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Zoe Coleman Music
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« Reply #40 on: April 24, 2013, 03:06:12 PM »

Ooooo this is such a good idea!

I wrote this the other day https://soundcloud.com/zoecoleman/b

I was wondering how it sounds production wise, as I know thats one part I could be better at and it makes the difference between something a bit average and something that sounds really professional!

I opted not to use a compressor coz I felt it took away from the nice volume swells but wasn't sure if I did the right thing?

So yeah, feel free to dissect it when you have a moment. :D

I listened to this earlier today on crap laptop speakers.  Don't worry, I'm giving it a second chance(no way I would judge something by those crap speakers...).

Your panning work is painful.  Sounds as though everything is pretty far left, or far right... with the center neglected.  The harp sound as though the panning shifts depending on the pitch, which would be okay if the harp was sitting right in front of me, but for a spacious mix it is a bit disorienting. 

For the strings I'd suggest reworking how they are positioned so you don't have parts solely to the left, and solely to the right.  At the very least put something in the middle to pull the two sides together more, right now I feel like a cellist is on my right side, and a group of violinists are on my left side, and a harp player is dancing around the room.  It also sounds like you normalized the track to a specific threshold... like 0dB or something.  The instruments mostly sound as though they are playing a rather soft timbre/dynamic, and their presence is pretty high.  I wouldn't suggest normalize it quite so high to keep the mid range frequencies from being so loud, maybe set your threshold lower to around -3/-6 dB depending on how much the mids bleed through. 

Thank mate appreciate it a lot. I do find with panning I have a habbit I need to break of doing extreme panning just for the sake of it and neglecting the centre. Don't think I normalised it but will look  into that. Thanks again as I find honest criticism more helpful than 'thats really nice' (although thats always appreciated too!) Smiley
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ZackParrish
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« Reply #41 on: April 24, 2013, 03:12:50 PM »

Zoe, it was a nice composition, but it kind of negates the purpose of this thread in my mind.  I by no means am implying that I dislike any of the tracks I've just heard, I just listen to them over and over again and go on a "rant" if you will... about the things that disagree with my ears/brain.  You can ask Calum... I'm extremely picky when it comes to audio... But to be fair I'll probably post one of my own tracks in here soon and let the ripping commence against myself.  Would be a little whack if I pushed all my criticism on others and accepted none in return(I do ask for critique from others just not usually on a forum...)
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Audiosprite
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« Reply #42 on: April 24, 2013, 09:25:26 PM »

Well, why not.

https://soundcloud.com/audiosprite/sister

It's for an album an artist friend of mine are putting out next month. I did a crappy 'master' for enough level to post on facebook n such but we'll be having it mastered professionally.
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Zoe Coleman Music
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« Reply #43 on: April 24, 2013, 11:58:31 PM »

Zoe, it was a nice composition, but it kind of negates the purpose of this thread in my mind.  I by no means am implying that I dislike any of the tracks I've just heard, I just listen to them over and over again and go on a "rant" if you will... about the things that disagree with my ears/brain.  You can ask Calum... I'm extremely picky when it comes to audio... But to be fair I'll probably post one of my own tracks in here soon and let the ripping commence against myself.  Would be a little whack if I pushed all my criticism on others and accepted none in return(I do ask for critique from others just not usually on a forum...)

Lol I think we've crossed our wires here! I didn't want you to say it was nice or anything I was just making sure I didn't look ungrateful to others on here who make nice comments! Wasn't a reference to what you were saying - as i said i love the harshness its more useful! I think i did a communication fail - sorry!
« Last Edit: April 25, 2013, 01:37:19 AM by Zoe Coleman Music » Logged


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GavinHarrisonSounds
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« Reply #44 on: April 25, 2013, 01:37:31 AM »

Just as a side to this, compression is an extremely useful tool when used in the right way...For instance, you want punchy drums?  Compression.  Also, using compression will not result in a more bass heavy mix, though I would be interested to hear your thoughts on why it might as it could be useful information...that should probably be saved for another thread though!  Compression and limiting are two extremely different things and should be used as such.

Was referring to it causing the bass heaviness in the track mainly in times where you use it on the entire mix, especially in cases where you are using a classic compressor and not a multi-frequency compressor(which I still shun).

