[Songwriters Soundoff! (introduce yourself)]

Hey Lee, thanks for introducing yourself!

 

Yeah, doing the multi-instrument thing can be difficult. You spend all your time becoming proficient on everything and that doesn't leave a lot of time for anything else ... like writing songs! That, and it's always difficult to get away from "you sound like a guitar player playing drums", or whatever. In addition to having to learn the instrument interface, there's the "how would a drummer approach this?" syndrome.

 

Now we have online collaborations, so it's possible to spend more time writing songs!

 

Also, check out the Guitar Player forum on this site; they have a special topic where you can upload your guitar playing for critique.

[Critic's corner - post your finished compositions here]

Originally posted by Mickael:

Well...great musicians here!

Here is the link to my song called "I'm going out"

http://www.projectoverseer.biz/music/play.php?band_id=84&song_id=1113&mode=song_hifi

 

Hope you like it! LOTSSS of work in this one!

;)Bless.

Mickael

Hey Mickael, I finally got a chance to listen to this at home. Nicely done! From a compositional point of view, I thought you did a great job of holding my attention for all 3:39. The music is simple but works well to support the singing. Like BlueAndGreen, you used some nice layering to help build the song.

 

From an arrangement point of view, it's really tough to work with vocals in a lower register. I think everything turned out fine, but make sure the distorted guitar isn't masking them too much when it's pounding away.

 

The vocals really grabbed my attention. I'm with Hugo; I'd like to see the lyrics, too.

 

All in all this was really nice to listen to. Thanks for posting!

[Critic's corner - post your finished compositions here]

Originally posted by BlueAndGreen:

kind of a 'nin inspired' thing..

 

http://www.freefileupload.net/file.php?file=files/241205/1135448329/Sundays.mp3

 

web page

Hey BlueAndGreen, welcome to Songwriting and Composition!

 

There are others here more versed in the genre you posted, but I'll do my best to give you some feedback.

 

"Sundays" is a pretty brief 2:24, especially for something I feel isn't necessarily "punk". (Then again, I may be off base here.) I like the way things build by adding layers: short percussion intro, main harmonic theme, counter harmonic theme, melodic theme. Each layer adds to the excitement and drives the song forward. Unfortunately, just when we reach the top of the hill, the song ends abruptly and we fall off the edge of a cliff. (Not sure if that was intentional or not.) It's fine to end on a climax like that, but maybe some sort of ending cadence would be nice to signal to the listener that "the show is over", imo.

 

I'm a little puzzled why the percussion intro is only 4 beats long when the rest of the song relies on an 8-beat phrase. (Yes, the underlying percussion goes into more of a 16-beat phrase, but that would probably be too long for an intro.) Maybe try 8 beats here, and use the 2nd 4 beats to really drive into the song?

 

I lost count, but it seemed like each layer had 8 phrases before the next layer was added. There may have been some subtleties during each layer, but I found myself impatient for the song to move on sometimes. I'd be interested to hear it with only 4 phrases per layer. In order to maintain song length -- and to create some more ups and downs -- it might be interesting to peel layers off and then reapply them later. Just an idea.

 

Adding a stronger melodic element throughout would help, too, imo. (Again, this may not fit the genre.) I could easily listen to the long 8-phrase layers if there were a melody riding them. Even adding some industrial "noise" elements would be helpful, imo.

 

As is, I can hear it being used in some sort of background situation such as film: slowly driving the plot forward to a climax and then an abrupt scene change. However, I can't help but think of it as being incomplete. It could easily accommodate some lyrics or remain instrumental by adding something melodic. (As a bassist, I wouldn't mind a more moving bass line, but as is it is very effective so I would be hesitant to change it.)

 

This is probably a stretch, but to me the title evokes either a day where you have time to slowly get up and get going, or maybe even taking that long Sunday drive without any particular destination in mind. Without lyrical content, a more provocative title might be nice. (A friend of mine once won an art show with an abstract painting he titled "Woman Weeping at Well" that I'm sure had more to do with the title than the actual work.)

 

Overall "Sundays" has a cool hypnotic quality, and unending movement, like climbing a set of M.C. Escher stairs or an endless highway drive, where the scenery keeps changing slightly but has a sense of sameness, too. The synths sound good and at least to me they work together well. I'm a big fan of layering, so that works for me.

