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-- Gerry Cueto - Floating
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Sounds like a decent uplifting trancer. Lovely euphoric break, the leads sound pretty good. The melody does remind me a bit of altf4, but there is nothing wrong with that.

Keep it up!

yea, the buuild sounds better now... a bit more energy... but i still think you could try to make the percussion a lil more interesting (though its just the break so i dunno how it progresses after that), also more sound effects, especially up to the build... just try to create a bit more atmosphere... but i think as its building up to the kick dropping in, try to make the breakbeat start out simple like it does, and slowly drop in a couple more hits here and there, perhaps a short roll or two, just to vary it up...


imo.. percussion is a very big key to energy...

someone said acidlines were the big key to energy, but whatever :P thanks for the advice... I'll keep it in mind if I ever do another update... I like it how it is now... I'm not trying to energize the club or anything... just have a nice chillout trance track that's catchy.

when it started my first thought was: CHEEEEEZE

and i also thought...96kb/s..but then i looked and its 192 kb/s so i think you should master the stuff a bit better.

As the tracks moves on my first thought doesnt change. This is WAY to cheezy for me, happy melodies, first class cheeze sounds and all...sorry nothing for me . Production wise its pretty tight, good elements and stuff, your main lead = alt F4, there is even a part of the chord progression of ALF F4 in this track. Alt F4 is less cheezy though. If this is what u went for (commercial/cheeze) then its a good track.

Stijn

quote:

Originally posted by Stino when it started my first thought was: CHEEEEEZE and i also thought...96kb/s..but then i looked and its 192 kb/s so i think you should master the stuff a bit better. As the tracks moves on my first thought doesnt change. This is WAY to cheezy for me, happy melodies, first class cheeze sounds and all...sorry nothing for me . Production wise its pretty tight, good elements and stuff, your main lead = alt F4, there is even a part of the chord progression of ALF F4 in this track. Alt F4 is less cheezy though. If this is what u went for (commercial/cheeze) then its a good track. Stijn

96k? you need to check your monitors because there's obviously enough high frequencies to tell that it's not 96k. It's not the producer's job to come out with a good master... Mastering's the final step done before the track is released at a mastering house.

Thanks. Cheese is good... Most likely it will sell more than noncheese.

I love stuff like this. Beautifully melodic and perfect progression; what you wanna hear more of from labels imo. Hope you get signed man because this deserves to be on the shelves.

peace.

YEAH THE ENTIRE FLOATING FREE wo0!

Click here to download the entire "Floating".

Gerry Cueto - Floating

I really love all your tracks and this one is no exception. Thank you so much.

Love the track =) Great production, even made me close my eyes and sway a bit without even realizing it! But personally the keychange at 6:30 ruined it for me. Then another one at 6:59. I just think that adds unneccessary cheese on top of what is already a cheesed-out (but very beautiful) track.

At times it also sounds like the sine synth is out of tune, or harmonically dissonant when played with the plucked synth in the background. Just a few notes that made me shudder in the middle of an otherwise euphoric experience.

I'd give this track 7/10, only because those two things are making me not want to actually drop this track in a set. Just my opinion =)

*edit* ok I spotted it... there's a 6th that should be diminished because it's clashing with one of the harmonies of the plucks during, but I think it builds some nice tension before the breakdown... dissonance sometimes is good... I'll ask some theory guys to see if what I did is kosher.

To me it sounds fine... theoretically, what you pointed out is correct the 6th in C Aolean scale is not found in Bb ionian.. so when there is a Bb major pluck going on and the sine wave hits the 6th on C Aolean it sounds like it doesn't go.

To me the mixture of harmony and dissonance sounds good. Like I said before I'll ask around to see if what I did is proper. If most people agree it isn't, I'll make sure the sines play only the notes that agree in both modes.

Harmonically, what I'm doing would work fine if I didn't have the plucks incinuating that it's going down to Bb major scale, although the bass notes are staying on C minor.

Whatever, it sounds good to me (because I didn't change the bass note)... It starts to sound bad when you change the bass notes, that's when the melody of the sines changed a bit... that 6th interval on Cminor was diminished so it could be in tune with the chord progression.

