Aqui les dejo un track en dos versiones diferentes, incluido en el demo Red Bull Barcelona 2008.

CLOUDS OF HOPE
http://www.soundclick.com/bands/page_mu ... dID=257399



Pronto estoy dando la ficha tecnica para aquellos que son productores, y tres tracks mas del mismo demo.

Espero les guste.

Ambos tracks fueron ejecutados exactamente con los mismos elementos, tratando de demostrar las multiples formas en que puede ser ejecutado un track mediante el metodo de secuenciacion de diversos sintetizadores interconectados con MIDI en tiempo real.

El que lleva la batuta en todo el track es el COMMAND STATION. No solo logica secuencial sino tambien audio. Los sonidos mas llamativos, apesar de la participacion de un gran sintetizador, provienen casualmente del command station, talvez porque es el sintetizador que he aprendido a tocar en mejor forma en mi vida debido al enorme tiempo invertido en el Ya una vez que me desarrolle en el Vsynth, ire profundizando en el.

Se utilizo un promedio de 10 patterns en el emu, de 4 y 8 measures cada uno. hay tres tipos diferentes de kicks, uno de cada sinte.
el kick mas fuerte, que por cierto provoca un cambio agradable en la version mas corta, es el del V synth. El solo de pad melodioso, esta improvisado y es en el V Synth,.

unos sintetizadores que suenan parecido a la entrada Save a Pray de Duran Duran, son del emu, asi como el hi hat 1/16. Se oyen tres o cuatro sonidos tipo synte intercalados entre ellos. Son cuatro tracks del emu que interactuan como si formasen un unico sonido.

La percusion es del Korg Electribe, sin embargo, hay una percusion completa de fondo que refuersa la ritmica, que es un sample loopeado dentro del Vsynth, y que lo hice tocando un korg karma y sampleandolo en el line in del Vsynth, convirtiendolo luego en monofonico y loopeandolo.

Los acordes estilo house, provienen de los tres sintes. hay un acorde del emu, otro del v synth, otro del korg. Hay que hacer sonar los sintes como una sola pieza.

hay una intro de piano, es un arpegio del V synth.


Se utilizaron 3/4 patterns del Korg Electribe.
Con un mes de usarlo, he hecho un buen esfuerzo para ir aprendiendo a manipularlo como el se lo merece. Es muy, muy buena maquina, puede producir tanto como percusiones como sonidos de oscilladores que tienen buen grosor.

una vez todo sincronizado, paso el line out de audio del emu dentro del line in del v synth. Y el v synth y el korg los mando a los line in del sampleador sp808ex.

Y empiezo a improvisar, apagando y prendiendo tracks, modificando pitchs, improvisando teclados, y creando diversas combinaciones entre los patterns de emu y el korg. Cada combinacion diferente, da una melodia unica. eso haciendo las tracks todos compatibles entre si.

Una vez sampleada la cancion, la almaceno como una .wav en la pc, y lo quemo...

Grant gracias pro el hosting

llllinda balma. a bajarlas pues! gracias por compartir.

pongale oido al cambio "radical" en el 1:45 de la version mas corta. Es un cambio un poquito arriesgado. Cambio de pattern y tambien de escala (pasando de JUST C scale a Werkmeinster, y subiendo 2 pitch en 1 sinte y disminuyendo -3 en otro ) en los dos intes al mismo tiempo mientras voy improvisando con una mano un pad y jugando con la palanca pitch bend con la otra mano, con el pie izquierdo cambio de pattern del emu con un pedal. Casi no me sale, pero salio...

La version total de esta pieza dura 7:20.

Otra descarga de un track en vivo:


Esta pieza se llama COMONBAO, con una ritmica bastante particular. Es un segmento de una track de 23 minutos de duracion, bastante movido, aun a 130 bpm, ejecutado en vivo en una fiesta en MONTEZUMA, bar Luz de Mono.

Marzo del 2007.

Sintetizadores:

EMU command station
Roland SP 808ex.

Samples de: Abre los Ojos, pelicula de Alejandro Amenabar.

Espero les guste

-balma- wrote:pongale oido al cambio "radical" en el 1:45 de la version mas corta. Es un cambio un poquito arriesgado. Cambio de pattern y tambien de escala (pasando de JUST C scale a Werkmeinster, y subiendo 2 pitch en 1 sinte y disminuyendo -3 en otro ) en los dos intes al mismo tiempo mientras voy improvisando con una mano un pad y jugando con la palanca pitch bend con la otra mano, con el pie izquierdo cambio de pattern del emu con un pedal. Casi no me sale, pero salio...

La version total de esta pieza dura 7:20.

ESTE MEN CONOCE

Maes, esta semana me dieron uno de los golpes mas feos pero utiles a mi musica. Soy todo un IGNORANTE. Nadie me tiene de mamap******. Mande todo lo que habia hecho para Red Bull para la m*ierda despues de varias criticas, -muy bien fundamentadas- por parte de un mae que realmente sabe. Ayer borre todos los patterns, todas las estructuras que habia construido durante algunos años en los sintes, para comenzar de nuevo casi que de 0.

