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Okay, so it's with a bit of anxiety and fear that I shakily drop this small piece that I've been working on for about 3 weeks(on and off). I generally would like any kind of feedback, it's not finnished it's maybe 1/3 of the length I want, but the general feel and style is there. I started composing again a very short while ago(2 months) after falling victim to an illness which causes me to be pretty much disabled. I should have gone to composer school 4 years ago but my illness stopped it from happening and now I'm pretty sure that I won't be taking composing lessons anytime soon. So I do what I can to try to keep the dream flying.


The production isn't really what I'd like it to be but it's a pretty okay approximation of what I'd like it to be.

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vincenti zghra said:

... Nice to hear that you enjoyed this and that you consider diving into this kind of genre. It's really amazing to see that eventhough my condition I can maybe inspire some positive change into someone's life, that's wonderfull to me.

Thank YOU man!  I'll let you know when I put something together!

Lennart Östman said:

...Push every note, except those falling on beat 1 and 3, around a few ticks and vary the velocity a bit and the result will feel much less stiff and exact... 

Lennart, I agree with everything except this one thing simply because there is no '1 and 3' feel to adjust anywhere in the tune :-D  Anyway, a randomized tool like Spectrasonics: Sylus' "chaos" modeis great when going that route.


Vincenti, here's a bit of time saving advice from painful personal experiences haha

  1. Accept that with an energy driven 8/16-bit video game composition such as Vortexture: "When it's not tight, it just won't sound right".  Late or staggered accents at this tempo with digital sounds is very unforgiving.
  2. Accept that humanizing the rhythms, overhauling the sounds, substituting a bunch of VST plugins, and replacing drum kits can be extremely counter productive if done this late in the game.  Every change inevitably brings about a different emotion when you press "play" and you end up going back to your original version anyway -not to mention new problems when mixing.
  3. Spend more time in the beginning getting your sounds right. But first, record yourself singing the tune so you don't forget how it goes!
  4. If possible, for each song you write, be able to answer Doug's question:   Doug Lauber said:
    What are your goals as a composer?
  5. If you want this song to be played by a band, get ready to 'let go' and let them interpret it according to their proficiency level, instrument range limitation, inspiration and their unique touch.  Ironically, the more you want them to perform it like the original, the more they will "watch the clock" and wanna go home :^(
Another drum tip-
I noticed you only use the open hi-hat sound.  How about applying a closed hi-hat after some of those? You can apply that without too much trouble throughout the peace, but especially on accents and together sometimes with a kick drum in place of some of those crashes if you'd like.  Here's a link to my personal favorite example of this in a video game: "Thunder Blade 1987" (especially from 2:07 to 4:00 to get an idea of what I mean).

Happy Sequencing :^D


Hi Lennart!


Thank you for taking the time to listen.


I've been thinking about spending more time learning about humanization quantizing but at the moment I just try to focus on getting some basic writing skills with the different applications I use. I have yet to find a piece of software where I can write the midi-data and work on the sounds in one but as I work with midi instruments for the basic scores it's a bit difficult getting into much detail of all sounds I use. I wish I could make a score in my vst-host.


For the moment I use Audjoo Helix for all my synths, it's a hybrid virtual synthesizer app with a lot of customizability. I'm quite new to dealing with synthesizers overall unfortiunately.


When it comes to the bass sound it's the sound I like the most in this version, I do wish that it had deeper end but I like the sawness too it, you do have a point though, it's not that deep and maybe a bit unfocused.


The lead sound is hard, I have yet to learn how to automate volumes decently, I'm really really new to production, so all sounds are basically too loud in some parts and to soft in some, but when I have automation down I'll probably keep this sound and just have nicer volumes.


I'm just getting started and want to have a few tracks to work on production with. These tracks are mostly an attempt at seeing what would happen if I go all out free in my writing.


As greg mentioned though this piece is in 15/16ths so it doesn't have a 1 and 3rd character of beatsynchronization. But I understand what you mean and I think I'll try a lot of different versions of this before I feel it's right.


Thanks for the helpfull comment, have a nice day


Lennart Östman said:

Hi Vincenti!


I too enjoy your music. If you can't perform on a keyboard due to the limitations that has been enforced upon you, don't worry about it. Make your weakness your strength and incorporate it in your style! There are ways to get around too stiff quantizing.

• Push every note, except those falling on beat 1 and 3, around a few ticks and vary the velocity a bit and the result will feel much less stiff and exact (you can do that with a curve or a pencil tool in cubase, I believe).

• You can also make a groove template and apply that to your parts. If you make 4-5 different templates you can vary the feel quite a bit.

• Ask another musician to perform the part on the final recording.


Anyway, to me a sequencer IS an instrument, so you can learn to master that instrument with a very good result. Now, about the mix. I suggest changing the filtered saw bass to a more round and bass guitar like sound, to get more deep end definition. I also think the solo sound is a bit undistinct. It needs to be higher in the mix, or to be given more character. May I ask what synths you use?


Carry on and never give up!

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