The biggest problem I see people using compression(wrongly) is just trying to make the music loud, and typically speaking the high mids will end up being cutoff, then the low mids, while the high bass/low bass and treb continues to rise.  What happens though, is since it doesn't take much to boost the levels of the bass, you end up with a track loaded with it.  Take into account the attack/release of the compression, it can cause frequencies to phase in and out as the bass starts to peak here and there. I'm a firm believer in only using compression as a last resort in cases where you just don't have another option, like vocals that don't need to be really dynamic, and should maintain a consistent volume throughout.  On a track by track basis it makes a lot more sense to use one, and it can boost bass pretty high, same with drum parts(which often thickens the bass because the treble is usually killing the competition because of the cymbals/snare), etc.  If the initial take/recording of a single track is fixable with compression, by all means.  If an entire mix is bad, you are better off remixing everything from the ground up to better balance things, because compression will not save a shitty mix. :\

I hate limiters too but most DAWs have one built in it seems.  That's probably a good thing though because most of my projects are always hitting around +4 to +9dB ... o_o



This simply isn't true, a compressor won't cause any phase issues unless you are using it in parallel configuration, and even then if you're mixing in the box it'll only do it if your delay compensation isn't correct.  If you are getting phase, then the problem with there before the compressor.  Also a compressor (that isn't multi band) will not boost the bass or cut off frequencies, indeed a compressor can actually be an extremely useful tool in removing bass, especially from an over boomy kik drum.  A compressor isn't always about 'fixing' a sound, it is also an extremely useful sound shaping tool in its own right...I wonder if you are against the general 'loudness wars' so to speak and this has shaped your opinion...in those cases that's just compression (and of course limiters) being used abusively.

Don't get me wrong I'm not for or against compressors, indeed if you can create a good track regardless of EQ, compression, reverb etc then it's still a good track.  Also I've yet to use a DAW with a limiter built in, if you clip a track you will start to get digital distortion...Do you mean the way the DAW carries out it's summing?  Out of curiosity, can I ask what you're monitoring through?  I don't want to derail the thread or your fantastic offer to listen to all the tracks people are putting forward so would be happy to continue compressor (and general music!) discussion via PM.
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ZackParrish
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« Reply #45 on: April 25, 2013, 03:06:22 AM »

You seemed to have missed the part where I said using compressors the wrong way will cause those issues, and until a person knows how to use one correctly, they should avoid using them altogether.  Using them improperly WILL cause it to cut frequencies out, not entirely, but enough to cause problems.  Depending on the balance of the mix in question, it WILL cause the bass levels to peak and overpower the rest of the mix.  Just watch a spectrum analysis change when you overuse compression on an entire mix, everything in the spectrum moves up if there is space, and the rest doesn't.  If compression is done right, it's not really going to cause any problems, but if you do it wrong, then it definitely will.  Most people use it in cases where the balance of their mix isn't quite up to snuff, and their track isn't "loud", then boost it to high heaven, and frequencies start getting cut.
« Last Edit: April 25, 2013, 03:28:33 AM by ZackParrish » Logged

GavinHarrisonSounds
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« Reply #46 on: April 25, 2013, 03:13:10 AM »

Apologies if I misunderstood, as I said I was more interested in a general discussion in compression etc and was quite happy to take it off post since I didn't want to derail the thread, and was entering into a conversation about compression techniques in general.  Your idea and time to listen and critic peoples work was great and indeed I was happy to have my own work put through this and didn't question your comments.

In fact I was curious regarding your anti compression ideals more from the point of view that I may learn something from your ideas and studio technique.
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ZackParrish
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« Reply #47 on: April 25, 2013, 03:27:43 AM »

No... my apologies.  It's 7am here and I'm grumpy. I think my "word" choice for what I was trying to explain might be one of the confusing points to this.

When I said it's cutting off frequencies, I meant like... certain frequencies would start to become louder(obviously) and would in turn overpower/drown the other frequencies.  In the true sense of the term "Cut-Off", no... it doesn't do anything like that.  It just causes one frequency to start bleeding through the mix and becoming a nuissance.  When done wrong.

I agree with your points in a perfect world where someone uses compression to their advantage, but if they use it wrong... it's a total catastrophe in most cases.  You know those mixes where the bass hits are so loud all the treb/high mids drop out every time the kick hits?  That's what I'm talking about.  That's compression being done wrong.

And... I use Sonar 8.5, and it has a dB gauge on the master bus, ... actually all the audio buses/tracks, and typically I'll try and keep the levels around 0dB or lower, but even if the track exceeds that number quite a bit, it doesn't ever seem to distort.  Clip... sure, but that isn't really a problem to me if the frequencies that are clipped really are too loud and the final bounce of the audio comes out clean.

