|
would like some advice/criticism for this song.
|
View this Thread in Original format
| madmuso |
Hey guys,
Ive been working on this song for the last month or so and would like some advice, tips, general criticism. I got some really good tips and advice on another song I posted here a while ago which definitely helped and im glad I did it. I think after listening to a song 4 million times having others listen to it from a fresh outside perspective is beneficial. Thanks,
http://soundcloud.com/madmuso/lets-...p-mix-2/s-55E2P |
|
|
| Trancelover03591 |
Here is the thing that is weird to me about this song. It sounds really good, and you prove you know how to produce, especially well into the song, but their are a few key things.
First of all, the strings you are using are rough to me. For one thing, they are mono (or mostly mono) and sound low quality. They date and lower the quality of your production. There are also a few parts where the strings are downright too high and causes the track to get tinny. On the other hand your baseline seems a bit stereo, though it may be appropriate since the bassline are on the high side.
Your drums are a bit boring and dated.
Still, at 4:47 it sounds like the climax of an old Oakenfold Essential mix, which will always get me. You have good arrangement, the song isn't repetitive at all. I like the song alot, especially at 4:46 foward and would look it up on the tracklist if this was an old mix. It has a very classic trance feel too it, which is fine, however, it will limit what you can do with the track in today's 'that track is so last ASOT' mentality. |
|
|
| madmuso |
| quote: | Originally posted by Trancelover03591
Here is the thing that is weird to me about this song. It sounds really good, and you prove you know how to produce, especially well into the song, but their are a few key things.
First of all, the strings you are using are rough to me. For one thing, they are mono (or mostly mono) and sound low quality. They date and lower the quality of your production. There are also a few parts where the strings are downright too high and causes the track to get tinny. On the other hand your baseline seems a bit stereo, though it may be appropriate since the bassline are on the high side.
Your drums are a bit boring and dated.
Still, at 4:47 it sounds like the climax of an old Oakenfold Essential mix, which will always get me. You have good arrangement, the song isn't repetitive at all. I like the song alot, especially at 4:46 foward and would look it up on the tracklist if this was an old mix. It has a very classic trance feel too it, which is fine, however, it will limit what you can do with the track in today's 'that track is so last ASOT' mentality. |
Thanks for the feedback. Yes the strings are centered/mono for two reasons. 1. Most of the other (melodic) instruments are stereo so I thought it may be better for the strings to have their own spot in the center especially since they are playing the main theme through the track. 2.The VSTi which I used for that string sound doesnt have that string patch in stereo, however I could use two instances of that VSti and delay one to get it in stereo.
Any advice on how to spice up my drums? Its so hard to hear exactly what is going on in a pro trance track, I know this is an area I need to improve.
As far as producing goes, though I feel I am getting better i know i also have a looooooooooooooooooooooooooooooooooooooooooooong way to go. It sucks!
thanks again |
|
|
| Raphie |
sort of agree, what jumps out to me:
+ like the leadsaw
+ like the little countermelodies
+ like the song structure
things that limit it from being a great track:
- leadsaw is too loud
- strings are too loud and too "keyboardish"
- drums and synths rythmic cadence are very dated, sound like they come out of a weddingsinger keyboard/workstation
- the breaks are really quick fixes, not really engaging
If you can fix this though (even if you start with Penton or VEC or even NEXUS loops for starters)and sort the balance in the mix, you'll be well on your way.
regarding getting rid of they wedding player keyboard/arranging feel, try to some of the older deadmau5 tracks for rythmic placement of chords, plucks, bassline etc. This will pull your song forward in time with about 5 years |
|
|
| madmuso |
| quote: | Originally posted by Raphie
sort of agree, what jumps out to me:
+ like the leadsaw
+ like the little countermelodies
+ like the song structure
things that limit it from being a great track:
- leadsaw is too loud
- strings are too loud and too "keyboardish"
- drums and synths rythmic cadence are very dated, sound like they come out of a weddingsinger keyboard/workstation
- the breaks are really quick fixes, not really engaging
If you can fix this though (even if you start with Penton or VEC or even NEXUS loops for starters)and sort the balance in the mix, you'll be well on your way.
regarding getting rid of they wedding player keyboard/arranging feel, try to some of the older deadmau5 tracks for rythmic placement of chords, plucks, bassline etc. This will pull your song forward in time with about 5 years |
Thanks Raphie, I have some VEC stuff and some Penton stuff but often find that the "top" loops have the main open hats in them too which doesnt allow me to have separate control over it. I definately dont want to use "full" loops, I gotta have control over certain elements. I'll try to find some hat/perc loop library's that will suit my needs.
thanks |
|
|
| Richard Butler |
| quote: | Originally posted by Raphie
- drums and synths rythmic cadence are very dated, sound like they come out of a weddingsinger keyboard/workstation
|
This did make me lol, no offence Madmuso, but in fact this wedding keyboard descriptive is a great way of framing what many of us sound like in out earlier years of producing, and deffo it applied to me, so thats why it made me laugh. In fact your typical organist never escapes this feel - on UK TGV talent shows, the public just instinctively know this 'shopping centre keyboardist' sound.
I like your arrangment, it shows a lot of thought, so your'e halve done. The trick now is to get EVERYTHING sounding convincing.
It's a hard thing to get accross, but essentially IF you want to sound current, you need never to make any rash decsions. A closed hat is never 'only' a closed hat. It is a critical ingredient in a sonic cake. A cake with an olive in it doesn't taste right.
A clap is never just a clap. |
|
|
| madmuso |
Thanks for the input Richard, ive spent the last few days working on the drums so hopefuly soon I can put up another version for further criticism.
thanks guys, given me a lot to think about and work on.:) |
|
|
|
|
