ValveDriver

Hey man. What's happnin'?

This is great. It's got a late 80's/early 90's industrial feel to it. Which was exactly the time I was into it, so I tend to like this one quite a bit.

It's definitely a pretty dark tune. The beat is solid and drives along nicely.

I agree with Cru. The phone samples are a nice touch.

As far as the mix itself, it's very clean, and everything is spaced perfectly. I don't hear anything crowding anything else.

Good job, man!

Take care.
V.

Yeah. You may want to think about investing in licensed software. It generally doesn't come with the glitches that cause your projects to crash, or make things more difficult than they need to be. Oh, and the lawsuit stuff. It doesn't come with the threat of lawsuits, either. All that, plus, it's not looked too highly upon around here.

I'll swing by later to give a more indepth review. I use FL studios, too. So, I should be able to get pretty detailed.

Again, Take care.
V.

Keep it. Just spend a little more time with it. It's not a bad track at all. It just needs a little more attention.

There's a lot of clipping in it. Which means it's too loud. I know loud is good in Dubstep, but too loud is not. I'm assuming you have your instruments, drums and synths assigned to their own mixer tracks. If not, do. From there you can adjust and balance out your levels. pay close attention to which frequencies are the loudest in each instrument. For example, if your kick drum and your sub bass are both peaking in the 30-50hz range, cut that range a little in your kick, You'll still get the kick drum pop, but it won't be competing with the sub bass. Ya know what I mean?

Also, from your mixer, you'll be able to play with the panning. Because, as it is now, everything sounds like it's just piled up in the center. Not only will individual panning and stereo separation give you some sweet dynamic movement, and fluidity, but it will create a more spacious mix. But most importantly, it will clear up some of the overlapping frequencies that contribute to a lot to that clipping.

I'm not going to go too far into detail on the specifics, because I don't know what kind of set up you're using, or if you'll even reply to this with anything more than, "Thanks bro. Laterz!" But, if you seem genuinely interested I'll add more.

Take care.
V.

Neo. How's it goin' man?

Yesterday, my wife and I were driving west in the evening sun. She started bitching about how bright it was. I looked at her, and in a deadpan voice said, "Now, go out and get yourself some big black frames."
Without skipping a beat, she says, "With the glass so dark they won't even know my name!??"
I love my wife just a little bit more, now.

This is some fine-ass guitfiddlin' my friend. The others are right about the tone, too. It's a spot on recipe for that Texas flavor. I've always loved ZZ Top. Much like you, I prefer the earlier years. I like everything post 1983, but I can't recall any tracks that really stand out, like I can the years before that.

I can see why a few others have made mention of the drums, (or, lack thereof.) Usually when you think Texas blues/rock, you think big rockin' drums, and heavy basslines. My brain was expecting some to kick in, as well. But, taking into consideration the information you gave us in the description, the drums are just fine, and serve their purpose just as planned. I do think there could be a little more variation, but it's no deal breaker for me. I still like it just as it is.

" Valvedriver probably doesn't have any Peyote up there in the hills, but them shrooms of his are just as potent!"

That's all you need to say, brother!

...and, with that being said...
Take care, my friend!

Aaron.

Greetings from ValveHalla!

"I was out kayaking yesterday (it's inflatable so you'll be pleased to hear it has valves on its inflatable chambers) and am off to the other side of the country tomorrow to do a bit more."

I've never been Kayaking. But I used to canoe a lot. Not the same thing, I know, but it's still fun as hell, as I imagine Kayaking would be. The problem with living in the states is that it takes about a week to get to the other side of the country. Unless you fly. But, getting a Canoe or Kayak in the carry-on is difficult. So...driving it is.

"I'll be fascinated to hear the end result, if you choose to go ahead with it."

Absolutely I do! I think it will be a lot of fun, and I'm flattered that you would ask me to remix one of your songs.

"So, the stems will take a bit longer..."

