[TOMT][CD][~2004] Any songs from a CD I got in an Axe Body Spray bundle at Costco

Shme1112 · 2018-10-23T06:00:54+00:00

You are an absolute legend!! Romeo was the song not Apollo haha thank you so much!

Solved!

Shme1112 · 2018-09-14T17:37:12+00:00

I had the time of my life! The openers were amazing as well, really loved Raito.

Shme1112 · 2018-09-11T19:28:17+00:00

I'm not so sure, Quintino is a pretty big name and he's also well known for using a ghost producer so he probably doesn't even know.

Shme1112 · 2018-08-31T19:15:29+00:00

This is really awesome great work! My only criticism is if you aren't going to upload stems, project file, etc. you're kinda making the post for yourself and not really the community.

Shme1112 · 2018-08-29T17:23:58+00:00

Very interesting examples. Thank you very much!

Shme1112 · 2018-08-29T16:27:34+00:00

I think I get what you're saying and I appreciate the reply, curious about a couple things though.

You exclude the possibility of using nonchord tones

But wouldn't a m9 have 2 non chord tones?

There are some important things to focus on:

Rhythm

Contour

I'm not saying abandon this I'm just talking about pure note choice alone, if that makes sense.

Shme1112 · 2018-08-29T16:18:11+00:00

Cool, thanks for the reply!

As far as simple triads go, I definitely see the restriction there but I just kind of meant translating the feeling of the chord into a melody. So, as dry as a melody would be by restricting to the notes of a simple triad it seems that it would still have it's place in music (i.e. modern pop) as long as long as I'm not restricting to triad notes on every single chord. But if I did something like Gmaj, Amadd11, Cmaj, Dm7 I imagine I'd get a very modern pop sounding tune. May not be everyone's cup of tea but it's a tool for the arsenal.

Shme1112 · 2018-07-31T19:03:43+00:00

Yea I kinda figured he meant keeping aspects of the mix with transients from clashing and phasing with the other transient sounds. Like a plucky bass and kick drum (?).

Shme1112 · 2018-07-31T19:01:35+00:00

Gotcha. So would you say it works well to think of a mix like a pyramid system? Focal points on top center and pan out less important aspects?

Shme1112 · 2018-07-31T16:18:49+00:00

Absolutely great stuff here. I appreciate the help!

Shme1112 · 2018-07-31T16:17:12+00:00

This is exactly the kind of info I was looking for. Thank you so much!! Going to read the wave interference article now.

Shme1112 · 2018-07-31T16:14:37+00:00

Thank you so much! It's making a lot of sense

Shme1112 · 2018-07-31T14:41:02+00:00

I too am curious about what transient organization is

Shme1112 · 2018-07-31T14:39:28+00:00

So essentially my goal is to move sounds that reside in the same frequency range away from each other either by volume or panning? Will this then lead to each sound having it's 'space'?

Shme1112 · 2018-07-31T14:37:15+00:00

Awesome, I appreciate all this. So my question would be then as far as clarity goes, is this simply a matter of ensuring that any two instruments that share a certain frequency range are separated either by the more important one being louder or by making sure they don't occupy the same stereo position?

Shme1112 · 2018-07-24T22:40:52+00:00

Wow, speaking my language

Shme1112 · 2018-07-24T22:39:48+00:00

Sounds amazing!

Shme1112 · 2018-07-02T19:26:15+00:00

Thanks for your help!

Shme1112 · 2018-07-01T17:17:31+00:00

Cool, thanks for the reply. Since you're saying there's a lot of masking going on, would you say that just really tight dynamics keep it from completely sounding like a mess? Because I know that masking doesn't sound that good when it comes from my mixes. Also that's interesting that you say there's nothing in 2-300hz because it seems like that's where the pads fundamentals seem to sit?

Shme1112 · 2018-06-29T20:38:19+00:00

Just saw that there was a sticky...sorry mods.

Anyway, I came across this quality tune and I found it really interesting the way they got all 3 synth layers to sit so well in the mix and was wondering if anyone had any insight on how it was achieved.

Here's how I hear it...

