#110

Hey cool sounds. The mix kinda stays in the background it might be cool if some of the sounds came forward at times (maybe dry wet on the reverb or something) also maybe fading in and out with volume of the separate tracks so some isolation occurs. I am sure your working method is probably pretty live so that may or may not be possible.Enjoyed.

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#111

Hey Devis, Had kinda a jazzy feel. It might be cool if that backing track was not always on the beat, maybe kinda syncopated at times some times straight ahead,

#112

Also, Marc, i wish replies went underneath the OP instead of taking me to the end of the thread cause this will become a mega thread soon. Just a thought Hugh

#113

Hey klaa, real smooth mix. i have found the super looper fx in ableton can really funk up a guitar track but it is an fx that can get out of hand easy. Also transposing around can get some funky live feels going on. The bass sounds cool but the piano bass line is kinda weak maybe another bass with a kind of a Lately Bass sound mixed with it. I think this track could use some randomness to it. Also maybe the kick could go half time in parts maybe in the breakdowns.

#114

Hey Frank, Really sci fi sounding. It might be nice to bring in some kinda robotic vocal sounds(or humans sounding like robots) or something in a non rhythmic pattern that suggests intelligent communication picked up by satellite. I might try something with it. I will use wetransfer if I do. Hugh

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#115

Great stuff. I like how you left spaces open. It may be kinda cliche but some kinda bouncing ball metronome thing might be cool or tempo changing period. some kinda bass percussion popping in and out very infrequently might be interesting. Enjoyed. Hugh

#116

Hey DD, Kinda soundtrack sounding. Yeah the soloing gets a bit much but you make it work-nice. I don’t know too much music theory but maybe if it was simplified like you said becoming more ambient and also if it could be in different keys from each other and they clash more. Maybe choose three instrumens and do each in a different key and slow it down. Maybe record each track without listening to the other two tracks like Marc suggested in a Juno way back, That may sound terrible but I bet it gets interesting in a few spots. Always enjoy your tracks. Hugh

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#117

Continues on as suggested, here’s as far as I got.

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#118

Hey Frank, Check your Soundcloud massages. OOpps Freudian slip. Hugh

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#119

@papernoise thanks for your comment, I don’t think I’ll add more of anything, I guess that, after reading several comments and suggestions I’m heading for a reduction in terms of length or layers, leaving the solo/melody bits as they are, perhaps making a stop in the build much before the actual point and making the coda more “ambient” and ethereal removing layers.
Thanks a lot, very interesting reading you.

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#120

@DetritusTabuIII thanks Hugh, the key changes is a good idea, wish I thought about that, now it means a lot of re-recording to keep the “a tempo” pulse going (not slowing/speeding), but I might give that a try.
Overlapping instruments in different keys to create interesting dissonance is not what I’ll go for on this particular track, I like the “mantra” thing, all those unisons going on, I want that simple power.
I’ll definitely work on this one again.
Thanks a lot man, cheers
dd

#121

I will! Thanks a lot for the tip!

Yes the water drops are the only untreated recordings, most of the rest that you can hear is actually also just sampled material from the drops being sometimes heavily processed. It was totally my intention to blur the borders between what is synthesized and what isn’t

Yes totally helps, thanks a lot!

#122

@SussMusik
@DetritusTabuIII
@papernoise

I don’t think I’ll have time in the next few days to completely re-think this one, but did a new mix today, following the idea @SussMusik gave me in a way: making a sort of halt in the crescendo to make it less linear. It marks the enter of the distorted guitars, and then resumes.
What I did is just muting the pulse tracks, adding the e-bow quartet and remixing everything from that point on. It happens midway through the song, around 4:30 time

I’ll sleep on this new mix before proceeding.

Thanks for your constructive comments and for listening.
Love/DD

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#123

thanks süss!! I was worried it didn’t cohere, but I am very encouraged by your impressions. :slight_smile: I am also really enjoying your in-depth responses to all the tracks here, it’s helping me get a lot more out of it!

ps - yes an orchestra – it was a tuning note, I think they begin with an oboe, then everyone joins in, then they get bored and start playing little riffs against the tuning note. I paulstretched it, or, just slowed it way down, can’t remember exactly, but I thought stretching it out would help flatten it, while still leaving little hints of the original instruments…

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#124

very much like the midcentury voices here :slight_smile:

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#125

I especially like the latter half where the drums come in. can you redo the “fourth part” ring modulator stuff and add it on? that sounded cool from the description. I’d shorten the non-drums part to more of an intro length, and make the drums the focus. great track!

#126

I like where this is going… I’d like to hear those texture-y / rustle-y sounds come out a bit more, to hold their own against the dominant melodic tones :slight_smile:

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#127

I like it as is! but if you’re wanting to mess around, I could also hear some Nico-like vocals over it, kind of talk-singing in a nice alto… :slight_smile:

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#128

@otolythe Its from one of those old ‘adventures in stereo sound’ type records. Its almost like I taped it off a tv sitcom about found sound recordings, lol … maybe it can be contrasted against a similar voice saying something odd, like John C Lilly talking about time; or contrast it against current news blurbs.

@papernoise @SussMusik and @ZeroMeaning thanks for the input – will factor these in. Both of these cuts would fill out a bandcamp ep but have been stalled. I get really stuck on using one source, or one medium, on a recording, and should just play an instrument over an all-samples piece, or bring in other sources on ones that only use one sample source. THere is an Oblique Strategies app on my phone, that would move a lot of obstacles.

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#129

Wow - thank you! Shuttle358, Taylor Deupree (and most of 12k) are some of my favorite artists. I love their dusty minimalism.

Highlighting the organ a bit more, maybe with filtering to emphasize some higher overtones, was one of my earlier thoughts - sounds like it’s worth exploring again. I love those little blorps: they’re an artifact of some of the looping i did in Sonar. I can probably freeze the track and edit it so I have those isolated, then hear how it sounds with more in the mix. Thanks for the great suggestions!

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