 

It was a fun listen. Thanks for sharing!

[Critic's corner - post your finished compositions here]

Sorry it took so long to get back to you, Greg!

 

Taking a listen to "Chron-fusion" right now. It reminds me a bit of a local group here called The Brothers Groove . Ok, just checked the time, looks like about 3:30; actually not bad from a commercial standpoint, but I get the feeling this is more of a jam song (due to the limited amount of vocals) so I think it would work better as a longer piece with some smokin' solos.

 

Ok, let's take a look under the hood. You've got a catchy guitar riff, a verse-like part (with the riff interspersed -- that's the way I'm calling it), a chorus-like part (the part where guitar/bass leave a lot of space), and a quieter, bass-lead bridge.

 

The riff is catchy. I especially like the way the bass isn't just doubling the guitar. I didn't read your website, but it sounds like the arrangement is for a trio or standard quartet (a la Led Zep, where the singer usually doesn't play an instrument). Speaking of Zep, they had a lot of riff-based songs. Take "Heartbreaker" for example. The intro of the song consists of the riff repeated 4 times starting on A, 2x on B, then 2x again on A for 8x total. On "Immigrant Song", the riff is a lot shorter and is probably repeated more times before the first verse, but you don't notice it so much because of Plant's viking war cries. For "Chron-fusion", the riff is repeated 10x -- 2x just guitar then 8x everybody -- before things get started, and there's not a whole lot of variety going on there. Even a dance song with a monotonous droning bass/rhythm "THUMP THUMP THUMP THUMP" throughout the whole piece is going to vary the higher-pitched instruments over the 5-minute aerobic workout, right?

 

A 2nd guitar would come in real handy, but Zep managed well enough for live shows with just one guitar, so you should be able to, too. How did they do it? Well, part of it was Plant's strong vocals that put a melody on top of a lot of riffs. (He could add harmonica at just the right times, too.) If you're just a trio this might be hard to pull off. The other magic ingredient was Jones' amazing ability to make you believe you weren't missing the multi-tracked guitar parts during a live show. And, of course, the phenominal John Bonham ('nuff said). (Ok, I got carried away here; what was my point?)

 

From a compositional standpoint, you could either shorten "Chron-fusion"'s intro (2x guitar, 2x band) or try to vary it somehow. Starting the riff on another note is probably an easy, safe bet. If you don't want to give away the move from I to IV at the beginning of the first verse (by taking the riff up a 4th), try taking it up a minor 3rd instead. This should fit since you're already in a blues scale and there's no strong harmonic content during the riff that would make that modulation feel out of place. Take it back to the original before moving on to the verse.

 

From an arrangement standpoint, you can have the bass pick up the whole riff after a time and free up the guitar to do some lead work. I'd like to hear some less-distorted jangly/funky chords myself, maybe wah'd, but that's just me.

 

For the verse, I would shorten the first riff interlude to only 2x instead of 4x. The rest of the verse works for me. (I can't quite make out the lyrics, but I'm not a good judge of those anyway.)

 

The chorus gives the drummer a chance to shine. Rhythmically this is a great contrast to the straight-forward riff. Nice use of chromatics. It ends with the same rhythm as the end of the verse, but the chords move up this time instead of down to build some nice tension to lead back to the riff.

 

The bridge is a nice dynamic contrast with a mellower feel, but it seems to come out of no where. I think I'd like it better if there were some signal, either from the drums (full stop on beat 4 preceding) and/or guitar (maybe sliding the last chord down on beat 4, optionally with some echo/delay).

 

Once the bridge starts, the bass gets a chance to shine. (It should be obvious that I'd like that. ) I like the fact that it sounds like a variation/cross between the riff (rhythm) and the chorus (descending pitches). I may have miscounted, but it sounds like 2x bass and 6x band. Unfortunately, it has the same problem as the riff, in that there's a lack of variation. The soft, sustained chords on guitar are a great accompaniment that don't cover up the bass, but after 2x I'm ready for something more. (If you had a 2nd guitar, they could play that part throughout.)