My tracks are usually pretty dynamic too, so compression is my worst nightmare if I'm doing a full blown orchestra mix ranging from ppp to fff(really soft to really effin' loud to those who don't get that).  I have, with the exception of vocal tracks, not used compression in half a decade. 

I apologize again for my "outburst", it is really early and I probably shouldn't jump into a seemingly innocent argument first thing in the morning after waking up.
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GavinHarrisonSounds
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« Reply #48 on: April 25, 2013, 03:33:22 AM »

Ahhh yes, common ground...compression done wrong does more damage to a track than most things done wrong I'd say!

I do agree regarding dynamics, the hardest part usually is when going for mastering (I rarely attempt to master my own work!) generally the dynamic range has to be kept to 10db.  Anyway, again sorry if I offended...though we're now at risk of derailing the thread with a general music discussion anyway!  Smiley  Funnily enough, with vocal tracks I actually try not to compress and chose to ride the fader as much as possible instead...so clearly we are polar opposite when it comes to using compression, but hey...as long as it's working for both of us then it shows more diverse production techniques!

Thanks also for responding and not just dialling out of the thread, 7am is indeed a dangerous time...
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ZackParrish
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« Reply #49 on: April 25, 2013, 03:34:52 AM »

7am is indeed a dangerous time...

Yes... yes it is.
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ScottGraves
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« Reply #50 on: April 25, 2013, 04:51:37 AM »

Great idea for a thread!

Heres my latest piece.
https://soundcloud.com/iamscottgraves/space-exploration

It was written for an arcade-style space shooter, I wanted to have some 8/16bit elements in there from the old arcade machines, mixed in with some modern sounds.

The sudden change in the end section is when the boss enters in game. (events happen at a certain time frame, rather than say after XX enemies have been killed etc)

This is the first piece I've written in this style, so I'd love to hear your thoughts.


I can't quite put a pin on it, but there is something making the mix really muddy.  The bass part isn't too present, it honestly sounds like there is a lot of "noise" in there somewhere and it's keeping the separation of all the parts from being as clean.  If I had to assume what it was, I'd point my finger at the drums, but I can kind of hear a similar issue in the very start of the track.  From :59 to a little past 2:00 I would explore more on developing the drums into the climax at 2:16.  Same goes for the climax at that part, the drums are kind of just following a "I just learned how to play drums" kind of rhythm with little to no variance on what they are playing. Not sure how you come up with some parts but I've always felt it helped me to just start beating relentlessly on the nearest objects(that aren't fragile) while the track is playing to kind of get a feel for what I'd LIKE the drums to do, and then do my best to achieve that same general vibe in the track.  The crash cymbal at the climax seems be a bit too much to me, I'd probably switch it to an open hihat or a ride cymbal instead of a crash.  If the music was consistently RAWRRRRRR... maybe keep a crash going, but since it's still rather subdued tonality wise, I wouldn't use it for more than accenting specific transition points.  

Just listened a 4th time on the intro, there's definitely noise in there.  If you can isolate what it is, and remove the noise, I think your track would clear up quite a bit in the total mix.

Drum-wise, I was trying to emulate the drum sound/style that you'd hear on 8bit machines, hense the same beat throughout, perhaps I could have put more effort into the drums and made an actual drum track with variations.

As for the muddy sound/noise, the intro is just two tracks of nes(i think) pads, that play in the background throughout the song.  I'll have to play around with the eq abit and try take some of the muddness away.

Thanks for the crits.
 Smiley
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Daniel Pellicer
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« Reply #51 on: April 25, 2013, 07:30:09 AM »

Hello!

I will like this song to be criticised:

https://soundcloud.com/estudioevergreen/secret-song

I used SNES like samples because it was supposed to be for a 16-bit style RPG. It's the overworld song for this game.

Thanks for the critics!
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Calum Bowen
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« Reply #52 on: April 25, 2013, 12:40:56 PM »

Hello!

I will like this song to be criticised:

https://soundcloud.com/estudioevergreen/secret-song

I used SNES like samples because it was supposed to be for a 16-bit style RPG. It's the overworld song for this game.

Thanks for the critics!

OK! It's a little difficult to crit stuff with knowingly 'lo-fi' values but I'mma say that with SNES/NES stuff the demos posted on this site are what you can aim for (also the music of Maxo & shnabubula (and most other ubiktune guys really)). Listen in particular to pongball's demo - that is an excellent example of great authentic and nostalgic use of orchestral SNES soundfonts that's still brilliantly sequenced and wonderful even by today's standard. There's certainly no excuses to be made like "the strings are bad cos it's 16-bit style or something".

