note. But as far as being a dark, or "doom" track as a whole, not entirely. Either way, it's good to see that, even with your recent musical frustrations, you've still come through and put out another quality track.
Good work, my friend.
Take care Mister.
Well done for not forgetting to return. It only took a couple of weeks – a short forever.
Yeah, nice, ominous intro and then it gets a bit brighter and warmer. I’d rather it were darker but I really struggled in general with that intro after the first 20 or so seconds.
“Nice subdued percussion” is just a basic, minimal Metal Machine kit groove, plus some occasional nice ride fills and stuff before it goes heavier.
“2:48 Is that a guitar with some pitch bending effects?”
It’s a VST guitar part that is being driven by an arpeggiator. I do some pitch bending and automate the amount of distortion, plus a couple of other effects.
“This is a cool little, almost minimal section. The distorted, sustained guitar in the background is a good addition.”
Yeah, the track comes down into a chillout version of what has just been going on. So, I take most of the distortion off the VST guitar plus add some new cello parts.
“5:08 Those low tones are looowww.”
As already stated, I only have one bass instrument in the whole track – a sample-based string sound. Probably a double bass. I have a bunch of effects on it and vary them to give different sections different moods. It’s always got delay on it but I add a filter to give it more of a subdued sound during some chillout sections. And boost the low end when necessary. I don’t think there’s a phaser though it’s possible.
“6:28- complete drop off of the percussion. Good job.”
Indeed. I’m too often guilty of not having any drum breaks in my tracks, as has been pointed out by a few people over the years. I’m a bit drum and groove obsessed so don’t always find these drumless sections easy but they do help break the track up a bit.
“7:32- picking up the pace just a touch with those drums.”
Yes, double time drums begin. The track is 120BPM but the drums play at half tempo until that point. Then I try to turn the track into something like dance music.
“9:09- I would have liked to hear the drums pick even more.”
I’m adding in quite a few metal fills, plus a dance music drum loop. I think perhaps you want them heavier or something. I initially wanted this end section to be heavier but I’ve gone for more restrained and smooth rather than badass.
“as far as being a dark, or "doom" track as a whole, not entirely.”
Agreed. Dark and evil doesn’t come easily to me. I must not have your blackened soul or something. If you’d made this, there would be a much more evil vibe but I struggle with that, generally tending towards more beauty and smooth grooving. My attempts at dark and evil often sound discordant whereas more regular sounding notes seem to make more sense and are more pleasing so I just go with that.
Thanks for the thoughts. I still have huge musical frustrations and limitations and am making stuff much slower these days.
Static SlowMad
on Beyond Nebulous by Neomorpheus
This. Is. Awesome.
I’ve liked Meshuggah since their beginning. Still do. In fact I dig the whole Djent genre. I love the broken rhythms and f’ked up time signatures. It’s not a real melodic genre, per se. but the percussive assault is one to really dig. Personally, I would go as far to say that Sepultura started that whole genre with “Roots, Bloody Roots”. They just weren’t using the 8string god sent from....wherever. But judging by the darkness of this tune, I’d say some suburb of hell.
Personally, I would love to get lost in the darkness of this tune. That shit is, for a lack of better terms when describing darkness, quite pleasant.
I’m not going to go into a Static sized breakdown on this one, I will say that the production is awesome. The tones you managed to achieve are true to the genre. Damn. I wish I could play live instruments, man. This makes my latest one sound like chicken scratch, dude. The layering is impeccable. The drone in the background is sitting perfect in the mix. It’s loud enough to hold everything together, and fill the blanks where it could become boring, (to the ears of those who don’t appreciate the genre), but it’s not so loud that it’s distracting. The sustained notes in the leads really work. I’ve always been a fan of that. Sustained, slow hand leads over choppy, chuggy rythyms.
Yep. You got yourself a winner, here, bud. I fav’d it so I can download it later. This one is going on the playlist.
Take care, mister. Hope to hear from you soon.
Aaron.
Take care my friend, thanks again.
on The God Unknown by StaticNomad
Later, gator.
You finish up your metalwork and let me know your magical thoughts. Dig in. Dig deep.
Later, crater excavator.
on The Backroads by Orlando51
This is a nice chilled out piece. Coincidentally enough, with the time of year it’s being posted, it really has an early spring sound. Like the cold winter rain is still upon us, but there’s a hint of hope for warmer weather in the air. Listening to this feels like watching the harshness of winter give way to the coming growth of new life all around us.