No rush. I know that once I get them, I'll listen to the original a few more times. Then, I'll probably sit on them until the right idea comes along as to what to do with it. I never start a project while I'm still excited about it. I treat my work like a fine Scotch. Let that shit age to perfection before poppin' the top, ya know? I've never rushed anything. No point in starting now, ya know?

"I wanted to return to earlier themes but now present them in a more melodic and beautiful way."

Mission accomplished.

"Maybe there's a touch of the Floyd boys here. That tends to be a good thing whatever style you're making."

Absolutely. I was remastering "Navagating Jotunheim" when it occurred to me, it's just Floyd flavored dubstep. It's a slower bpm than Dubstep, but it's basically what it is. I reposted it if you feel up to re-listening.

I hope your enjoying your time in the water. If it's as hot there as it is here, the water is a good place to be!

Catch ya on the flipside.

Evan. Dude. This is now completed badassary.

The Wah section is much better. It fits in there like it's supposed to now. Good job.

The ending seems to be more clean. The added guitar over the fade out works.

It's definitely much more solid now. Not that it wasn't before, though.

Thanks for the extra guit-fiddle tips. That's the kind of stuff most people don't think to tell you. They just say, "Get this pedal. Get that Pedal." or "Buy stuff for making the things do the stuff." or, "you don't already know how to play, so I can't help you." Assclowns.

Anyhow. It sounds like you enjoyed your 4th just fine. If I could still burn the green, I would. My wife can, and it kinda makes me envious sometimes. We had a decent time. We had a group of friends and family over for a big-ass BBQ and blowout bonananaza. Everyone went home full of food and beer, and with all their fingers still attached. So, I'd say it was a success.

Again, awesome reworking here, mister!
Take 'er as she comes. Easy, with any luck.

Aaron.

Sweet! Thanks for the links. I didn't dig down too deep, but at first look, they look pretty handy. I'll be digging deeper for sure.
I had a guitar way back before the beard, and the gray hair from which it's made. I didn't know how to play it back then, either. But, I came up with some pretty cool shit that I still remember. Since I started doing this whole Looperman thing, I've learned A LOT about music, so this time around, the intention is to actually learn the damn thing and play it like it's supposed to be played. Not just hammered on with the distortion cranked to 11. For now, I may be able to piece together enough riffs to be able to put out a track or two. I just need to pick up an interface before I do.

"...it is an actual wah pedal controlled by my foot. It's recorded in."

I guess I knew that. With everything I do being a plug-in that basically lays over the top of whatever I'm modulating, I sometimes forget that not everyone does that, and can't just delete a setting.

"I don't want the taking of my advice to make you dislike one of your own tracks. We do what we do for ourselves. Not others, but others give an important non-partial opinion that can help in songwriting. "

That's the perfect way to look at it, my friend. That's why I always say "take it, or leave it." Because it's all just my opinion with the intent to expose a new angle for consideration.

As far as the evil synth solo with your bass....do it. Do it now. Or later. But totally, I'm all for it. Whenever that perfect, minimal bass makes itself present, just let me know.

"All are us belong to your bass."

In 2000, there was an internet meme that took a gabber-techno track that had broken English from some Japanese video game, and made a gif of it. Thing got huge. It's old enough now that it's past all of it's living stages as a meme, and retired as a classic. Now, it gets used unironically, and referred to as if it's an old friend. Stupid fuckin' meme.

Here's the meme...
https://www.youtube.com/watch?v=8fvTxv46ano

It's a terrible song, but entertaining none the less.

Alright man, I gotta split. Big-ass BBQ and kaboombooms to get ready for. Have a good 4th, and be safe, man.

Take care.

Hey man. What's up?

Normally, I don't click on the Hip-Hop genres. But for some reason, I just decided to go ahead with this one. Totally at random. But, I'll tell ya what man, I'm glad I did. This is a pretty sweet tune. The panning of the pads and accents give it a lot of motion and dynamics. The mixing is crystal, and it's, overall, a pleasant tune. It's nice and bass heavy, but it's not aggressive. This could probably fit in the Atmospheric and Chill Out genres as well.

