quote: | Originally posted by Looney4Clooney
First thing i noticed.
You set up a very defined rythm a latino would call a clave. The 2 bar bass pattern.
And then you just kinda ditch it which takes away your main motif so far and adds something that has no groove , more notes, and more notes when more things are playing.
And when you have that style of bass that plays of the kick, you need to have at least 8 bars with the backbeat. Having those raw elements cut and people react much better. The hihats just distract at that point. The less elements you can have , well they cut way better and it just makes no logical sense to deny people those raw 8 bars that if you ask any dj just make people more energetic.
Now if you wanted to step up the energy, you need to trqnsfer that pattern to a synth because it seems like you have no reason for it there. It just can't really explain itself the way you have it. Most people llike his remix of global code but the form of the other one is more clever.
you already have the synths there that could do it.
Next up. High hats . Nobody every listened to a track and said fuyck me, those hihats are sick.
Your hihats are bright so they are taking space but they serve no fucntion. They don't really add any rythmic counterpoint and they are more busy then they need to be if you want to fill in the space as one does. This is particularly weird when you have other synths just doing similar 16ths in the same range.
Asa rule. Your main phrasing should be 8 bars. There should be enough content to accentuate the stress pints of those 8 bars. You don't. The result is well, repetitive but more than it has to be.
The hihats during the point were the bass starts to develop is taking way too much attention. Again, why are they there and why so loud. They are also really really brittle and ear piercing that they are not only pointless structurally but just sound terrible.
Towards the end you just add a synth from nowhere that has no connection and you should find ways to find ways so that the sound used well, right now it sounds random. You could of used it say in parts leading up to a downbeat just to hint at it.
I would say the thing you should focus on is structural coherance. Ask yourself why something is there, what is it doing, how am i mixing it . Other wise you get a pastiche of random thoughts and this is what makes makes for good track writting. Parsimony.
so things you could do.
the initial bass, filter it and have it as a intro to set up a motif. When you want to other bass, you can still use that idea with the synths. I would really think about hihats and why you use them. I would also focus more on form.
A dance tracks is really 1 bar. You can pretty much sum a track in one bar and you need to create a structural frame work to make that bar last the track.
someone that is rather good at form is scot project. You will notice he doesn't just add things but everything seems to serve a function. I wish i had modern guys for you to check out. He was a favorite of mine.
his remix of 99 is brilliant at basically using the same motifs and expanding and making a track that has some sense of cohesion. |
Hey L4C, thanks for the tips and advice, I do agree with some of what you have to say, and disagree with some of it. The beauty of music.
quote: | Originally posted by Looney4Clooney
First thing i noticed.
You set up a very defined rythm a latino would call a clave. The 2 bar bass pattern. |
Actualy, its not a clave, and its not a 2 bar bass pattern. The intro (referring to where the hats come in) is a polyrhythm. Two different rhythms playing together. The bass is playing its own subdivisions which land on different down beats of the drums cycle. If you count, you'll notice that the bass returns back to the 1 downbeat on bar four not five as typicaly it would. But thats not how polyrhythms work. So as far as the bass landing on the downbeats of the drums cycle its like this: bar 1 it lands on downbeats 1 and 4. bar 2 it lands on downbeat 3. bar 3 it lands on downbeat 2. Bar four it starts its cycle again landing on downbeats 1 and 4. All the other notes the bass plays are in between the downbeats. The is classic example of a polyrhthm. The very start can confuse people becuase of two reasons, 1, theres no claps on the 2 and 4, and the drums cycly and odd amount of times (which im gonna change).
As far as hi hats go, well, to me they are a way of creating movement and anticipation. I will take on board your advice and see if I can make them less obtrusive, etc.
quote: | Originally posted by Looney4Clooney
Asa rule. Your main phrasing should be 8 bars
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I think rules are a matter of what someone prefers, there are just as many strange songs out there that have done well as those that seem to abide by the rules more strictly. Pink Floyds "money" is a classic example, one of the most popular songs on the planet , yet its in odd time 7/4. Personaly I think that the breaking of the rules is what forges new and interesting songs and genres.
quote: | Originally posted by Looney4Clooney
Towards the end you just add a synth from nowhere that has no connection and you should find ways to find ways so that the sound used well, right now it sounds random. You could of used it say in parts leading up to a downbeat just to hint at it. |
Again, I think this is a matter of opinion. There are many songs that have elements that only feature on one section of the song. One artist i can think of right away who does this is Armin VB.
Guitar solo's for example only usualy feature in one spot of a song, its usualy the only time the listener will hear that guitar tone, melody and phrasing.
However, I do know what you mean by bringing it in at a few points just to let the listener know what song it is, etc. I have done what you are describing on one of my other songs and was trying to avoid using the same technique. I will play around with it and see what happens.
I will also try to get it less repetative, i can only try!
Thanks again,
Last edited by madmuso on Feb-11-2015 at 04:08
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