Beautifully done.
Take care.
Aaron.
Thank you so much for this nice observation on the tune and kind words...much appreciated !
All the best_____Orlando
on beyond repair by MetalEd
If you are looking to be more creative with guitars...without actually having a guitar, I would suggest looking into the Shreddage2 vst for kontakt player. Which is free from Native Instruments. Kontakt is free. Shreddage isn’t. But even so, it’s not as much as a new guitar. I use it in all my tracks. Well, the ones that have guitars anyhow. Not to sound like a shameless plug, but check out my metal tracks for examples of what it’s capable of. Everything I do, is my own work, no preset loops or anything.
None the less, I dig this piece you’ve done here. Keep it up, brother. The Looperman always needs more metal!
Take care.
V.
on Trypt by StaticNomad
Another NTB.
You definitely have a lot going on in this one. For the most part, it sounds like a typical Nomad track. But, that part around 6:45 gets really interesting. 7:30 it takes a nice trippy heavier, synthier, twist. It would have been cool to hear you cut out some of the pads, and introduce some low end distorted rythym guitar riff. The bass line from here out is really cool. Almost has a Roger Waters bounce to it. Maybe it was like this earlier in the track. I'm on the first run through. I'll go back and listen again.
Yeah, I guess it's in there earlier, too. I think. Maybe that's just synth I'm hearing.
I really like the guitar in this one. Not just the trusty ol' resonator, but all the squealy parts before it.
Overall, it's definitely a NTB. A little too crowded in a few spots for me. But, then again, that might just be my mood tonight. I'm a little more in the minimalist groove mood tonight. I'll listen to this one again when I'm a little more amped up.
HA! Yeah...I just reached the 7:30 mark again. I do like that little section a lot. I'd like to hear you do a full track based on that part.
No excuses. Get on it. I want it done before Christmas!
Oh! By the way...remember a week or two back, when you sort of requested a dark trippy Valvedriver tune? I delivered.
"In The Dreams Of The Damned"
https://www.looperman.com/tracks/detail/190367
Catch you on the flip side.
on Mellow Upbeat by xKemistryx
Now, a little constructive criticism: I would suggest using a little more stereo panning on your synths. All of your synths sit dead center. Moving them about within the track would give it a more spacious, and dynamic feel. The drums have good panning, though. Maybe draw back just a little on the sub bass. I could hear some clipping in a few spots. You wouldn't have to come down much. Just a touch.
But, that's all just my opinion. Take it for what it's worth.
Again, over all...it's a good track. Keep up the good work.
Skol.
V.
on Translucid by StaticNomad
I see you've found Jesus' delay pedal. Khan may disapprove, but me and J.C. Dig it.
The intro is nice and long. It gives us, the listeners, plenty of time to settle in and get comfy before the drums, bass and pads kick in.
Excellent use of layering. It sounds like multiple players, but, come on, we know better, right?
Speaking of drums. I like the minimal approach so far. (I'm still in the first play through.) My own personal tastes suggest a few more light fills, or rolls. But, it's still good.
2:25 - dreamy pads, backed by strings. Very nice texture there. Minimalist approach again. Nice.
Definitely an aptly titled song. While I did find it to be very relaxing, and very pleasant, it didn't, send me on that permanent vacation I was promised. So I will be asking for a refund. But I would definitely recommend this ride to others. I don't think you've "lost it." I just think your tastes are changing, my friend. The direction you took with this one is good. Ride it out. See where it takes you.
I really don't have any critiques for this one, as it sounds great the way it is. I will have another listen when I'm not on break at the mill. When I can sit down and really a focus. If anything stands out, I'll come back and let ya know. Otherwise, NTB!
Let us dive right in; deep and occasionally coming up for air.
I do indeed have Jesus' original delay pedal. I cleaned the sand, blood and thorns off and it works perfectly. All hail the ancient art of delay!
Intro is longish and calming. It's just two run-throughs of my chord sequence, which is quite long. It continues for about 2.5 mins, sitting behing the jaunty lead cello layers.
"It sounds like multiple players"
Well, multiple layers, not players. The only way that is likely to happen is if some Nomad cloning happens. Then I can play with myself all day.