It would be interesting to hear this piece with some of Tumbleweeds fluid-like guitars weaving in and out of it.

All in all, excellent work, mister. Keep it up.

Take care.
V.

Hey man. What's up?

It's kind of cool to see a horror based dubstep track other than mine floating around the ol' Loop. Your choice of horror samples is from an excellent source. I think there were about 3o zombie movies before Romero's Night Of The Living Dead, starting with "White Zombie" back in 1932. But, Romero's was the one that changed the face of Zombie flicks, though.

Not a bad little tune here. It needs a little work, but it's not bad at all. I think for me, the thing that stood out the most was the lack of variation and breaks in the drums. But I like the more laid back approach to Dubstep. It works for me, too.

Question: Are you creating this all from scratch, or are you using loops? Or, a little of both?

Take care.
V.

(1 of 2)

Ok. I'm back with yet another installment of "What the hell was Valvedriver thinking, anyhow?!"

A question that's been asked several times in my life. Today was one of those days, too. I saw Mad Max: Fury road. That movie was ab-so-god damned-lutely perfect in all of it's cinematic post-apocalyptic, metal-as-Hell badassery. So much so, that I could not contain my proverbial hardon. Therefore, directly after the movie, I went out and shot my load all over a B.C. Rich, complete with coffin case, and cheesy ironic metal awesomeness. Thus, marking it as my territory. So, here I sit. The proud new owner of a guitar that I don't even know how to play.

That's how freakin' awesome that movie was!

That business about being sweat-logged by 10 am. Not cool, man. Heh, literally. I can relate to your sun induced misery, though. The steel mill is about the same. Just make sure you DO keep yourself hydrated. That heat exhaustion is no joke. Also, pedialyte, is kinda delicious on a hot day. Try to eat fresh fruits in the mornings. They have natural sugars and carbs that help out a lot.

Shall we?

I like the intro. It is very Celtic/folk sounding. It kind of lures you in with a false sense of security before sinking it's hooks into you.

For the reverse slide into the drums, have you thought about taking out the reverse cymbal, and letting the last note of the acoustic guitar sustain a full note, then, the drums and bass will come in like someone kicking in a door.

Jump to the ending. 3:30 to be specific. I don't know how much more you plan on doing to this, but here's my suggestion. Bookend the intro. But, don't just use the same part. Instead, rebuild the riff with all your badass bassery, so they're all one intense, high energy riff that brings you full circle. Then re-introduce the guitar lead from 0:30, and lay it ever so delicately over the top. Finish it out with an abrupt ending, letting that last note sustain again. Here is where you drop in your reverse cymbal. Like a ramp on a cliff to launch a big rig off of it's edge.

Does any that make a lick of sense? It's hard to put brain-sounds into word-texts.

The "wah" part. I like it. But it doesn't fit in this song. It's kind of like, Wah the hell is this doing here? (Ba-dump-PSH!) Maybe just turn off the wah, but leave the guitar there as it is played.

"When I'm not feeling it, I don't TRY to feel it. I think the last two tracks have benefited from that approach. "

Fuckin' A, they have.

(2 of 2)

I think, overall, you're making leaps and bounds. Probably that "Let It Be" approach. Which reminds me, I'm kind of surprised Static would take an interest in Elvis. I'm more of a Beatles guy, myself. My wife...she's a G.G. Allen type. She's actually got a tattoo of Elvis, hunched over on the shitter with a sandwich clenched in his dead hand.

I don't really have any technical suggestions other than the ideas for the parts you mentioned not being too sure on. I think it sounds pretty damned sweet. So, take 'em, or leave 'em. But whatever you do, keep cool under that sun, man.

All are us belong to your bass.
Aaron.

Mr. Evan. How it be, man?