 

The bridge is probably the best place to jam this song out. After the first 4x the way it is, launch into a guitar solo. You're only a trio, so the bass should have carte blanche to play a little more aggressively, adding slight variation (especially to the ends of his phrases) with support from the drums to really drive the solo. If you don't feel comfortable with a long guitar solo and the bass is up to it, have the bass solo for a ride, too (go back to chords, but maybe add some rhythm to help drive the bass solo). Drum solo? Sure, why not, it's a jam. When the solos are done, come back in together and finish the song the way it is now.

 

Yeah, I know, instrumental solos are so yesterday in the world of modern rock. Keep 'em short and simple and I don't think anyone will mind. There's just not a lot of melodic/lyric content for people to latch on to as is. It's not punk like "Rock Lobster" (B-52s). Even modern rockers White Stripes put out a lot more vocals, and they're only a duo! Your band's strength seems to be in the instrumental department, so go with that.

 

Overall I liked "Chron-fusion". It has a good groove and enough variety between the different parts to keep the listener interested. It's probably not commercial enough for a couple of reasons, but I don't think it should be limited in that way. I'm sure your hometown fans would agree. I'm also sure it works as is and you should follow your instincts as songwriters.

 

Thanks for sharing!

["Composer Chapter of the Week" Club]

Sorry to be an interloper ...

 

I've been slowly building up my classical cd collection over the years. It's amazing how many good finds end up in bargain bins or are offered at rediculously low prices.

 

To add to Geoff's good recommendations, here are some from my (limited) personal collection.

 

I picked up Mozart Collection at one of the membership/warehouse stores: 10 cds for about the price of 3 pop cds. I've always liked "Eine Kleine Nachtmusik", but my wife recommends any of the operas, such as "The Magic Flute", "Don Giovanni", "The Marriage of Figaro", etc. (According to this timeline , Mozart and Beethoven are grouped together, so I don't think I'm going back too far.) This collection is not comprehensive, but is worthwhile none the less as a sort of "crash course" to Mozart.

 

I don't have any Franz Schubert, but I remember from my "Intro. to Music Literature" class that he was known for his sweet melodies. (Quite possibly the text we used was Music: The Art of Listening by Jean Ferris , which includes a compilation cd as a supplement. The class was a great way to get an overview of music from "antiquity to present" over the course of an entire academic year. The cd itself would be worth a listen.)

 

Moving on, the timeline shows Wagner in good company. I have some Frederik Chopin (MIA) and Robert Schumann, but Franz Liszt was the pianist when it came to performance. I have some of his works for piano and orchestra that hopefully highlight his mastery of piano. (Perhaps Geoff would know? Piano Concerto No.1 and No.2, Totentanz, and Hungarian Fantasy [based on Hungarian Rhapsody].)

 

I, too, am a sucker for Brahms' harmonies. Sadly I don't have any of his works in my collection.

 

My Debussy has "Prelude to the Afternoon of a Faun" (obviously a translation of what Geoff posted) and includes 3 of the very popular "Nocturnes".

 

Since my H.S. marching band played it, I had to have a copy of Copland's "Appalachian Spring". (The year after I graduated they marched to Holst's "The Planets".)

 

I'm also soft on Dvorak, as some of my ancestors came from Slovakia, through Prague, to the U.S. You can't go wrong with a "Slavonic Dance".

 

For a composer more recent than Stravinsky I like George Gershwin, probably because he used elements of jazz (one of my favorite genres) most notably "Rhapsody in Blue" and "Porgy and Bess". (He may be too modern to have been included in your chapter.)

 

The key is to have diversity in your collection, I think. As David points out, the problem is trying to choose from such a huge collection. To further complicate the matter, not every recording is a good recording. But, I figure I can't go wrong with the price of a bargain bin cd. Still, I think I prefer to hear this music performed live by my local symphony orchestra.

 

* Look through bargain bins.

* Look for compilation cds.

* See your local symphony orchestra.

[Critic's corner - post your finished compositions here]

Welcome aboard 9NE! I'm sure Learmont will appreciate yet another opinion on his piece.

 

Vic, I think someone said you have to download my link (right-click, blahblahblah) in order to hear it on some systems. But if you're itching to review something maybe you can give 9NE a listen instead? My little diddy has already been discussed.