My personal preference would be against the bass sound you're using. I'd suggest going for some pizzicato cellos or double basses or something to fit in with the rest of the instrumentation. The melody in the first section feels a little undefined - I couldn't hum it back to you after 3 listens. It sounds like it's moving up one note here, then moving back down again. It needs to have more internal repetition - whether that's repeating a smaller rhythm or repeating a series of intervals or a small melodic fragment itself - subtle repetition is what makes melodies catchy and interesting.

at 0:33 it sounds like you want Bmajor in stead of Bminor. Since you're going to Emajor - having the dominant as a major chord is a stronger move and is just what my ears wanted to hear really. The orchestration at 0:36 feels very weak - it's like you moved the notes of the chord down significantly - there's no continuation from the notes before here. I'd try and keep that chord in the same range as the one that came before it as it sounds strange.

0:52 - you have Esus4 - the suspended 4 (the A) is screaming to be resolve to a normal E major chord but instead it moves somewhere else. This sounds very strange to me. I'd make that go from Esus4 to E instead.

from 1:30ish there seems to be a sort of variation on the melody. It sounds very meandering - halfway between just playing the original melody and doing a very uninspired solo.

at 2:00 - there's an A note in the strings which says sustained and then instantly cuts out at 2:04 - I've try and make that a lot smoother. I'm aware that that's the loop point there but your job is to make people have no idea that there was a loop point so try and make the strings play notes in a very similar range in the end to the start so it almost sounds like when it loops it's a continuation of the previous string part.

Generally I think you may have fallen back on the fact that it's SNES/16-bit. It doesn't mean you can't use volume envelopes and indeed do interesting and impressive stuff with what you've got. It sounds like everything was written in but there was no going back and really perfecting those parts perhaps since you thought they didn't need to sound real. I'd try and make the strings swell more and give everything more dynamics and make it sound a little less like it's MIDI even though it is SNESy. Take a listen to some SNES soundtracks and listen out for interesting things they do with what they have!

My main points would be work on creating a stronger melody by starting off with simple ideas and building off from there instead of working like a meandering river. Work on orchestration and really getting the best with what you've got - listen to lots of SNES soundtracks! Also think about harmony and the direction of the harmony - treat each note in the chord like a melody which needs to be coherent by itself. I heard many times chords which were badly written or unexpected (like the one after the Esus4 and the Bm before the main melody came in).

:~) I hope this is helpful. It goes without saying that it was a lovely composition but I suppose positive crits aren't what this thread is about so i'mma shush my mouth!
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ZackParrish
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« Reply #53 on: April 25, 2013, 01:30:03 PM »

Hello!

I will like this song to be criticised:

https://soundcloud.com/estudioevergreen/secret-song

I used SNES like samples because it was supposed to be for a 16-bit style RPG. It's the overworld song for this game.

Thanks for the critics!

Man, you're about to get hit twice!  Nah, I'll be light on my crit since Calum made a lot of valid points that I don't feel like repeating.

I think one thing that could definitely help your track, those sustained chords on... I'm guessing it's a pad because it doesn't sound like any SNES era orchestra strings I've ever heard, they just start, then stop and start again.  Even though in the notation they might be seamless from one to the next, you can hear it going from one measure to the next everytime you change chords.  Try to have them flow into the next measure.  Say, if you do a normal C major triad (CEG), and the next chord is E minor, hold the E and G notes OVER into the next measure, and only move the C to a B.  That will make the chord flow into the next more naturally instead of sounding like someone is holding a chord on a piano, then lifting their hand for a second to play another chord.  As you explore more variation in your chords, either by adding 7ths, 9ths, etc... you can put more emphasis on that natural transition from one chord to the next.  That's another thing you can play with one your melody, are leading tones, that kind of PUSH the music into the next chord.  It's unresolved, and needs to go somewhere, so the listener expects that next note, and makes it more memorable.  I'd say an example but it's tough to explain what I mean in text. 

Another thing to consider, like Calum said.. kind of... is to mix up the melody more in terms of the rhythm.  Right now it's very basic.  Chop things up so they aren't always hitting right on the beat, use syncopated rhythms to get it off the beat at times so that it pulls the listener's attention.  If you stay on the beat the entire time, it gets ... to be blunt, pretty boring to listen to, about like playing a new chord each measure with nothing really moving it into the next chord. 