First, I just want to say this is a solid track. Everything, so far, is quality. The composition, the mixing, the instruments used. I have quite a bit of good, (and a minor suggestion or two.) to say about this track on it's own, and a few opinions related to things covered in previous comments. But, as it is, I've been awake for about 20 hours now. To try to attempt any intelligible word usings with the brain and the face and the typing of the things that make words and stuff...would just lead to the equivalent of a literary version of a Jackson Pollock painting.

Or the musings of a schizophrenic.

I will be back in the very near future to construct a coherent review.

Take care, Amigo
Aaron

This is a brilliant piece!

That's a big-ass saw wave you got there, man. I love the transition into that detuned bassline. It completely changed the mood into an almost darker, and more chaotic feel. I wonder, did she cut someone off just before that? lol.

One thing I've noticed in your work, is it's generally very tense in a time sensitive sort of way. For example if it were a story about a character, that character would always be in a hurry for some reason or other.

Either way. I really like what you've done with this. It's a good listen from beginning to end.

Thank you for sharing!

Take care.
V.

Eyedye, hello.

This is a quality piece. Mostly. I would suggest bringing the volume down just a touch. I sounds like I can hear some clipping throughout the whole piece. Super easy fix, though.

As far as everything else goes, excellent work. I would absolutely vote against additional vocals. The choral work that's in it now is powerful enough to carry it through. Adding anything else would completely take away from that power, and end up minimizing the rest of the track.

If you don't mind me asking, what are you using for the choral samples? Is that a Soundiron product?

Take care.
V.

(pt.2)

The super faint delay on the sequenced synths in the final few seconds almost sounds like the radio of someone in the distance.

I'd say this ones a keeper, mister. It's not your best track, but it's really not too far behind. Thank you for pointing me to it. I really enjoyed it, and the trip on which it took me!

Take care, man.

Ok. The family is out, the lights are off, and the music is on. I listened to it about 3 times, continually reviewing with each listen. So, it kind of jumps around a bit.

First, the intro is great. Slow and low. The progression is definitely one of suspense and intrigue. But not like an Agatha Christie novel. More like an escalation of terraced waves, continually moving you upward into who knows where.

I'm diggin' the piano. Very soft spoken, but unquestionably letting their presence be known.

Ahh, the timpani roll. Drums and guitfiddle come in. It's a nice ripple in the pond as if it fell without leaving a splash. Nice transition.

I like the use of different kits. You kind of have to with it being an otherwise slower and spacious ambiance. It keeps it from getting monotonous. There's not a whole lot happening for a while in the beginning. (That's not a bad thing at all!). Those different kits keep it interesting. I think the only place the change didnt't really fit was from 3:03-3:24. That brush snare, and jazzy as fuck beat before that, complimented not only the tones of the guitar there, but the emotion as well. When you added that switch up, it kind of pulled it a little out of sync. And I don't mean the timing, as much as the emotional connection between the drums and guitar.

The pads that are floating around in the background are nice. They give it that extra ethereal dynamic.

6:15. The lead lead guitfiddle. A nice bluesy/spacey feel to this. It's like it's been waiting for you to show up so it could tell you everything it knows.

7:12- It's starting it's decoy ramp up. I like the way it drops back into a darker piano bit. Excellent work on that by the way. They're very...for a lack of better terms, they're very classy.

Another timpani roll taking us into a neat sequenced synth. It's gotten to be a much lighter atmosphere here. That was a very gradual change. Kudos, man.

It definitely did start dark and end light. All in all, I think this was a pretty creative and "free" piece. It's movement and dynamics were very comfortable and easy to ride along with. You know, I can almost hear a touch of Floyd in parts of it. Specifically the piano, and the synths.

From 1:54-3:03, it had a very Angelo Badalamenti feel to it. (I'm on my third time through.)

There's a much more minimal thing happening here. At least for your work. There's definitely not as much happening as is the case in some of your other tracks.