[Critic's corner - post your finished compositions here]

Hey Vic, I finally got a chance to hear your stuff. Lots to choose from, so I just picked two: Unsafe and You Already Are. I'm at work, so I'll just give some first impressions.

 

I played Unsafe first. I was surprised because I've been smitten with writing triple-feel songs lately, and then here comes another. So, anyway, it seems to flow well, nice arrangement and use of instruments/vocals. (Yeah, as a bass player I really appreciate the little fill to give the bass some "face time".) On the whole it's a good song on my first listen. On second listen, what I like is the movement of the "interesting part" from instrument to instrument; kind of like how the melody shifts around in a symphony orchestra. Nice emotional ups and downs. The only thing negative I'd say at this point is it's 5:30-ish, and the last 1:30-ish is just guitar solo; not quite commercial, but at least radio can easily cut it down to just under 4 minutes. I'd probably like the solo better if it expressed more of the themes sung earlier in the song. OTOH, I recently attended a master class with Chick Corea, and he briefly mentioned that one thing he learned from Miles Davis was that you should make music the way you feel it should be done and don't worry about validation from others. So, as a songwriter, if you feel this song needs to be 5:30, that the guitar solo is essential, then so be it.

 

You Already Are. Nice moody opening sets the scene; restrained, not over done. The vocals seem to be in a lower range but they come through nicely; that may be more of an engineering feat than compositional. Chorus is slightly brighter to contrast to the darker verse; nice. Short solo keys break adds to dynamics, makes following transition more dramatic. When I heard the instrumental break from roughly 3:00-3:30, I thought you were building to something different; was a little disappointed when it didn't. Another over-5-minute song, but this one makes more sense to me from a compositional standpoint (sorry, I'm not much for analyzing lyrical content). You start with a light moody feeling, then you leave it briefly and come back to it; works for me. So, again, overall it sounds good. For negatives, is it necessary to repeat the opening chords before the singing starts? (From a commercial standpoint, some may ask if the intro is necessary at all; this would cut out about 0:30.) IMO the instrumental break doesn't transition well back to the chorus, although upon second listen (now that I know what to expect) it's not as bad as I first thought.

 

Both songs are pretty good, and I can imagine hearing them in smaller more intimate settings, like a coffee shop or restaurant or something. Not a biker bar where they play loud metal every night, you know what I mean?

 

Just a note on the intro criticism, because I found myself doing this a lot, too. Music should communicate. From a communication standpoint, what does the intro from You Already Are say? If you were talking to someone, it's roughly the equivalent of starting a conversation by saying "Hi, how are you, my name is Vic. Hi, how are you, my name is Vic." Sure, in music repetition is a key ingredient, but sometimes (as in this case) I don't feel it's working from a communication standpoint. Besides, you're going to repeat it again under the verse anyway, right?

 

In Unsafe, the intro is repeated, but you don't get that same sense of (pardon me) boring repetition because the first time it's just guitar, and the second time the keys add something new to the conversation. Variation. Now you're starting that conversation with "Hi, how are you, my name is Vic. What's your name, are you from around here?"

 

Anyway, that's my take on it. I haven't sold a million copies of anything, so take my advice with a grain of salt. Or listen to Miles and in the words of Fleetwood Mac, "go your own way".

[Critic's corner - post your finished compositions here]

Sorry, Hugo, it wasn't lack of interest, it was lack of time. If you put your link back up I'll give it a listen in the next couple of days.

[Critic's corner - post your finished compositions here]

Hey David R,

 

I wandered over to your MySpace. Man, I absolutely LOVE that stuff! If I could play an upright, I'd move to Montreal and your regular bass player might have an, um, "accident". Nah, he's safe. And a darn better upright player than I'll ever be.

 

I was trying to think of who your stuff reminds me of. Unfortunately, I'm not up-to-date with the current heavies, so I don't think I could give an accurate impression. But I definitely hear the older influences, mostly Ellington and Monk. No Art Tatum, that's for sure. And at least in these two pieces I don't hear Corea, even though you've listed him. (I also like Ahmad Jamal's work, which is a little different.) So, to me, this is really cool, 'cause I really dig the older swing and bebop and I like the way you draw on these for your compositions.