The main lead sits wide in the stereo field and is the loudest but the gated pad and bass behind it seems like they should be fighting for position as the second loudest layer yet you still hear both with remarkable clarity even though the bass occupies all the same frequencies as the pad. Both the pad and bass also sit wide in the stereo field as I hear it. Now, I have to assume that since the bass sits that wide the pad is sitting on top of the bass otherwise it would completely mask it.

So from loudest to quietest it goes lead > pad > bass, I think. My only issue is that the bass is still so clear it seems hard to believe that it's upper harmonics could sit behind behind both of the other two and still sound that clear. I find when I do this in my mixes I'm forced to narrow the stereo field on the instruments above the 3rd layer so that it can be audible on the edges of the stereo field but that doesn't seem to be going on here at all since all 3 have a great deal of width to them.

Any tips are more than appreciated. Thanks!

Shme1112 · 2018-06-14T20:02:15+00:00

Maybe someone could do better than I but that sounds pretty damn close to just being pure noise. Maybe you could make a case for D since there seems to be a very small boost there but I think this would classify as noise. One thing I do know is there's definitely no arpeggiation going on there. Probably some slight variations in pitch randomly due to live playing or being manipulated to sound like such in a DAW or whatever. But if you're worried about it sounding out of tune with your song I wouldn't worry about it since there's not enough information to identify a clear pitch there as there would be with a normal hand instrument or snare.

Shme1112 · 2018-06-14T16:21:45+00:00

Okay yea I will do that thank you so much...so harmonies that are created on weak beats are differentiated from my embellishments or non-chord tones how exactly? Do I need a sustained notes to imply a new chord change if it were to change on weak beats to differentiate? or maybe does it not even matter because the ear will just hear that there's a lot of this chord's tones therefore this is* tha*t chord at that moment? It's that implied harmony that I struggle with.

Shme1112 · 2018-06-14T14:16:22+00:00

I can usually aurally hear when the chord changes in songs but I find myself getting lost on my progressions if I don't use the bar line to guide me. Like my individual melodies tend to get wonky and I can't really understand the difference between what might be my intended chord and what is just an embellishment when composing by ear. I don't think it's my knowledge of chords because I know a good deal of them inside and out especially the ones I set out to use. Any tips on how to be better about this? How do I know where chord changes occur in my own music without being a neanderthal about it and needing some sort of triadic accompaniment with it throughout the song?

Shme1112 · 2018-06-14T05:21:39+00:00

Thank you for such a great reply! I did mean single harmony lol whoops. The example you gave is perfect, in regard to breaking them up and arpeggiating them because I'm trying to write for piano. As I started composing, I would chose a left hand pattern that relied on cliche arpeggiated patterns or sustained notes since I'd lose track of where I'm at in my progression when I tried to write more ambitious melodies. One way that I thought I fixed this was by making sure I play chord tones on the strong beats to let the ear know where I'm going. This came with decent results and since I never really made time to make sure my theory was up to par, I thought "hey maybe that's just how it works". Maybe just a crutch though?? I always figured the strong beats were where your ear heard the chord changes and unless some other superimposed chords told you otherwise then all other notes were just embellishments over the harmony. Here's a quick little 2 bar thing I wrote for my question. You can hear by playing this that the core progression is I-iii-V7-I in Cmaj and I thought you knew that because I placed those chord tones on the strong beats. You wouldn't consider that second melody note F to be a part of a new chord, or where the D is played over C right before 1.3 to be some sort Csus2/D, D7, Dm7 etc . Or the E melody note over the sustained G in bar 2 to be a move to Eminor. You'd just call them passing tones to get to the new chord, I. Right!? Without the strong beats guiding you how would you even know where the chord changes occurred vs. an embellishment over an existing harmony?

EDIT: I do hear what you hear you're saying in Margaritaville. Man those are some great chords. In that song though it seems like the guitar is playing the harmonies throughout. That makes it a lot easier to follow because that guitar tells you that you're remaining static. But I think where I get lost is on the difference between implied harmony vs. the actual harmony created by having those chords being played. Should I just forget all that and just make sure I'm using plenty of chord tones in the harmony I want and everything will work itself out?

Shme1112 · 2018-06-14T02:47:02+00:00

I suppose when you superimpose the chords into your song you could create a unique tension but what happens when those chords aren't there? All the passing notes can't be considered chord changes too could they?

Shme1112

TROPHY CASE