3:37- I like the way it goes from an abandoned desert roadhouse bluesy sound into a lift off from the surface of a distant planet.

7:11- This exact moment is great. It's like the guitar opened up a door way and invited you right in to that delicate piano bit

Staticimo DeNomadico! What be happnin'?

I gave this nice track bro a listen, and I thoroughly enjoyed it. It is a darker jazzy piece that plays well.
At the moment, I'm not able to leave a quality review, but I will be back in a few hours when everyone in the place goes to sleep.

Take Care.
V.

Hey, man. Get ahold of me via "Contact Me" on my profile here. or shoot me an e-mail. Sloedirt@gmail.com.

Catch ya later, man.

One would think that if you're going to invite someone to your yard, the courteous thing would be to clean it up, yes. My suggestion is to carry a set of golf clubs in your work truck, and use it to clear a path. But always swing toward the house.

It's interesting that you say you came up with the opening bass in a truck. When I originally listened to this, I thought it had the same kind of feeling you get when you look in the rear view mirror and see a big-ass Peterbilt closing the gap with a quickness.
Speaking of that bass, is that the same one as the distorted bass behind everything when it starts rocking? I ask, because I'd like to hear more of it as a front line feature. Specifically, if you traded the clean bass from 2:05-2:19. Play the same riff, just with the other bass. It's already progressing there, why not make it a heavier summbitch? Then again from 2:32-2:45 before it drops off into the clean melody. The contrast might give it a more dramatic contrast. But, as always, that's just my opinion.

The lead that starts at 0:30, freakin' awesome, man. I honestly think that's my favorite part. There's a whole lot of emotion being conveyed there. There's a great contrast between that and the funky bass that comes in at 1:37. It goes from peaceful and dreamy into a more sinister sound that sets us up for the heavier, relentless mid section.

That slide at 2:45-2:46 into the transition is perfect. Bringing back the floaty lead is a good way to bring it back down into a pretty smooth ending.

I know I've said it on a few of your tracks before, but this one tops them all, man. At least as far as I'm concerned. I think it just goes to show that you're definitely coming into your own sound. I don't remember which track it was that I had said it, but I mentioned you tapping into your full creative potential soon. If this isn't it, it's pretty god damned close.

I think the only complaint I would have is the lack of panning on the drums. At least with the toms anyhow. Even some of the hats and rides. I think with them being so busy and all mostly panned to the center, it kind of bleeds together, and makes it a little difficult to pick out individual pieces.
The side stick/wood block sounding perc that comes in at 2:46 has a nice wide effect though. That sounds good there.

Overall, I think this deserves a spot on the "What Are Your Favourite Tracks On Looperman" thread. When I listen to this one, I don't think of Oak as the title suggests. (Unless you're going for a more majestic relation.) It sounds very automotive to me. Kind of like an audio interpretation of Spielberg's 1971 flick, "Duel".

Alright, that's it for mow. Keep peace with the bees, and may the beard be with you, my friend. But, I wouldn't let the bees use the beard as a means of peacekeeping. That could get messy, one way or another.

Take care, man.
Aaron.

Topvega, how are you, man?

Well, it looks like I arrived to the party just a little behind everyone else. Either way, I'm glad I found it!

I'm not exactly a Zeppelin fan. More of a Pink Floyd guy, myself. I am however a pretty big fan of the John Paul Jones and John Bonham rhythm section of Led Zeppelin. Bonham had such a loose, almost sloppy, but impeccable style, and Jones knew how to fill in the spaces to keep it pulled together. I've always felt like Page and Plant were doing their own thing in the band, while the Johns were busy being awesome. You've definitely channeled their rhythm on this track. The guitars aren't very Jimmy Page....but to me, that's a good thing. Honestly, what it sounds like to me is, The Johns on Drums and bass, early Gilmour on rhythm, and Billy Gibbons on lead. Damn...that would have been a sweet supergroup.