Yeah, the drums are rather minimal for me. Mostly just one kit and only occasional or subtle fills.
"few more light fills, or rolls." Normally I have a lot more. Minimal Nomad, for a change.
"2:25 - dreamy pads, backed by strings."
Yes, that's a far out, mystical pad sound. The cello has gone and there aren't any strings behind the main pad. Just another pad.
"it didn't, send me on that permanent vacation I was promised."
Sorry about that. But if it had, wouldn't that sort of be death? That's a permanent vacation, as far as we know. Unless you believe in reincarnation. I guess going to hell is a permanent shit vacation. But the devil does have all the good tunes so that's at least some consolation.
"I don't think you've "lost it." "
I've definitely lost something, especially my guitar playing ability. Such a shame as I used to be quite decent. I'm reluctant these days to even pick it up. It's weird feeling like a guy who'd quite like to be a good guitarist. As if I'm a total beginner.
Thanks for the V-shaped thoughts. They were fairly lucid and only a little trans.
on Opposites Subtract by StaticNomad
Ok, my first thought was that even though the BPM and the beats are common in DnB, it still has more of a chillout vibe to me. I think if you want to go with a more DnB sound, you should use some automated cutoff filters, for some swooping in, not only the percussion, but the cello itself.
I'm really digging this. It's clear that you worked hard on it. I'd say it payed off. Has Jo Q heard it yet? (You did say she was your teacher, correct?)I think this might just be my favorite track of yours.
5:05 The textures you give it in the staccatos, and what sounds like bouncing the bow in the attack of the draw are excellent. It really brings life to it.
Did you use the same speakers to mix this as you did to listen to Overmyth II? I ask because over there, you said you didn't hear much bass, but this summbitch is really bass heavy. So, either your speakers aren't very bass responsive and you're overcompensating, or its because you were so used to hearing so much sub bass from this that Overmyth sounded like it was lacking in comparison.
I'm enjoying the pianos in this. They're quite jazzy without being jazzy. If that makes sense. Jazz. What a stupid word. Not the music. Just the word.
Ok, hear me out on this. The ending. Since the bass forms a huge foundation for the cello to elegantly skate upon, maybe you can have the abrupt ending for the DnB part, but let the cello and piano descend like a feather falling to the surface of the pond where it rests in a sustained fade out. Nice and light.
Just a thought.
I don't know, man. I think you actually feel something pretty deep when you're drawing that bow, mister. This isn't just calculated slicing and placement. Even if the calculation is in the production, It's not in the playing. There's a fluid voice in that cello that I've never heard in any of your other tracks.
I will most likely be back for another review. There's a lot going on in this track that I know I missed. Even after 3 listens in a row, plus the one earlier. I just finished putting the valves away, and now I must do the same for myself.
Later Drumandbassanator
Yes, this does have a big chill vibe. I just cant help it! It's there in so much of what I do. I really look for beauty in music and I've always been fascinated by combining that with an uptempo feel. Some badass beats, basically.
"if you want to go with a more DnB sound"
I do and I don't. Among my many musical limitations is not really knowing enough about the structure of music to really understand quite how any genre is made. So I've never really belonged in any genre, except for perhaps rock music. So, every time I make any other genre, I'm guessing at how to get that sound and I also really like to mix up the genres as I feel it's the best way of coming up with a new and unique sound.
So, perhaps automated cutoff filters would make this more d'n'b but I like it to be somewhat atypical, as is having so much cello anyway. I still haven't heard any other drum 'n' cell though I guess there must be some.
No, JQ hasn't heard it yet but probably will. She gives me feedback on most of my cello tracks but via email rather than on here. I guess she'll like it, as she seems to with most, perhaps all, of my others. She thinks I have come along very quickly with the cello. I guess I'm still very much a beginner in terms of how long I've been playing it (13 months) though I have made two whole albums of material with it in that time.
"I think this might just be my favorite track of yours."
Cool. But maybe that's because it's new and you've forgotten some of the older ones. I'm sure I do that with other people's tracks.
"bouncing the bow in the attack of the draw are excellent"
Yes - that's called spiccato. Nothing to do with Hispanics. It is indeed bouncing the bow on the strings and can be rather cool but also problematic. You can hear that technique in the chill intro and those same parts are also reintroduced much later (with added distortion). The spiccato section you mention is probably my favourite cello section in the whole track. Either that or the riff in the last minute.
