hemmelight wrote: »
I'm fairly new to the piano as well, but I quite like the 'Pianote' YouTube channel for lessons.
The instructors aren't obnoxious (so far) and everything is very clearly explained.
metaghost wrote: »
@Jeedan — Teledildonicss is my shit. Really great riff executed at a pleasing tempo to just zone out with. Reminds me a lot of Boris' Flood, but less "sludgey" I guess. The added synth accoutrement at the end has me imagining this transitioning into something like a spacey post-hardcore elaboration of that same riff, kinda similar to what Gloe have been trying to do for a few years:
I have another piece in my giant tapestry of cursed ambient "jazz":
This track is the starting point, hence the initial invocation, which was my attempt at taking inspiration from the classic Dolby theatrical opening, as well as doing my best to reference the opening to Coltrane's Ascension. One of the curious aspects of working in a pure digital environment is how you sometimes have to make compositional adjustments to accommodate unforeseen behaviors of the DWS. In this case, every attempt at exporting this track kept coming out broken because some aspect of the exporter required a bit of "start-up" in order to recognize various automation tracks; as such, the track fades in on some reverse reverb in order to properly trigger all the automation present in the track.
The actual body of the song isn't quite finished, as I'm constantly fiddling with how the songs intersect, but I thought I'd post this to try and get some feedback. Previous listeners have described it as "too slow", "fucking awful", and "why is the piano out of tune?".
As with the previously posted track (Edge of an Ocean), a lot of this music I've been working on for 2+ years is developing out of experiments with treated piano and learning how to use some of the fancy vocal synths introduced in Reason 10. That said, it is "conceptually" grounded in recurring dreams I had after my dad died, all of which offered some variation of walking along a beach and watching him drown; so much of it is mournful, melancholic, dirgelike and the structural ebb & flow and slightly chaotic harmonic expression are reflections of those dreams.
metaghost wrote: »
This is a thing I composed after spending a vacation with my brother and his family. It's inspired by the way his three young daughters would breathlessly tell competing accounts of who got up to what mischief each morning as I made my coffee, often interrupting one another with "and then..."
Solvent wrote: »
Nothing to share right now, but commentary.
Last year around July I felt I was making really good progress towards songs that would make for another release. But at the time my family was still out of the country, so I had the time.
I think now I am finally organising myself to spend some time on music again and I have gone back to look at my unfinished work. I have two songs that are pretty much finished, that I like. But the rest are really just sketches, and now that I've lost all sense of where they were supposed to go, I don't think I can resurrect them. I still like the sound and the idea of them, but I sit in front of them and have no idea how to propel them forward.
That, and also in the meantime I have still been reading about making music if not actually doing so, and I have set up a new template that is far more organised than my previous efforts. So I think I will be better off just starting again, trying to get three or so new songs to add to the two finished, rather than stumbling around trying to reconnect with these 9-month old ideas. Or older, actually, since some are tracks that I wanted to put on my May of last year release, but didn't finish in time.
Jeedan wrote: »
I made a synth jam with a volca bass, posted it to a discord server I'm in and someone added drums to it
* cool song *
metaghost wrote: »
@Rothgarr — This is mostly a comment in relation to some things you said above about Mastering, which is that frankly I don't think I've ever thought anything you've posted has been lacking in terms of engineering, they're always very crisp and present. That said, if you aren't doing so already, take some time developing a mastering effects chain that you can just plop into projects and tweak a little — reduce a bit of the tedium and you might find yourself more willing to give that extra effort to achieve some other level of fidelity.
Stereo Wideners and Harmonic Exciters can do a lot for increasing that sense of "fullness", but I wouldn't be surprised if a lot of the material you're referencing is a combination of "originally recorded to tape via NEVE console" and "remastered at the dawn of digital by some of the world's best engineers".
Rothgarr wrote: »
Thanks for the awesome advice! I know I can save templates that show up when I create a new song, so maybe I can do that with effects. I think I also need to learn what terms like "side-chaining" and other things mean.)
metaghost wrote: »
As I work in a very piecemeal manner, here is the interlude of sorts that appends one of the other things I posted; these shorter segments represent the turns in which a recursive dream would suddenly become a nightmare, often jarring me awake, so they end somewhat abruptly and exhaustively.
As it pertains to some of the above discussion of mastering, I spent a good chunk of time this week resolving some issues with competing reverb impulses in the project managing this and other songs. In the process I took some time to better understand the "wiring" of the Reason mixing board and find more economical solutions to the mix. I think I'm much happier with the results in terms of aural balance and the punch of the bass, though I'm not wholly satisfied with some of the percussion, but that's more a compositional matter.