Generally, I agree with most of Statics reviews. Not this time. I don't think it's too long at all. This track is total jam band song, and that's what jam bands do. Jam. For long periods of time. When you find yourself grooving to good music, you don't want it to stop just about the time you're in full swing. For example...this song by Earthless. (link below) 21 minutes long and not once is it boring. I'd say you did a pretty good job of carrying this one for almost 7 minutes!

A few months ago I did a nod to Pink Floyd, (Red On The White) so I can totally relate to where you're coming from with wanting to do this track. I think you did a better job at just doing your own style based on their influence. Mine was a little more emulative, and I fear that it sounds like a ripoff. But, that's no matter, we're not talking about my track.
I like this one, and I added it to my fav file. Excellent work, as always. Here's the link to Earthelss- "Lost In The Cold Sun" I hope you like it.

https://www.youtube.com/watch?v=HITHygbE_BA

Take care.
V.

What I like the most about this one, (and most of your more recent ones) is how it's broke free from that "Tool sound" and soared into that Evan sound. You've definitely put a lot of heart and hard work into this one.

There's a lot of good things to say about this one. All of which, I will. But I'll have to come back to do it. Right now, work relentlessly beckons. It seems as if they own my soul anymore.

But for now, Sweet track Bro!!

later, man.

Every now and then, I like to pop in to see what's happnin' with the brighter side of music. This track is the polar opposite of my own work.

With that being said, excellent work on this. The production value is crystal. Your panning is spot on. Everything sits exactly where it should. It's a light and, dare I say, refreshing tune without going overboard. It's just a good solid track. You have every right to be pround of it.
Personally, I don't think it needs vocals. I think what you already have speaks for itself. Vocals would take away from the true heart of this song.

This is not my preferred genre, but I enjoyed it while I was here. Keep it up.

Take care.
V.

Xyllent, Hello.

Generally, I do things dark, loud, and aggressive. So, when I hear other people do these chill out tunes, I really enjoy them. It's like taking a break from my own mind. This track provides an excellent backdrop for a temporary escape. To me, it has a very fluid, almost cool aquatic feel to it.

You said that you were thinking it's not finished. I agree with many of the others. There's really no need to do much else. I think the only idea I have, is to add forest noises. You know, Birds chirping, a stream, maybe an occasional buzz from a passing bee. But pan them all out to give them dimension.

I don't know. That may be a lame idea. Like I said, I usually do dark, loud and aggressive.

All in all, I like the track as it is. Excellent work.

Take care.
V.

This is definitely a bass driven tune. Not to be confused with a Valvedriven bass tune. Or, a tune called Valvedriven.

It's an atmospheric one. Much wider, in my opinion, than some of your others.

There are some nice, subtle transitions. Even some not so subtle, but effective.

The synth at 4:50 has a nice contrasting texture in comparison to the surrounding textures.

There's the power of the slide!

7:36 nice break. I like what you did with the vocal samples. Some nice effects.

9:24. Enter the distortion! I'm digging this. Personally, I think it could have been doubled in length.

There are those sweet vocal pads again to bring us to the outro.

This is kind of a brief review, I know. I plan on coming back for a more detailed and thorough review that this track deserves.

Overall, I really enjoyed this ride, and plan on coming back to do it again!

Spiv, how ya doin' man?

I like this one quite a bit. It sounds like something that could easily fit into "Adventure Time". Mainly because on the surface it's all cotton candy and pretty colors, but get in there a little and it's actually a well thought out, intricate, and complex piece. Just like how Adventure Time is a colorful kids show about a post apocalyptic world filled with a broad array of characters that tie into the underlining arc.

I like the way you incorperated the guitar in a way that you don't fully notice it's there, but would definitely notice if it weren't. I don't need to say anything about the mix/master. Your's always comes out top notch. I think the only thing that stood out to me was the dryness of the vocals. But that's just personal preference, not so much a critique.

So, yeah...I really enjoyed this one, and your perseverance paid off. Excellent work, as always, mister.

Take care.
V