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Thread: So this is my stuff

  1. #11
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    @PureViolence, this is really good. I like this. I could easily imagine your band catching on and getting a good spread of appreciation, if that's your aim. I think it's one of the things with music, that you can be great musicians, have great songs, etc, but there's some element of luck in whether it "makes it" or not. Have you ever tried to get some 'gigs' as a supporting band for some similar sounding bands, like... that general scene of 'Thee Oh Sees', King Gizzard, etc?

    In the first three links, I thought the guitar tone was just not quite right (though it sounds better on the bandcamp ones). Slightly out of tune? (I hate it when people say that) Slightly too quiet maybe? Seemed to not quite sit in the right place in the mix. Highs were too much cut? Muddied up by competing with some other frequency? I'm not really sure. But I love that style of heavily distorted guitar sometimes. Reminds me a bit, maybe, of Ler from Primus.

    My ears were sort of pining for a little variation in the song structure at times. Though, that's a personal taste. I had thought, maybe some slightly dramatic shifts. It seems fairly relentless (though that's a valid aesthetic aspiration too). Sort of reminded me of, sort of, high intensity electronic music, at times. Probably mostly because of the drums. I felt like I was struggling to latch onto something. It all sounded good. But it kind of blurs past and doesn't quite hang onto a musical 'thing' long enough to create an impression that would stick in my mind.

    I would say, as you're saying, to forget about the $5000+ professional recordings at this time. I think you can get a lot done on your own for most genres. Needs a bit of dynamics though.

    The riffs are all really solid.

  2. #12
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    Quote Originally Posted by Utisz View Post
    I like the image stuff.

    How do you go about making stuff like this? ...


    What's Madrid like? I only pass through there for connections. I gave some girl there EUR10 for "a bus" once while I was outside the terminal smoking. She gave me her email address so I could send details so she could return the money, haha, how fucking naive was she? Also I smoked in a bathroom there because I was in some terminal on a 2 hour layover and according to the staff it would take like 45 minutes to get outside and 45 minutes to get back in from the terminal I was in but I hadn't smoked in like 15 hours so I went to this bathroom and it already smelt of smoke so I knew I was in good company and then went into a stall and the extractor fan was like an ashtray so I felt like I could really relax unlike that other time in Berlin. Nowadays I try fly through Paris instead; they have these cool smoking areas that are like small glasshouses but with people smoking inside them rather than plants growing inside them and like inside an airport terminal rather than out in a garden. Nobody was throwing stones anyways about the smoke like we were all smokers but again, that was Paris, not Madrid.
    Well in this case i had a video of my nightboorhood at night, with a lot of yellowish windows, and what i did was printscreen it and then twist the fuck out of the image until i thought i saw an owl shape, then arrange it mostly with photoshop, then i added some layers to give texture and parallel shadow to make it look a bit 3d, then cut some of the coloured texture to reveal the black strip eyes (which are the twisted windows of the original video) and finally i added the mountains.
    there's not much of a plan behind it, it's about being aware of where the image is leading you and suddenly you see what the image wanted to become.
    All my stuff is made from original photography, or at least the main element is.

    Madrid is cool, yeah some people think they are smart, but they are really retarded, common thing. other people act like retarded and they are fucking sharp. like everywhere else i suppose. But i guess because of culture they are really close and open and loud. I'm not spanish btw. Yeah i've seen those areas you mention, here it's hard to find where to smoke, they are really strict with laws to collect money, drinking in the streets can cost you up to 600e, iirc.
    I was in Paris too, i liked it but it's too damn expensive. Madrid is nicer in that sense.

    Quote Originally Posted by scarydoor View Post
    @PureViolence, this is really good. I like this. I could easily imagine your band catching on and getting a good spread of appreciation, if that's your aim. I think it's one of the things with music, that you can be great musicians, have great songs, etc, but there's some element of luck in whether it "makes it" or not. Have you ever tried to get some 'gigs' as a supporting band for some similar sounding bands, like... that general scene of 'Thee Oh Sees', King Gizzard, etc?

    In the first three links, I thought the guitar tone was just not quite right (though it sounds better on the bandcamp ones). Slightly out of tune? (I hate it when people say that) Slightly too quiet maybe? Seemed to not quite sit in the right place in the mix. Highs were too much cut? Muddied up by competing with some other frequency? I'm not really sure. But I love that style of heavily distorted guitar sometimes. Reminds me a bit, maybe, of Ler from Primus.

    My ears were sort of pining for a little variation in the song structure at times. Though, that's a personal taste. I had thought, maybe some slightly dramatic shifts. It seems fairly relentless (though that's a valid aesthetic aspiration too). Sort of reminded me of, sort of, high intensity electronic music, at times. Probably mostly because of the drums. I felt like I was struggling to latch onto something. It all sounded good. But it kind of blurs past and doesn't quite hang onto a musical 'thing' long enough to create an impression that would stick in my mind.