 

I'm afraid I can't give an as in-depth review as I did other pieces without more time. However, Settled In Shipping overall has a nice ABA format, with the softer opening statement revisited at the end. The more rollicking middle gives a nice contrast. If I had to guess I'd say this is about something (or someone) in their normal state that gets shipped and jostled around and then returns (settles) to their normal state once it (or he or she) arrives. Beautiful dynamics, something sorely missing in other pop genres.

 

Enumeration is a little more up tempo. In constrast to Settled, this piece features solos by the other members of the trio, but otherwise follows the same overall ABA structure. It's interesting to hear the bass and drums alternating lead, but I wonder if it wouldn't sound better in a more traditional arrangement where they take separate rides? I'd also like to hear things tied together a little more thematically. (Either I'm oblivious to the theme or it's a matter of performance, not composition.) I won't bother trying to guess at the significance of the name; like abstract art, sometimes you just can't make the connection without reading the liner notes.

 

In your About, you state the trio is "a striking brand of modern acoustic jazz". Yeah, ok, we all have to market ourselves. And I'm not trying to bust your chops here. But honestly, what's "striking" about your compositions? Is it the performance? Now, truth be told, you could say the same thing about my work: there's nothing about it that is really fresh and different. But, you're what, about 20, still in college? You've got time on your side. I challenge you to look beyond where you are now and to really take a chance with your music. The trio has good performers, and I'm sure it can book a lot of gigs with the sound you have now. No need to change that. But work on something more, that trademark David R sound. Know what I'm talking about?

 

I know one of the guy's in Gold Sparkle Band . Their stuff can get really "out there". Like you, they list Ornette Coleman as an influence. But they're different. I'm not trying to say "go out and copy these cats"; I'm just offering one example of taking a risk musically. They'll never be big sellers in the mainstream market, but I find them refreshingly different. (Others may say they're just wanking off and making noise.)

 

Ok, back to your tunes. Loved them! If you ever make it to Windsor/Detroit it would be great to hear these the way they should be heard: played live. Unfortunately, I don't make it to Toronto often enough, let alone Montreal. Your compostions are entertaining and well-schooled. Unlike other genres, jazz is a little more complex compositionally than just throwing three chords together and singing about love. Hence, you don't see child protege jazz composers. To be where you are at this point in your life is an accomplishment, and I look forward to hearing from you as you grow musically.

["Composer Chapter of the Week" Club]

I regret to say that I'll have to pull out of this one. Sorry for not checking in sooner.

 

Enjoy everyone!

[Critic's corner - post your finished compositions here]

Originally posted by Tedster:

I kept waiting for it to kick in to something

Yeah, I didn't come up with a bridge/chorus and I kind of liked it the way it was, so decided to keep it and not fight it or force it into something else. Hence, it's on direction for some sort of soundscape kind of thing. Thanks for the review and kind words, Ted!

[Critic's corner - post your finished compositions here]

Thanks, Hoop! Dig the new avatar!

[Critic's corner - post your finished compositions here]

Originally posted by Tedster:

I am not authorized to view that page, RicBass...

Odd ... I just checked it and it was fine and I'm not logged in over there for "authorization". Anyone else have trouble? Maybe I have to link it to the main page?

["Composer Chapter of the Week" Club]

Uh, waiting for my paycheck next Wednesday before I order. Feel free to start w/o me and I'll catch up as I can.

[Critic's corner - post your finished compositions here]

Here's one for the chopping block. Like Ted's, this is a rough cut (pardon the bad tracks) and in the initial stages. Instrumental, and will probably stay that way. Like Dave's, it's more of a "soundscape" kind of thing. Yeah, cheesy working title; so sue me.

 

mando3

[Critic's corner - post your finished compositions here]

Ok Ted, I gave your thang a spin or two. I like the kind of jazzy vibe you've got going here. The "doo doo" (A) section is infectious; I look forward to it coming around again and (trying) to sing along. The verses (B) borrow from the previous (A) section and add some variety in the chords and melody. The refrain/chorus © is also catchy; to me this is the hook for the song, using a somewhat common saying, "guess that's the way it goes". The introduction of the F chord here adds some tension, as earlier you were playing G D/F# E (?), i.e., either the F or F# is out of the key/mode.