"Did you use the same speakers to mix this as you did to listen to Overmyth II?"
Yes and no. I make all my music on decent headphones as I have problems with my speakers. And I listened to Overmyth II on those same headphones.
I didn't realise the piano in this was jazzy. It actually plays for about 70% of the track as it's subtly there when things get more intense in the second half. You don't get that much piano in d'n'b.
Your ending makes sense and I can imagine it quite clearly. I will have another go and see if I can manage it.
"There's a fluid voice in that cello that I've never heard in any of your other tracks."
Damn, I hope there's some fluid cellage in some of my others!
Ok, see you again for another review of my DnC.
Mr Mellowcellomad
on Fist Bumps Of Fury by StaticNomad
"Hell, I'd give you one and use one of your local coyotes as the sponge."
The picture of this in my head is in full "Brothers Grunt" form. A weird cartoon from the 90's.
"Mahloo mentioned that there are some timing errors in this (though not where they are) and I'm sure he's right."
If Mahloo said there are. There must be. It's like when Tumbleweed can pinpoint your compression settings just by hearing it. I can barely tell the difference when I'm actually using it, but he can tell by listening.
"The population of Valvehalla is exactly the same as that of Nomadland. I'm sure both are brutal dictatorships."
Which, most likely, is exactly why the population of each is so low.
Laterz.
That would be one in which I give you some static electricity shocks as you're chilling with your coyote-shaped sponge.
Never heard of Brothers Grunt. Too weird for me, maybe.
Can Tumbleweed really tell compression settings just by listening? Whenever I point out errors in his tracks, he usually tells me his ears are too old to notice them.
I'm crap with compression and have never really got the hang of how to use it. But I have been applying a limiter to the final output bus of most of my tracks for the last few months. It's really helped make everything louder and more powerful though I am a bit concerned about the lack of dynamics in the visual waveform. It all sounds OK though. I know so little about mastering. I'm not a technical guy!
Perhaps someone will one day want to live in Nomadland with me. I'd like it to be a fine lady but I've had very little interest so far. This leaves me more time to knock out nice tracks bro.
Laterzzz.
on Faith-dust-bones by FatalDecline
"I am still such a novice at mix downs it is almost embarrassing, I have a lot of trouble with my end results being "muddy" if that makes any sense? maybe it is just the equipment i use, but most likely it is my lack of EQ knowledge"
I get it, bro. I totally fucking get it. So does every other member here. It's absolutely nothing to be embarrased about. We all started at the bottom. Without formal training, it's an enigma that seems impossible to grasp. But, I'll tell you what, man, this site is a goldmine of knowledge, information, and advice. 99% of what I've learned about mixing, (or just music in general), I learned here. Not only in the forums, but by reading every comment on each track I listen to, and sometimes, just straight up asking.
I see you've been here for a couple years, so I'm probably telling you nothing new.
A lot of times, the "muddiness" comes from too many frequencies overlapping in the . essentially, fighting for the same spot. Sometimes, it's as simple as panning and stereo separation. If you separate your guitars to full stereo, not only does it widen up the dynamics of the track, but it creates a hole in the center where the bass guitar can settle right in with no crowding...for example.
Too many layers of the same frequencies can muddy up the joint, too. If your bass guitar is super low end, the try scooping the lowest frequencies from the kick. If they're too close to the same, it could cause clipping, or that "pumping" sound like in Trance. (But they have a sidechaining process to get that sound.)
Anyhow, I hope I'm not telling you what you already know, or insulting you with unsolicited advice.
Take care.
V.
on Death Valley by LXjay
The kick is heavy, but it too is lacking punch. It has a great low end, but no upfront pop that gives it it's full power.
If you had a couple different drum sets and layered and processed them with some EQ'ing, it would really bring more life to this.
Again, what you have is good, but with some expirimentation, layering, and mixing, you could make it even better.
Good luck to you, and keep up the good work.
Skol.
V.
and again thanks for the comment much respect
on Fist Bumps Of Fury by StaticNomad
Honestly, I think it sounds fine the way it is. It doesn't need anymore work. So, take that for what's worth.