    I would say, as you're saying, to forget about the $5000+ professional recordings at this time. I think you can get a lot done on your own for most genres. Needs a bit of dynamics though.

    The riffs are all really solid.
    Thanks, no we haven't tried to support other bands, we haven't really played any show, i don't see myself living a rockstar kind of life, i prefer to create a lot of stuff, upload to the internet and ask magazines to check us out and promote us, or share our stuff in the internet. I used to play in other bands before and rockstar life is tiring, all the time carrying your heavy gear to play for max 70 people, not getting almost any money, playing boring songs made by people that don't get your vibe, only your friends and friends of your friends will listen to you in concerts when they need a beer. So i'm not planning coming back to it.

    We played in a radio show tho, it was kind of shitty performance because it was an acoustic setting and everything was really dry. I'm not against acoustic performances, they can be super cool if recorded in the right way. We only had the line for the mics plus i was extremely scared. Plus the show wasn't an alternative radio station or anything, they were playing classic rock/blues/jazz stuff like aretha franklin or acdc so we felt out of place, anyway we decided to give it a try.

    Yeah i know what you mean about the dynamics, it's hard cuz i'm really lazy when it comes to recording stuff, i might have 2 riffs and i play each of them 2 times and pan for right and left for 2 instruments, then if i need them again in the song i won't record them again, just copy paste (not always tho), then you add the fact that our drums are virtual so do synths and well, it's hard to tell your mind not to detect the repetition. Even tho i'm aware of that and i try to write as fluid drum patterns as i can and add small 2/4 - 4/4 variations in other instruments as well from time to time to mask it.
    The guitar tone from those links will be improved, and they are far from being complete, they are demos.

    I think the "out of tune guitar" you describe might be the product of:

    - Improvising some riffs / licks on the guitar. I wasn't even sure about what to play when i was recording at some parts so it might sound a bit off at times.
    - The way i mixed the bass. I added a modulation pedal and tons of reverb to get that hall / far / old / muddy bass tone. I personally dig it, but yeah the final mix will sound a bit better or at least understandable.

  3. #13
    Quote Originally Posted by PureViolence View Post
    @stigmatica

    yeah the band exists we just don't want to spend 4500 euros in professional studio for recording 10 songs, it's just stupid as fuck
    so we record in my place everything but the drums, because we would need to buy more mics and a bigger console, so instead i write them virtually having in mind what our drummer likes to play, or sometimes i show him the demo and then he improvises over it, but yeah we do have a drummer (the guy in the pics) and we rehearsal sometimes.

    my favourite is this one: https://falsoguru.bandcamp.com/track...ndo-2017-remix
    also this seems to be the favourite of our friends (mostly girls like this one): https://falsoguru.bandcamp.com/track/fronteras i think this one has the coolest vocal melody i've written

    Edit: rant about rock scene

    lately i've been thinking of starting to make digital music, like beat - based repetitive stuff. still not totally sure about it.
    Yeah, I hear you. I'm the same way. It seems too me with modern tech, one should be able to get what you need without spending all that money. In my own terrible efforts though, I've also found that while it is possible, it's also incredibly time consuming. Spending money = more time doing the parts you enjoy most. But, you have to have money to spend it. Most of us just spend time we don't have either.

    Typically, I HATE repetitive music though. Like, it's good for the first 20 seconds and then it starts annoying me the more I listen. But that's just my taste. Dynamic range, varied melodies and harmonies, unique tones... that's what I think I like.

    I saw the two vids on here before. I thought your vid was well done myself. Especially liked the opening lead in bit, which made it more interesting than the other. The other did have cleaner sound though.

    As for your artwork, it's interesting, but I'm like a complete idiot when it comes to a lot of visual art. The rainy window caught my eye the most. Made me daydream a bit. Remember things.
    Quote Originally Posted by whatloveihave View Post
    I don't find you a potential threat to human society, you're not crazy. Feces.

  4. #14
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    some more mixed stuff;

    this one looks really bad, sadly i took it with an old phone which had nice quality image actually but it broke down and i couldn't recover stuff stored on it, somehow i had shared this image with someone or smth so i have the low quality version of it
    anyway this image means a lot, i took it one of the last days of my time living in Athens



    this is just a random collage i made



    this is the view from my friends' balcony near Madrid


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  6. #16
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    You might get some mileage out of playing with the deeper functions of your synths and samplers in order to build systems that "self-vary". An example for a synth would be a "key follow" function that maps to one of the envelope decays or filter cutoffs- so when the lower notes are playing, the filter opens up slightly or the decay of the notes lasts longer.