Primero la buena, don Tom, mejor conocido como JO BOGAERT, va a efectuar una reconstrucccion total de mi pieza "CLOUDS OF HOPE". El mae es un mounstruo en la produccion, fue el cerebro de TECHNOTRONICS en los 80s, y se ha mantenido muy activo como productor de estudio, participando en docenas de remixes, compilaciones belgas y soundtracks de peliculas. El fue el que compuso PUMP UP THE JAM, uno de los clasicos de musica electronica de todos los tiempos.

Aqui parte de la critica que literalmente despedazo mi trabajo

ok, I promised you a more detailed review.
this is for your "clouds long" versionÂ
(I've simply replied to the mail where you've attached it, so you can be sure which track I mean)

the pad in the opening creates a real nice atmosphere , but you can put it in louder.
the synth sound on top of it is a great melody, and a real nice sound as well. good work !
the little "break" you put in its melody around 0:15 is good, but you should try to make it a few seconds longer.
it's like the small pause after the intro, before the song really starts, like taking a deep breath and then start telling the whole story, if you know what I mean.

the guitar sound that comes in after the break is real nice, but you can hardly hear it, and I'm not even sure if you still have it in there later in the song, cause to be honest, I never noticed it later, so if it is, you can completely not hear it anymore.

when you start bringing in your drums, with the little rhythmic sound, and then your snare. that's good. only the little sound you can barely hear enough, and the snare sounds not very convincing. it sounds like "uh, hello, umm, are you ok ?, can I have your attention please ?...", while it should sound like "here I am fuckers, you know what's gonna happen right after I come in, don't you !"
in other words, it should sound louder.
the snare only sounds better as soon as the kickdrum starts saving it, but it still needs to be turned up !

this main melody you start around 1:22
good stuff, and you kind of bring it in before by using the sound you used on top of the pad at the start of the song, it plays a similar melody like the main melody but one octave lower. well, you need to turn up that sound more. it just drowns in there. (not the melody at 1:22, but the one you used at the start as well)

that "aah" kind of sample. change it. it's crap. it's good you wanna put in these little hits or stabs or whatever, but not this sound. it sounds like a bad 90's update from a crap 80's "aah" sample. )

the little break around 1:27 : take out more of these main synthriffs. too much midrange lead synths going on.
they make the break still sound so crowded it doesn't work as a "break" anymore.

around 1:49 there are so many synths going on it's too muddy.
if you focus and listen you know it's only about 4 different synths, and maybe this would work if it was EQ'ed ok, but since it isn't, it's simply too much.

again, around 2:12 you put in a little break, but way too short.
2:19 : when you put in the reverse cymbal, it's an excellent time to finally put in a longer break, so leave out the drums for a few beats more before you put in the reverse cymbal, that way it has way more effect.

afterwards I hear little synthsounds that are not as bright as your main synthriffs, and therefore I absolutely LOVE 'em, since they make a great anti-dose for the main synthriffs, but they drown in the mix.
and the sound you put in at 2:30 is just way too much reverb.
it's a great idea, but you gotta trim it, cause it's too muddy this way.

and then finally a longer break at 2:49 (we were waiting for ages for a longer break !!! ))))) )
but again your midrange riffs are killing it.
maybe you oughtta try to take half of the notes out of it. like make the melody only play at 1 and 3, and not at 2 and 4. now it works like "question - answer - question - answer" (or like "badapampam -poedoempoempoem - badapampam - poedoempoempoem") well leave out the answer or poedoempoempoem stuff for a while. that way you'll make it way less crowded immediately.
(I know I sound ridiculous, but at least you'll get my point )) )

after this break, it doesn't restart good enough. only at 3:13 you got the feeling it restarted again good.

btw, if you wanna know which sound I mean with your "midrange riffs", it stops abruptly at 3:20
and by then, you're quite happy it's gone for a while, cause you'e heard it too long and too much. and it was taking away a lot of space for the rest of the sounds.
don't get me wrong, it's a good sound and good riff, and it's one of the main motors in the song, but right now it's been used too much, so it souds too repetitous.

the end of the song is again too many things going on at once. I hear so many great sounds, but they're all fighting for some room in the EQ spectrum ))

ok ,will write another reply soon.
I hope this has been helpful.