SO yeah that out of tune note makes the track interesting IMO... if it wasn't there, the track would be 100% cheese... :P that out of tune note just leaves it 95% cheesey.

WOW man this is a fantastic track with only one major flaw.. when it kicks back in after that amazing break it lacks energy. i was left dissapointed ahh where was the energy? maybe neeeds bit more percussion and big effect transistions. other than that it could be a definite signing. also love the octave change up near the end of track didnt expect that and back down again, wonderful not many produers do this any more which is a pity, i always love a good octave change.

all in all work on a bit more and get her off to labels to be signed, i can see alot of big name djs playing this one

quote:

Originally posted by dannyc WOW man this is a fantastic track with only one major flaw.. when it kicks back in after that amazing break it lacks energy.

That's true, IMO more energy is the only thing missing. There is also this problem in Miracle of Summer I think but in a lesser extent. Apart from that everything is perfect.

nice production, but like another person said thers not enough energy. The melody sounds a lot like alt f4 - alt f4. Good quality here though .

When you guys ask the more energy, what exactly do you want? an interruption in the breakdown with a really tense buildup? a new lead?

I'm always open to updating and constructive criticism, but it's hard to update if you don't know what to update.

quote:

Originally posted by gerrycueto When you guys ask the more energy, what exactly do you want? an interruption in the breakdown with a really tense buildup? a new lead? I'm always open to updating and constructive criticism, but it's hard to update if you don't know what to update.

Use your imagination! I'd personally say a new lead because this clearly sounds to much like ALT+F4!

okay I'll compose a new lead that will change from the alt f4 style lead to something else

Don't get me wrong it is a great tune! Kinda sounds like White Room too! Maybe alter the melody especially the first few notes are excactly the same as ALT+F4!

IMO I don't think a new lead is necessary because this one is excellent.
What's wrong with Alt F4???
The only thing is that when the long break reaches its final part at approximately 4:00 the track begins to gain speed and power but when the lead finally starts at 4:11 we expect something more massive. I'm not sure how to explain this (my English is not so good unfortunately) but when the lead starts it should really detonate. More energy in the lead, but personally I would leave all the rest untouched.

quote:

Don't get me wrong it is a great tune! Kinda sounds like White Room too! Maybe alter the melody especially the first few notes are excactly the same as ALT+F4!

I could care less if 2 chords or a couple other notes are derivative of another trance track... many pro tracks are derivative of their predecessors, especially a lot of Tiesto tracks being derivative of Eternal Basement ones. The Alt F4 chords are derivative of the supersaw chords Above and Beyond uses in their productions from 2001-2003. Don't get me started with Whiteroom and the sines... they aren't the first people to use sines in trance music, not even Markus Schulz, nor PPK... so that clearly was uncalled for. People aren't going to be at a club analyzing a track whether a melody came from here or there. If the melodies are used right and they sound good, that's what people are concerned with. I'm keeping the melodies to Floating regardless of where you say they come from. The only way I would change any melody to my tune is if a melody doesn't sound smooth in the track or an actual composer comes to me with a lawsuit, but that will unlikely never happen since their melodies were probably from another trance track altered someway to fit their style as well. Musicians are like sponges and they pick up everything they hear. You can hear their influences in their music. Oh well this isn't a discussion on proving where each major producer got all their melodies from, so let's stick to the topic.

What I'm concerned with is if the track has potential that could be better or something sounds bad. That's what I look for in criticism. I pretty much block out that useless crap like "it sounds too much like bla bla bla here"

quote:

Originally posted by vince_geneva IMO I don't think a new lead is necessary because this one is excellent. What's wrong with Alt F4??? The only thing is that when the long break reaches its final part at approximately 4:00 the track begins to gain speed and power but when the lead finally starts at 4:11 we expect something more massive. I'm not sure how to explain this (my English is not so good unfortunately) but when the lead starts it should really detonate. More energy in the lead, but personally I would leave all the rest untouched.

