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Need to choose

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  • Need to choose

    I'm working on an 8 song EP and I have to decide on some of the other tracks. Only 3 or 4 of the ones I'm releasing are complete or nearly complete. I can't decide which of the other songs I should finish. Basically which ones to add vocals to.

  • #2
    I'm not a good judge on electronica stuff. # 4 kind of sounds like a track from The Matrix Movie but the drums a bit overdriven so I'd fix that.
    The first couple sound like rap lyrics would work. The last couple sound like they could have Darth Vader screaming death metal type lyrics added to them.
    The last song has a James Bond secret agent type throb to it.

    Its pretty much impossible to judge which may be the best to add lyrics to. My best suggestion is to add lyrics to all then decide which ones are keepers.
    Its the way most composers work things. Judge the product after its complete, not while its still in the works. I can often judge my own work after having only
    two tracks recorded, but its usually a performance issue with either tone, timing, or having flubs that make me decide to hit the delete button and make them
    disappear. Others can wind up being quite amazing by the time I'm done with all the tracks.

    I often strive to have the musical parts composed so well that a song is incomplete or completely different if one track is removed. It has to do with how the notes are
    written into the musical arrangement that counts. If I have allot of tracks and mute a track and the song sounds the same, its likely I didn't need that track to begin with.
    I value the silence between the notes just as much as the notes themselves because its the silence that gives the notes weight. I therefore have to be careful not to
    use up all my sonic space filling it up with notes or noise, making it too busy and trying to throw too many things into the mix that wont be heard by the listener.
    In instead keep the things I think are cool and highlight them by removing competitive sounds so the listener cant help but hear them.

    Music has a ceiling and that ceiling is white noise, like the static you hear on a TV when the areal is disconnected. You cant go beyond that much random noise
    no matter how much more you push it. The trick is to work it backwards by subtracting from the max level. Its like a plane flying close to the ground. It can attempt to
    fly high to gain altitude or it can retain its altitude, fly out over the grand canyon and let the ground drop out instead.

    This is what can be done to loud music which is already banging its head against the ceiling. You cant push a part up to highlight/solo it because you're already
    at the maximum limit. The only choice you have is to drop the other parts down and leave the notes fly solo across the void.
    This adds dynamics to the music when its done right. An extremely important part of musical composition because its the living essence of music, its the life,
    breath and emotion of music that people subconsciously identify with.

    Raw power is cool when it has contrast. without contrast its like a monotone voice that people quickly block their ears from hearing as background noise much like
    two people talking in a noisy sports game. They will focus on the words being spoken up close and block all the noise going on around them.
    This can be done with the various instruments as well as vocal tracks.

    You do have to use good monitors to get this and not headphones which I believe you are using to mix by your tunes.
    You mixes sound highly two dimensional like a flat painting with stick figures. It lacks the three dimensionality you get
    by using studio monitors to mix. Headphones put the sound in the center of your head instead of in front of you at varying
    distances like you'd hear a real band with the drummer farther back, PA cabs and vocals up front. Its the difference between
    stick figures drawn on a flat canvas and a painting containing a light source that creates shadows and color contrasts that makes
    the painting look like a 3 dimensional photograph. In stead of using light mixing you use various levels of Gain, EQ, and Reverb to
    give the parts separation from front to back as well as stereophonics side to side.

    The trick to getting that is to mix in mono first. This makes you focus on the EQ settings and Gain levels.
    If two parts have the same frequencies being used, and one is turned up, it masks the other part and makes it disappear or harder to hear
    in the mix. If the parts are using frequencies unique to the instruments they were created on, if you push a level up on one it only makes
    that one instrument louder and does not mask the other instrument.

    Once you have the frequency separation in a mix in mono, you can then pan the parts in stereo and add varying amounts of reverb to move one part to the back
    like the drums, and leave something like a vocal dry so it moves up front and is easily heard.

    Don't know if any of this helps, but there you go.