--------2nd part

ok, if you don't know what they mean with "reconstructing a track for the dance floor", then you need to listen more to the style of music you wanna produce.
they mean that you gotta make a version they can use in a mix.
this means a start that can be used to mix in when the other track is ending, enough good breaks, and an end that can be used to mix in the next track on.
plus your track can't be too long, and needs to have a more typical structure.


you'd automatically be doing all these things if you spent more time listening to the style of music you wanna produce.
it's one of the basic rules : listen as much as you can to the style of music you wanna produce.
that way, you'll hear so many things, and there will be so many things that your brain will pick up, even on a subconcious level.Â
I've heard this once said somewhere by a producer, and it's very very very true.
I've been listening to minimal house for at least half an hour to 2 hours a day, usually when doing sports, or when I'm on the train. and this has greatly improved my ears and my comprehension of song structure in minimal house. and I usually listen to livesets of DJ's, cause this gives me more different tracks than if I'd only be listening to the same albums over and over again.
it's the same for people making movies : they watch tons of movies themselves.
you learn so much from listening to other songs, you get inspired,...


now quick about your producton methods.
it's like you said : you're excellent at sounds, and you know your synths inside out.
but think about this : you really really REALLY must get a better way to record.
you'll never be able to make a good track if you can't record it properly.
you don't have enough hands to make it all work at the same time, you only have built in fx on your synths, no EQ, no mixer so only the volume of your own synths, and no way to sculpt your tracks afterwards (like with EQ, compression, normalizers,...), no way to pan stuff properly,...
in short : get a decent sequencer, so you can get organized, instead of trying to tame all your synths going on at once, all playing live, and you trying to be this octopus-man turning knobs everywhere.


when I was talking about this compression stuff, I already thought "oh yeah, he probably doesn't have sidechain compression available", because on hardware this is not a very common feature. and in all honesty it doesn't matter if you don't have the sidechain compression. but it does matter that you can't arrange track volume properly, can't sequence good enough, can't EQ (!!!!!!!!!!!!!!!)
in short : you can't organize your tracks enough, and can't correct them afterwards enough.
Ableton Live (here I go again ) ) could get all of these things done for you, and it's dead easy to use.
any software sequencer can get most of that done for you, basically. but Live excells at being so dead easy to use.
if I think back at how I was scratching my head wit cubase, compared to how hands-on Live is to use.
man, this would improve your workflow so much, and it would HIGHLY improve your songs.
you can stay a synthexpert all your life, but your tracks won't become much better than they are now, simply cause you can't record and sequence them properly enough.
it's like you're voluntarely handicapping yourself.
well, that's fine if this is only a hobby for you. but since you're really serious about it, you gotta get seriously organized there as well.
it took a long time before I realized the importance of a good sequencer (and a computer !!), but now I can't live without. it's the heart and the centre of my studio. or really : Live is the heart of my studio. the computer is just what I use to run it on.


btw, your music reminded me a bit of Aril Brikha
I wish I could attach "room 337" to this mail, but the file's too big.
please download it.
basically you get tired of his songs pretty fast, but the first few times you listen to them, they really kick in perfectly.Â
(room 337 is a good example of this, once you've heard it a couple of times, you get completely tired of it, but it works perfectly the first few times)
they're always a perfect balance of sounds. nowhere overkill, always very catchy and punchy.
you can make this kind of music too, no kidding.
you just need to find a better balance.
btw, one last tip for your track in general : it's important to break the repetition in your tracks, but you can also break this with having little variations going on on your synthsounds, like small random LFO to your cutoff (aril brikha does this constantly), and especially : bring in more little drum sounds here and there.
that way you can use less synthsounds, but still not have a monotomous feeling about the track.
that's why I thought of brikha when listening to your track : basically most of his songs don't have too many synthsounds going on, but by using these little changes everywhere, it takes you to listen to the song a few times before you get tired of it.
in other words : his music ain't that great, but because he uses these little things, it really sounds good for a while (but once you've heard it a few times, you get really tired of it after 15 seconds)
you've got way more going on in your track than he does in his, so if you'd be able to organize it all better, you'd be better than him ))


El mae tiene mucha razon en muchas varas, mi trabajo ha venido siendo una porqueria en muchos aspectos. Estas criticas duelen porque le revelan a uno que el esfuerzo no ha bastado para salir de la mediocridad.

De hecho lo primero que yo le digo a la gente cuando les paso un track mio para que me den su opinion es:

No me diga que le gusta del track, digame que es lo que NO LE GUSTA, que suena repetitivo, que suena aburrido, que sonidos le causan malas sensaciones, que suena paquete, que podria estar mejor, etc.

Escuchar lo malo hace que uno trate de corregirlo y mejorarlo y no repetir de nuevo!

Siga adelante, trabaje duro!

Balma = Maestro rajado como lo hace

puta post mas viejo.

Aqui viene algo regurgitado del Ensoniq FIZMO:

Xomich wrote:De hecho lo primero que yo le digo a la gente cuando les paso un track mio para que me den su opinion es:

No me diga que le gusta del track, digame que es lo que NO LE GUSTA, que suena repetitivo, que suena aburrido, que sonidos le causan malas sensaciones, que suena paquete, que podria estar mejor, etc.

Escuchar lo malo hace que uno trate de corregirlo y mejorarlo y no repetir de nuevo!

Siga adelante, trabaje duro!

Esooo es