Synth Popish Song
- Thread starter Kuwi
- Start date
singlespeak
New member
Intro: the delay/echo on the piano is not good. It only really shows through on some notes that then just collide with the next primary notes. I don't like synth strings but that's just me. The drums signaling the next part could be more inventive.
Then the song goes into a kind of a Vangelis feel which I can agree with. The bass drum sounds really good, nice oomph. The snare... well you know those overly 80s snares I just hate 'em, I can't help it. The hi hat tick is annoying, a simple rhythm would be much better. Or some cymbals, the tick distracts from the epic-ness of the loud parts.
See I don't like the style but for me your mix is really ok, the instruments are well defined and sound the way they should. You can turn the song way up and it still fits, I think that's good work.
Song structure wise I think it's either too long or too repetitive. I know you have different parts going on what with the solo and stuff, but it's still the same chord progression over and over for six minutes. But then again, Boards of Canada pulls that off like they're eating candy, so...
Then the song goes into a kind of a Vangelis feel which I can agree with. The bass drum sounds really good, nice oomph. The snare... well you know those overly 80s snares I just hate 'em, I can't help it. The hi hat tick is annoying, a simple rhythm would be much better. Or some cymbals, the tick distracts from the epic-ness of the loud parts.
See I don't like the style but for me your mix is really ok, the instruments are well defined and sound the way they should. You can turn the song way up and it still fits, I think that's good work.
Song structure wise I think it's either too long or too repetitive. I know you have different parts going on what with the solo and stuff, but it's still the same chord progression over and over for six minutes. But then again, Boards of Canada pulls that off like they're eating candy, so...
Polysaurous
New member
I feel as if I am watching an 80s movie and the main character is being shot over and over in slow motion, the love interest comes upon him, weeps for a moment and then swears revenge on his killers. All the while all I have to carry me through this emotional time is your song.
VomitHatSteve
Hat STYLE. Not contents.
I think it was pretty good. Yeah the synth strings sound really fake and a little cheesy, but I assume that's at least somewhat on purpose?
Singlespeak is probably right about the length though.
Singlespeak is probably right about the length though.
jeffmaher
New member
The recorded sounds are good, and the mix is good.
I can't hear bass. And that would go a long way toward organizing the chord progressions for the ear: There are competing scalar lines, and some of the 'avoid' notes are playing and/or sustaining during the chords-of-the-moment, making the intended tonality and progressions ambiguous...which a bass sounding strongly would help clear up...without re-doing the other instruments.
There are some nifty arrangement devices that keep the work from being too fatiguing.
Future ref: work on more clearly defining the progressions...use more arpeggios of the chord tones in the melodic flourishes on the keys; use non-chord tones...sustaining or passing....with more restraint [a little seasoning on the stew...instead of a pound of salt...a little goes a long way]. Rythmic and contour variations in the melodic snippets would be great. And try to organize simultaneous melodic meanderings into some logical counterpoint, harmony, and cycle repetition [the two keys playing scales, eg.]
Organization! The composition tends toward a mash of notes...random...thick...going in no particular direction....except riding the progression like flotsom on a wave.....which progression often becomes ambiguous. And it's nice to hear defined, larger parts....verse, chorus, bridge, etc: that is, invent complimentary other progressions and major melodic ideas to keep the comp interesting.
In other words, good work on everything...except the composition itself. Clear up the mash, and you're onto some good stuff. Composition is your weak point. Suggest you study up to gain some ideas and insight. Then you'll have a full team on the field!
I can't hear bass. And that would go a long way toward organizing the chord progressions for the ear: There are competing scalar lines, and some of the 'avoid' notes are playing and/or sustaining during the chords-of-the-moment, making the intended tonality and progressions ambiguous...which a bass sounding strongly would help clear up...without re-doing the other instruments.
There are some nifty arrangement devices that keep the work from being too fatiguing.
Future ref: work on more clearly defining the progressions...use more arpeggios of the chord tones in the melodic flourishes on the keys; use non-chord tones...sustaining or passing....with more restraint [a little seasoning on the stew...instead of a pound of salt...a little goes a long way]. Rythmic and contour variations in the melodic snippets would be great. And try to organize simultaneous melodic meanderings into some logical counterpoint, harmony, and cycle repetition [the two keys playing scales, eg.]
Organization! The composition tends toward a mash of notes...random...thick...going in no particular direction....except riding the progression like flotsom on a wave.....which progression often becomes ambiguous. And it's nice to hear defined, larger parts....verse, chorus, bridge, etc: that is, invent complimentary other progressions and major melodic ideas to keep the comp interesting.
In other words, good work on everything...except the composition itself. Clear up the mash, and you're onto some good stuff. Composition is your weak point. Suggest you study up to gain some ideas and insight. Then you'll have a full team on the field!