Also, on the chords... I feel like you have way too much going on.  When doing minimalistic music like in cases where you do SNES genre stuff, you'll want to keep the separation of the parts as clean as possible.  Your panning was decently done from what I can tell, but your sustained chords are really thick and overbearing on the rest of the track.  Thin out the chords, you don't really need anything in the bass register if you have other instruments playing bass, just like you don't really need higher pitches in the chords if you have the melody playing high.  Leave your mix some breathing room for the moving parts to really punch through.  You have a harp arpeggio and I'm assuming low pitch pizzicato strings plucking the whole time, but the chords are so thick most of the time they don't really punch through well, especially with all the pitch ranges of everything being so close to the same general register.  Hope that makes sense... not sure how to explain what I mean...around 1:20 or so it's getting there as far as spacing things out more. 

Okay... that was more than I intended to say...
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Daniel Pellicer
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« Reply #54 on: April 25, 2013, 02:37:49 PM »

Thank you very much guys!

That was really good quality critics.

Calum Bowen:
About the chords, I was trying the suggestions and actually they work much better. I have only basic knowledge of chords transitions so I normally do what I feel works better. Maybe I should study a little bit more of that. Any suggestions?

About the melody and the possibility to hum it. I was precisely commenting that with a friend yesterday, and I was not sure it was bad or not. I was thinking that the fact that is not easily singable maybe makes it less crazy when you hear it 100 times in the game. I assume I was wrong Smiley

The variation in the minute 1:30. I think what you mean is it should be more solo or more related to the main theme. Not something in the middle. Is that right?

ZackParrish:
I have noted down the pads for the chords and also I should try doing the melody rhythmically more interesting.

In your last paragraph you talk about letting everything breath more. Putting thinner the chords. Right now they only play 3 notes and the bass is quite separated from them. The melody sometimes is in the same range but normally is upper. What would you suggest exactly? Play less notes in the pads chord?

Anyways thanks very much to both of you. I already learned a lot.
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Calum Bowen
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« Reply #55 on: April 25, 2013, 03:09:49 PM »

Calum Bowen:
About the chords, I was trying the suggestions and actually they work much better. I have only basic knowledge of chords transitions so I normally do what I feel works better. Maybe I should study a little bit more of that. Any suggestions?

About the melody and the possibility to hum it. I was precisely commenting that with a friend yesterday, and I was not sure it was bad or not. I was thinking that the fact that is not easily singable maybe makes it less crazy when you hear it 100 times in the game. I assume I was wrong Smiley

The variation in the minute 1:30. I think what you mean is it should be more solo or more related to the main theme. Not something in the middle. Is that right?

Suggestions would be getting a basic understanding of the functions of chords like the tonic and the dominant from music theory books or online and then once you grasp that listen to as much music as you can and try and play along on piano/whatever you play and work out what chords they're using. Then really start analysing what works with those chords. It'll start off slow but you'll find yourself able to recognise and add more chords and chord progressions to your vocabulary at the same time as having lots of fun playing along to your favourite music!

I think the idea that it makes it less annoying when it's looped is a bit of a cop-out with regards to creating a strong and memorable melody. I think as a general rule the shorter the phrase of the melody the more annoying it will be, if you have a longer melody it'll be less annoying when repeated but at the risk of losing it's coherence and memorability. The way you combat losing memorability is to construct your melody not of 8 separate bits but having each bit be a subtle variation on the main bit. So you might change the direction of the notes from going up to going down or you might change the rhythm in one bar or play the notes backwards or whatever, there's hundreds of ways to make a variation on a small melody. So you construct your longer melody out of all of these separate parts in an order which creates a kind of journey in itself. If you look at all of the most memorable melodies you'll realise that they're successful because they employ an effective balance of repetition and variation. This is very hard to explain in words but I hope it's kind of got an idea across. I think this kind of composition isn't really something that people consciously do. After a while of making music you look back and realise that you happened to write like that perhaps emulating other compositions that were successful but going back and analysing I think it's helpful to consciously think about the construction of your melody.

Variation at 1:30 - i felt it was a bit too much like the original that there was no reason why you didn't just repeat the earlier melody. If it was going to a different melody it would need to be much more different. One idea is to repeat the melody but introduce another instrument playing a counter melody - perhaps answering phrases to the original melody or harmonising with it or something like this.
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ZackParrish
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« Reply #56 on: April 25, 2013, 04:31:51 PM »

Well, why not.

https://soundcloud.com/audiosprite/sister

It's for an album an artist friend of mine are putting out next month. I did a crappy 'master' for enough level to post on facebook n such but we'll be having it mastered professionally.