Glad you agree with me... I was just thinking to have a transition from the Alt F4 style lead to a new lead, not to change the lead entirely. So what you're saying is that after the breakdown the track should start more busy with all the elements of the lead in it instead of re-adding the elements as it goes along? I should probably think of some new melodies or something to fill the space because I would find it tiring to have the same melody repeated over and over while nothing is progressing, that's my style at least. Same thing in Miracle of Summer, spaced it out so I wouldn't tire so quickly from that guitar melody, but hey if you want something in there I'll throw something in there.

But glad you mentioned it, I dont' want to introduce a new lead if I don't have to. I like the lead the way it is as well, but oh well... let's see what other people have for ideas on energy.

As for the energy, I tried to compare the breaks and leads of Miracle of Summer and Floating and I'm not sure but it seems to me that the kicks in the lead of Miracle of Summer are a bit stronger. Just an idea

quote:

Originally posted by vince_geneva As for the energy, I tried to compare the breaks and leads of Miracle of Summer and Floating and I'm not sure but it seems to me that the kicks in the lead of Miracle of Summer are a bit stronger. Just an idea

I don't really understand what you mean? Are you saying that you want a kick roll like in Miracle of Summer?

I wouldn't use Miracle of Summer as a reference for energy seeing that it's not really an energetic track, more of a chillout tune.

Have you heard tracks like

Gerry Cueto - Bad Color
Nullistic - Don't Let Go (Gerry Cueto Mix)

in those tracks the builds are very tense and it throws everything at you, they're not the most uplifting melodic trance tracks, but they're good examples of conservation of energy in trance. If it's something like that you're looking for, let me know.

^^ That's my favorite style of trance btw... I really like producing repetitive, in your face stuff, but I occasionally produce chilling uplifting trance like Floating or Miracle of Summer or Seashells.

quote:

Originally posted by gerrycueto I could care less if 2 chords or a couple other notes are derivative of another trance track... many pro tracks are derivative of their predecessors, especially a lot of Tiesto tracks being derivative of Eternal Basement ones. The Alt F4 chords are derivative of the supersaw chords Above and Beyond uses in their productions from 2001-2003. Don't get me started with Whiteroom and the sines... they aren't the first people to use sines in trance music, not even Markus Schulz, nor PPK... so that clearly was uncalled for. People aren't going to be at a club analyzing a track whether a melody came from here or there. If the melodies are used right and they sound good, that's what people are concerned with. I'm keeping the melodies to Floating regardless of where you say they come from. The only way I would change any melody to my tune is if a melody doesn't sound smooth in the track or an actual composer comes to me with a lawsuit, but that will unlikely never happen since their melodies were probably from another trance track altered someway to fit their style as well. Musicians are like sponges and they pick up everything they hear. You can hear their influences in their music. Oh well this isn't a discussion on proving where each major producer got all their melodies from, so let's stick to the topic. What I'm concerned with is if the track has potential that could be better or something sounds bad. That's what I look for in criticism. I pretty much block out that useless crap like "it sounds too much like bla bla bla here"

No need to get on your high horse mate! When I mentioned the White Room sound I did mean it in a nice way! I think saying "change the melody" was constructive enough don't you?

Sorry for getting anal about it... It's that sometimes I see criticisms... of tracks (not necesarily mine all the time)... that an artist put a good effort into them, but all they seem to bash them is on how a little melody sounds too much like such and such artist rather than stating what they thought about the actual track.

like for example Aura - Breathing Silence.... very class uplifting trance track, but on Beatmaka they couldn't get passed the fact that they had used a similar acid line to Oceanlab - Satellite

quote:

Originally posted by vince_geneva IMO I don't think a new lead is necessary because this one is excellent. What's wrong with Alt F4??? The only thing is that when the long break reaches its final part at approximately 4:00 the track begins to gain speed and power but when the lead finally starts at 4:11 we expect something more massive. I'm not sure how to explain this (my English is not so good unfortunately) but when the lead starts it should really detonate. More energy in the lead, but personally I would leave all the rest untouched.

Nothing is wrong with ALT=F4, just that if you want to produce a track then produce a melody that isn't a clone of another!

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