Now, if you'll excuse me, I have some very heavy valves that need to be driven. I'm at work and the great steel beast waits for no one. Even the ruler of Valvehalla. (Pop. 1)
Mahloo mentioned that there are some timing errors in this (though not where they are) and I'm sure he's right. Making this track was actually quite a bit like metaphorically polishing a turd. It used to sound utter shit and was a lot of chopped bits of guitar and sections that didn't work. It's as cut up and spliced together as any sample-based hip hop track.
I'm surprised you get to do any Loopermannning while driving those heavy valves. You probably just do a bit on your lunch break.
The population of Valvehalla is exactly the same as that of Nomadland. I'm sure both are brutal dictatorships.
on Faith-dust-bones by FatalDecline
At first I wasn't too sure about the vocal style against the music style, but after a bit, I got it. It's kind of a Fear Factory meets Korn meets Deftones thing. It's got a nice heavy vibe, even with the more droning vocals.
I think, though, that the vocals are a little muffled. They could use a bit of a scoop in the mid-low frequencies. Give them a little more transperency.
I'm on my third listen, and even though it's basically just two parts repeated throughout, I'm still really enjoying this. It works for what it is. Kudos.
Skol.
V.
I am still such a novice at mix downs it is almost embarrassing, I have a lot of trouble with my end results being "muddy" if that makes any sense? maybe it is just the equipment i use, but most likely it is my lack of EQ knowledge. So thank you for the advice .
Thanks for taking the time to listen, glad you enjoyed it, Keep rocking \m/
on Fist Bumps Of Fury by StaticNomad
Either way, it's still a bad ass track. I also still think it's a 3 way combo of Van Halen, Primus, and Edgar Winter. That's still a compliment, too.
It was a good listen again. I think a lot of times we, on the loop, listen to a track once then never again. Generally speaking of course. Cryin' ass shame, really.
Catch ya later, man.
A friendly fist bump to thee.
Sorry - I realised shortly after leaving my comment on your Overmyth track that you'd already listened and commented on this one. My apologies - I simply assumed you must have missed it due to it being uploaded while you were away from the site. Listening to yours made me think of it.
"I think a lot of times we, on the loop, listen to a track once then never again."
That is quite standard, I'm sure. Some people make a lot of tracks favourites but I bet they rarely return to listen to them. I don't very often.
I'm not entirely happy with this one but I did a hell of a lot of trimming and sound processing work to get it into this sort of shape so perhaps I can't really make it much better. All the same, I'll still probably give it a go.
Take care,
Furious Nomad
on Post War Etude by Orlando51
I know you're not too pleased with this one, but I can assure you, this is good. One thing I've noticed, and I may be wrong, my sincerest apologies if I am, but from my perspective, you often times seem unsure of your own work. Which, although, can lead to a stronger drive to improve, can also be a hinderence.
Looperman is the first time I had ever publicly shared my work. After the first couple tracks, it occurred to me that by preemptively mentioning that which I was unsatisfied with, I was handing all of you guys a screwup checkoff list. I figure it this way. Give us your best, and give us your worst, if no one complains about a single thing on the worst, then they're both your best.
As far as this track goes, it's a fantastic piece. It's very calming and relaxed. The mix is crystal clear. I can almost hear running water, and a symphony of birds in the bacground.
One thing that's cool about this is, and maybe because we've all been spoiled by you and Ed's collaborations, even though it's a complete piece on it's own, there's still plenty of room for more.
Beautiful work as always, my friend.
Take care.
Aaron
Yeah, your observation is quite relevant...I'm often suspicious about my own work, well...in fact most of the time. There's always some aspect which leaves me in doubts
or maybe my expectations are always at least a bit different from the realities of actual result and I'm always very harsh on my own performance. So there's always that inevitable personal feeling of falling a bit short from achieving the goal completely.
Therefore it's always nice to hear the opinion of fellow musicians which always grant me the opurtunity to look on my work from some different angles and perspective.
So thank you so much my friend for expressing this very positive stance on my last upload thus making me much more comfortable with what I've done, especially when this comes from an artist whom I have in high regards !
Now I'm rushing to check your latest upload...cya there..:)
With much appreciation_____Orlando
on Explosion by ElenaSatine
I like what you have here. There is an interesting mix of elements to this song. With the guitars in the second half, it's almost like two songs in one.