    Samplers or romplers (wherever your drums are coming from), maybe try to send the velocity to different things, envelopes especially. A little bit to the pitch or filter controls can create some nice variation.

    Another way to add some composition-determined variation is to send everything to a parallel chain with a compressor, but at different levels. Put the kick and snare hot so it bangs everything out of the way, and then have the guitars filling out the bulk (I mean they're kind of the stars of the show usually)... then in the holes, be they short or long, have the synths poke through a little. That's kind of the classy way to do a sidechain. If you think about how music used to be recorded like at Sun studios or Motown, they'd just all be feeding through some mics into the tube, the limiter, and finally the tape, and each step would produce a bottleneck of sound that has become the gold standard of how our ears hear recordings.

    I like to set these kind of things up and turn them up all the way, then take them off and kind of feather it in to where you can barely hear it when you're looking for it. Really brings some life to your mix.

  7. #17
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    that's Lithuania national stadium, apparently they will finish it one day



    Quote Originally Posted by stuck View Post
    You might get some mileage out of playing with the deeper functions of your synths and samplers in order to build systems that "self-vary". An example for a synth would be a "key follow" function that maps to one of the envelope decays or filter cutoffs- so when the lower notes are playing, the filter opens up slightly or the decay of the notes lasts longer.

    Samplers or romplers (wherever your drums are coming from), maybe try to send the velocity to different things, envelopes especially. A little bit to the pitch or filter controls can create some nice variation.

    Another way to add some composition-determined variation is to send everything to a parallel chain with a compressor, but at different levels. Put the kick and snare hot so it bangs everything out of the way, and then have the guitars filling out the bulk (I mean they're kind of the stars of the show usually)... then in the holes, be they short or long, have the synths poke through a little. That's kind of the classy way to do a sidechain. If you think about how music used to be recorded like at Sun studios or Motown, they'd just all be feeding through some mics into the tube, the limiter, and finally the tape, and each step would produce a bottleneck of sound that has become the gold standard of how our ears hear recordings.

    I like to set these kind of things up and turn them up all the way, then take them off and kind of feather it in to where you can barely hear it when you're looking for it. Really brings some life to your mix.
    the pitch and filters sound like a cool advice, i might try it for the new songs.
    yeah actually i tried sidechain compression in one song (i think only for the kickdrum and bass thingy) when i was recording first ep material, but then i didn't use it in the final mix, i was experimenting with the technique cuz it was my first mixing so i just wanted to finish it, didn't pay much attention. Same thing for the last ep, the blue one, too busy at job, little time, so i just tried to make it as fast as i could keeping a decent sound. my workflow is a total disaster.
    i can't tell if i will be more careful when mixing the new material.

  8. #18
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    Quote Originally Posted by PureViolence View Post
    my workflow is a total disaster.
    for real, that's super important to me. whenever I "don't know what I'm doing" I reorganize the session.

  9. #19
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    https://clyp.it/rtrtvzi2

    new song, inspired in the conflict between two intp forums and ofc love problems of myself as always
    it'll be part of the album, not sure if adding more parts to it, for me it's cool like this, like raw and wtfable yet groovie
    what i might do is re record some voice parts
    english lyrics:

    what was once a funeral
    has now become a rave for junkies

    the world is running out
    and the streets are always behind bars
    touch my hands look how cold they are baby
    the world is running out
    and the streets are always behind bars
    time accelerates the most cruel verdict on the man

    we hit hard down there
    where it hurts the most and still they want more
    the old man is still blind
    to the sky he follows dead and falls
    a cat is screaming again
    in his window, neither sad nor blue
    i do not even miss you at night anymore
    a migraine lady approaches and says she wants to sell me
    she wants to extract my organs, to see if that way she can get any younger
    to get take some easy money is not so different from having a great dream
    I run away, fight, shout, I hear fear
    I do not tremble
    I'm not into games, I'm not
    I'm not for games, lady. I'm getting old too.

    what was once a funeral
    has now become a rave for junkies

    the world is running out
    and the streets are always behind bars
    touch my hands look how cold they are baby
    the world is running out
    and the streets are always behind bars
    time accelerates the most cruel verdict on the man
    Last edited by PureViolence; 09-27-2017 at 01:34 AM.

  10. #20
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    @stuck

    hey man, can you check this mix out and give some feedback?
    i tried some sidechaining stuff between bass and kick and also i'm trying to figure out how to do this "maybe try to send the velocity to different things, envelopes especially. A little bit to the pitch or filter controls can create some nice variation"
    do you know any specific tutorial on this?
    i'm mixing on 10 euros earphones xd
    perhaps bass and vocals are a bit loud

    https://clyp.it/xqtsdj21

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