Originally Posted by Bands
Yeah that's what I do whenever there's to many low frequencies and things start to clash. I usually add a high pass filter on the instrument. And when I said snare, I just assumed it went with a bassline because you know, boom-clap.
Yeah i understand what you mean with the boom-clap.
Did you cut off some of the bass in your last track? ( Heat )
Because too me it still sounds like it has excessive bass.
By the way here is an example of a clean bass-line.
You can't fight change. You can't fight nature.
Forumite
Originally Posted by Bands
I don't have you on discord my g, but I can send you my skype in a PM if you ever want to talk about some shit. Thanks for the info, will take into consideration.
My skype crapped out so I just uninstalled it lol. Discord is the best way to get a hold of me now.
Originally Posted by Mafia
Hello pouffy,
Some of what you said is said is right, some is wrong.
I'm sorry but also theory is not only for explaining things.
If you had experience about how people react to melodies like his song (Heat) You wouldn't be saying the same thing... Probably half of this melody was sounding off-tune. Which i will guarantee you, it will not be appreciated by the majority of the crowd.
Wrong notes do not exist in and of themselves. Music is a pyschoacoustic phenomenon; If even one person thinks a particular arrangement of notes sounds good, then it isn't wrong. It may be dissonant. Hell, it might be extraordinarily dissonant, but never wrong. If someone writes something that sounds bad to you, but sounds perfect to them, your dislike is simply a symptom of you not understanding it. It doesnt matter what the mass of people think if people are chasing their inner muse while writing music.
Another point, theory merely gives us the vocabulary to talk about scales. It can't and shouldn't tell us to religiously follow them, it just explains them. Just like how it explains why many non-scale tones sound great (or consonant or act as a resolution or whatever more objective vocabulary you want to use).
Originally Posted by Mafia
Artists grow a different taste for music after all the shit that goes through their head.
You and I might find this piece of music interesting because we find "Unique" things worthier than others. but people just want to hear good music, they don't care how rare your instruments or line of notes are.
Maaaaaaan, how pretentious do you think I am that I intentionally listen to music I dont think is good just so I can escape the humdrum of indistinguishable music.
Originally Posted by Mafia
Bands, if you don't use a key and stick to it for most part of your song, then please do so from your next project.
This is a mistake made by many new producers who are supported by the "Do what sounds good" brotherhood.
And the only thing these people are good at, is at holding you back from learning theory.
You should play by theory till you know everything about it, then you can carefully go off road to differ yourself from the rest.
I'm not saying he shouldnt learn theory, I'm saying he should step into it in a way where he doesn't feel constricted by it (stick to only one scale) in a way that damages his creativity. It's good to have a greater understanding of something, but its better to be able to apply your understanding without arbitrary restriction.
I'm right now trying to find a formula to provide a rough map of consonance & dissonance and I've spent months looking into temperament theory to learn enough to attempt it - so trust me, I know the value of theory and the light it can shine on music.
Originally Posted by Bands
Also Ele, I never usually pick a key I want it to be in, I literally open a piano and create a nice sounding melody with keys and try to flow with that idea. Then change the instrument to something else to give it a vibe.
Something you might want to try is laying out some different sequences of notes (e.g. C - E, C - G, C - #F), find which intervals you like the most, and practice approaching them in different ways (e.g. C - F - G, C - #D - E, C - D - #D - G, etc.) listening for what you appreciate best. Then use those patterns in your music. Start in C (using mostly nonflats and nonsharps), then later practice moving into different keys using the same patterns.
I encourage you to look into scales and tonic, but you don't need to force yourself to apply them.
Well I haven't really looked into theory and chords and notes and stuff yet. Just haven't put the time into it yet. Just wanna see what I can do so far without learning anything to try and self teach myself or something lol. But i'll eventually get into it.
I reckon you should jump straight into the theory. An old lady once told me that while yeah, you can do well on your own without knowing any theory, but if you do know theory, then you'll just be even better. What is theory? It's knowledge. The more song-writing knowledge you have, the better off you'll be.
There's informed practice and uninformed practice. You'll get a lot better a lot quicker if you understand everything about what you're doing.
There's informed practice and uninformed practice. You'll get a lot better a lot quicker if you understand everything about what you're doing.
Last edited by Ele; Feb 2, 2017 at 10:04 AM.