I'd say... try and get the drums recorded with a multi-mic setup instead of using one mic... not sure though, could've sworn I heard a tom hitting only in the right side.  The recording is fine as is but it's dead center pan on the majority of the drum parts.  The bass is so wide in comparison it almost feels like two takes.  If you can spread out the different parts of your set more, say... get the cymbals spread out from the center, move the snares and toms so they transition from one side to the other in an even spread, etc.  The bass is really loud.  Leaves the desire for the drums to be louder so my ears aren't being raped by the bass so much.  There is also a lot of line noise from the bass.  Only other thing I'd say you might consider is if you have the ability to do so, multitrack the drum mics(if you have more than one which... to me sounds like you do...) to separate channels and run compression on them so they don't sound so dead in the mix.  The bass is pretty much right in front of me playing a full stack of to 4x12 cabs with a 1000w head, and the drum is on the other side of the room behind a shield. 

I'd say add more instrumentation too but it's clearly an intentionally minimalistic track. :p
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Music Vortex
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« Reply #57 on: April 26, 2013, 07:15:52 AM »

Nice thread Smiley

I would like to hear what you have to say about this track:
https://soundcloud.com/music-vortex/bloom-main-theme
I'd appreciate any feedback!

Thanks!
Jose


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Jose Mora-Jimenez - Composer
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Calum Bowen
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« Reply #58 on: April 26, 2013, 07:40:56 AM »


everything is very delicate and has nice dynamic contrast. You can tell there was a lot of attention to detail put into this but i feel there's still a fair few areas that could be improved upon.

First cello melody is nicely sequenced, however, at 0:34, the 4th note (A) feels a little staccato and a bit too forceful. It might be nice to have a more legato articulation here leading to the next note.

When the melody gets taken over by the clarinet, it sounds as though the cello is still playing. I think this is a nice idea but it just kinda results in confusion - maybe it's my ears playing tricks on me. Does the clarinet play but just sound kinda cello'y? I don't know.

Just an idea really but you could try doubling the clarinet and/or cello with something, perhaps a light glockenspiel or some pizzicato violins. I think it'd be fine without but that might sound nice.

from 1:00 onwards - the strings seem to be a little too loud. I would have like to have been able to heard the lovely accompaniment a little better.

1:08 - the strings were playing in harmony before this but then they suddenly go to all playing the same note - this sounds sudden and puts too much emphasis on one note as we previously had much more spread harmony.

1:23 is a very nice chord change but before that (and also throughout the piece) it felt a little like the chords were a little too abstract - as though the individual lines weren't 100% sure what chords they were playing. The harmonies felt like they weren't well planned out. The top line in particular (the violin that's panned a little left) seems to play some sustained notes that clash a little and end up playing in unison with the melody and sometimes not. It's difficult to 100% explain but I felt as though the harmonies weren't tight enough and clear enough to a certain chord progression - they felt improvised. It results in harmonic ambiguity that if done with purpose can sound very mysterious and interesting but I think at times here it just sounds a tiny bit messy.

Just before the chord change at 1:30 there seems to be some dissonances - possibly starting notes from the next chord too early or holding on notes from the previous chord for too long. I noticed in other places things were very unquantised - you certainly don't want this kind of music to be rigidly on beat but there were a few times when notes seemed to come a little too late or too early and the instruments weren't playing together.

To zoom in one of the areas where I felt the harmonising/chord deciding was a bit rough: at 2:03 - you have disparity between accompaniment and melody(+harmony) - you have cello playing Bb A G and flute playing D F G - this implies the chords Bb, Dm, Gm however the harp & rest if accompaniment remain playing Gm7 and Gm6. One of the trouble spots is where the Harp's E (the 6 in Gm6) clashes with the F of the flute. So I would either change the harp chords to play the Bb Dm Gm cadence or change the melody/harmony to fit in with the chords.

That's all I think! :~)
« Last Edit: April 26, 2013, 07:46:21 AM by Calum Bowen » Logged

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« Reply #59 on: April 26, 2013, 11:44:40 AM »

I guess I stopped trying to make music a while ago, but it'd still be fun to hear comments on this thing



It's a rearrangement of this

« Last Edit: April 26, 2013, 11:59:34 AM by Schoq » Logged

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