The transition was fairly well executed. I think if you follow Steve's advice on the muddiness of the guitars, it would help the transition. The House end is very clean and clear, so it doesn't entirely feel like it belongs there. I think if you added a nice deep rich sub bass starting at 4:24 it would help fill it out a little more. It does feel kind of empty until about 6:02. The pads underneath are good, but maybe a little more hi hats.
At 6:13, you've done a great job at reintroducing the House. It's a nice gradual, nearly seamless transition. The ending is a little abrupt, but it still works fine.
Overall, I really enjoyed it. I hope I was able to give you some good ideas. You've done good work, keep it up!
Take care,
V.
but you'right .
thank you so much for usefull and technical advices
Valvedriver .
I really appreciate you comment .
on Bottomlands by Burtsbluesboxes
This is a great track! I can feel the humidity, and the mud pulling at my boots.
That CBG has a great sound, and you used it well. It's so smooth and clean. Such a contrast to the environment which it accompanies. It makes fri a great balance in this atmospheric piece.
Take care.
Aaron
on Highland Homecoming by Orlando51
One of the things I enjoy the most about yours and Eds work, either together or separate, is how it's always positive and uplifting. Even the more sombre or melancholic tracks have a distinct air of hope and happiness. For someone who spends so much time in the dark, (literally and figuratively), it's good to know that I never have to go far to find just a little bit of light. In other words, when I'm navigating the outside world, I don a dark and heavy armor to get through the day, but in the sanctuary of my my own home, after the armor comes off, this is commonly what I choose to listen to for the sake of unwinding.
This track reminds me of a gentle rain on a cloudy summer day. The air is rich and humid, but the cold of the rain is so refreshing. Your piano in this is the cool rain to Ed's backdrop of warm, humid air. Together making a pleasurable experience.
Again, I hope all is well with you.
Take care.
Aaron.
I'm glad you liked my rainy effort and I have to say that working with Ed always makes it special. Yes, you're very good observer. When I analyse my tracks I see not only somber tracks have always something uplifting within, but also happier ones often reveal glimpses of something more somber. It's always a cocktail of feelings and I think it oozes to the surface through subconsciousness.
Thank you so much for stopping by and for this lovely comment.
See you around soon_____Orlando
on Thriller by YogeshST
It's an alright track, but I think if you had spent more time on it, it could have been far better. Just my opinion.
Take care.
Sloe.
on Eyes Run Aground by Evisma
Is this the tricky track that you had to display your authority over? If so, you did well, my friend.
I'm amazed at how far you've come since we were new here. To be completely honest, I think you've far outgrown any suggestions I may have. So, I'll just sit back and listen to it again, and enjoy it for what it is. Amazing work, brother.
I dig the transition into the heavier section.
I think the only thing I hear that's not quite right, is the levels on the lead in the last section. But Static already touched on that, so there's no need for me to go into it further. Other than that, the mixing is spot on, and crystal clear. It is kind of interesting to listen to one of your tracks where the bass isn't up front and center in the mix. (so to speak). But, even so, it's presence is still known, and unapologetically so.
I told the ladies that I was in The Vulv. They just looked at me with a disgusted look on their face. Then I told them what it was. It changed nothing. They just asked about the other two guys. So, I went home and fed my dog, ate some frozen pizza and binge watched Brooklyn nine nine until I crashed out on the couch.
Alright, man. I have to agree with Steve. This is quite possibly your best work. At least of that which I've heard, anyhow.
Catch ya on the flip side.
on turning time by mindhiest
I like this! You've got a nice palette of sounds here that you're working with. The arrangement is good. Your wubbs and your dubbs are fluid. Meaning none of them sound jammed in just to be there, or as fillers.
There are a couple things that need some adjusting. Mainly just volume levels. Super easy fixes. There are a couple parts where the vocals just get LOUD, then back to normal. A few of the synth wubs jump way out too.
A little tip for the drums. In dubstep, they layer the snares. (and kicks. But I'm speaking only of your snare right now.) Usually with a clap, then add reverb. Other than that, the drums are good. Nice and clear, up front in the mix, and fully audible.
It sounds like you have some delay on the vocals, you might try adding a little reverb to those as well. The only reason I suggest that, is because of how spacious the rest of the song is. They don't sound secured. From my standpoint, anyhow. A little reverb would blend the edges of the vocals right into the track.
Overall, mister, this is a great piece. Just a few super minor adjustments, and it could be a top notch one.
Keep up the hard work.
Take care.
Sloe.