 

The guitar work supports the vocals and covers a lot of ground -- you almost don't need any more instrumentation -- so the song works as a singer/songwriter piece like I'd hear at a local acoustic open mic night. I liked it so much that I sat down with my guitar to try to figure out what you were doing. Good stuff! I like the fingerstyle non-strummed chords; they have a lot of motion.

 

I'm going to skip commenting on the content of the lyrics as (a) you didn't provide them in written form and (b) my language skills are pretty shoddy. So there.

 

The melody is nice and fluid. Overall, the song flows well. [You don't even notice the 9-measure phrase (A) until you try to write it out.]

 

Hmmm ... constructive criticism. And these things are relatively minor, as overall I like the song very much as is.

 

Probably the thing that bothers me the most is the turn in the refrain that connects its two phrases. To me it doesn't seem to flow as well as the rest of the piece. Maybe it's because the preceding F chord sequence sounds like an ending to me? However, it does do the job, so if you like it I wouldn't change a thing.

 

I'm not a huge fan of the verses, either. The vocals seem a little rushed to me, I guess. It's not any faster than the "doo doo"s, but it doesn't have the same kind of flow. I don't know; maybe it's just me?

 

The other side to the double-edged sword of such a full guitar part is that it doesn't leave a lot of room for other instruments/parts. Just be careful if you do add anything else. I don't know about you, but I think some of the stuff on Alanis Morissette's Jagged Little Pill would've worked better if left to just her original vocal and guitar arrangements.

 

Oh, and thanks for leaving a verse open for my bass solo.

 

Overall, well done so far. Can't wait to hear the final!

[Critic's corner - post your finished compositions here]

Ted, I'll give yours a listen this weekend sometime. (Grass needs mowing and all.) Thanks for the heads up on the roughness of your recording; as long as we can hear the songwriting and composing aspects it should be fine. (This isn't The Project Studio afterall.)

[Critic's corner - post your finished compositions here]

Hey David, thanks for putting up this thread and starting it off right!

 

For Learmont, I like the "experimental" sounding intro and the way it is revisited at the end of the song: the synth-voice thing. I think it's chancy; it took a couple listens but it's grown on me. It reminds me of Laurie Anderson. So much so that I expect to hear her voice speaking poetry once the groove starts. (Sorry if this is way off base; I'm not that familiar with the genre.)

 

The whistle/beep accent synth (sorry, don't know how else to describe it) really creates an interesting texture for me. The drum line is interesting and its repetitiveness fits the song, more so than other genres where it's hard to get away without real drums. The use of bass line -- entering and exiting, not always there -- is effective in creating a little dramatic tension.

 

The melody synth is colored just enough to stand out from the rest of the "orchestra", but not edgy enough to be a sore thumb. The chords are nice and simple harmonically, leaving a lot of sonic space and lending to a lighter, airier mood.

 

The chord structure works to keep the piece moving, especially the #4 chord that creates a dark tension against the brighter perceding 3 chords. The bridge helps break things up a bit.

 

Overall I found the peace very easy to listen to, and very relaxing. I see it more as a mood piece (whatever that means), but it could also work for some dance scenes (although it might need to be lengthened for that).

 

My (hopefully constructive) comments follow. I think you could expand your thematic melody in at least a couple of different ways. The synth already provides some variety from the phase (?) effect, but you could also use a different voice with a different color tone the second time the melody is stated (just like a standard orchestra passes the melody from the flutes, say, to the saxes). Another thing I hear is a 2nd voice echoing the &2& theme on &4&. Not a note-for-note echo, just matching the rhythm. Probably voiced a little lower and more mellow, like the slightly mellower viola would compliment a bright violin. Occaisionally these voices could come together for some harmonies. Like the bass, this 2nd voice could come in and out.

 

Speaking of bass -- and this is my primary instrument -- I could use a little more (of course). It's a fine line, though, to becoming too heavy and dark for the piece. I'm fine with it laying out, but when it is playing I think it could be a little more interesting. This is questionable and I realize it is probably just my personal bias speaking.

 

Do you have a piece of poetry you could speak over the top of this? It's not necessary -- I don't mind an instrumental song -- but some people relate better to words. If you've never done spoken poetry like this it might be fun to try.

 

I'm not crazy about the repetitiveness of the chords, but I can't say they don't work well enough. Since adding more notes to the chords may unnecessarily clutter up the piece harmonically, maybe some connecting tones might make me happier. Then again, they may just overload the piece, too. Between adding connecting tones or a 2nd echo-like counter melody, I'd rather have the latter.

 

I could do with a little more length. Perhaps you could, too, and this is just the short demo format?

 

Despite my hangups, I still give Learmont a thumbs up! It wouldn't send me hunting for another radio station and may actually be a good commuting song to help curb some of my road rage tendencies. Or a relaxing day lying at the beach with the sound of the surf. Or a nice gentle dance tune instead of yet another upbeat hustle.

 

Thank you, David, for sharing, and remember in this subjective world of music there is no right or wrong, there is only opinion. And the only person's opinion that really counts in this case is your own.

["Composer Chapter of the Week" Club]

Bleh. My local libraries don't have the Paul Gilreath text. Guess I'll be ordering it like the rest of you. I did manage to find the publisher\'s site , which gives a short bio and preview of the book. Most interesting to me is that he's been able to continue his career outside of lala land.

["Composer Chapter of the Week" Club]

Originally posted by Geoff Grace:

I'll add that Paul Gilreath's book, "The Guide To MIDI Orchestration," I suggested above should appeal to both camps.

So, should I go check out this book if I wanna play this game?

[Songwriters Soundoff! (introduce yourself)]

Welcome, Red Winger! Good to hear you're writing again.

[Songwriters Soundoff! (introduce yourself)]

Welcome, Philbo!

 

Check out The Project Studio forum (and the archived Phil O'Keefe:The Project Studio) here for studio-related stuff.

[Songwriters Soundoff! (introduce yourself)]

Ok, I think I found the original thread for this kind of thing, so I'll try to add a link to it here .

[Songwriters Soundoff! (introduce yourself)]

Welcome, Cherri! Thanks for posting your intro.

 

I'm one of those people that can't hear "Time (Wait for Me)" ... my RealPlayer chokes on the mp3 format. I did listen to the other two tunes, though. They seem well put together. The vocals and guitar are up front in the mix -- always a good thing -- but for me the drums and especially bass could be louder. (Guess you can't fire the bass player, now can you?)

 

Good luck on the shows and CD sales!

[Songwriters Soundoff! (introduce yourself)]

Originally posted by Steve West:

A friend just gave me a Mac with OS X so I'll try putting GarageBand like Ricbassdude (hey Ric, where can here some of those cuts?)and play with that.

Sorry, Steve, I don't have anything up yet. Nothing's ready for "public consumption" yet anyway; so far I only put 5 tunes down (sans vocals) for experimental purposes. The whole "home recording" thing is taking some time to get a grip on. Maybe I can put together a cover demo (like Tedster) so you guys can get an idea of the sound I'm getting.

 

I gave Tedster's stuff a listen; very well done! It has that definite Port Huron/Kansas City Beatlesque sound. Seriously, the songs are catchy and the demo is well made.

 

Put an ear on your stuff, too, Steve. Can hear the folk influence; everybody's doing their thing on down to the harmonica. A little Steve Miller kind of sound in "I'm on a roll". Were those recorded on a 4-track or tape? (Maybe it's just because I pulled the "lo" quality tracks?) The first demo I helped put together was on 4-track tape and it didn't go over very well (in the late 80s) because the production couldn't compete with what everyone else had.

 

GarageBand can get you digital, but only one track at a time so drum kits are not really doable (unless you buy a multitrack input device or use a MIDI drumset/MIDI input device). I guess if you're really good at it you could use a mixer to mixdown your drums to stereo to feed to GB, but that's obviously not the best way. I'm trying to get by with the built-in MIDI drums. Once I get something substantial I may bug my drummer friend to bring over his Roland MIDI set for some "real" drums. I just can't afford a Digi-002 and ProTools at the moment, know what I mean?

 

Other things I haven't figured out yet with GB are multi-tempo songs; it seems GB only works with one tempo. You can turn off the click track if you're doing all the instruments yourself, but if you're using the buit-ins (like the drum kits) you're kinda screwed.