By
Eyalc
Sat Aug 01, 2020 3:22 pm
Alright, finally getting back to this.
CD - checked yours a few times.
Man I love the way this started (not that I didn't like the rest - I did!). I was leaning forward like... man that bass is gonna drop... right... HERE. haha - I don't know why I had the feeling that this was a trap influenced interpolation. But that's a good thing that I felt it in the beginning, right away. Great start to this. Immediately recognized the melody.
Man a lot of folks are polarized by the heavy trap bass - but I'll say this... I love that sound. So when it came in, I was like - oooooh - nice!
A couple things that I think would improve this even more - because man, you already have the foundation to hook a listener:
First, the mix, like has been pointed out. But that's due to technical challenges, which is much different than lack of knowledge. So understandable.
Second, one of the things I think that's important for all music, is the dynamic nature of it. Trap (or styles like it) are sooo difficult to get right IMO, because so much of the dynamic nature of music is missed. Like the hi hats for example. Natural that there's little velocity change in hi-hats in trap music. But the patterns make up for it. But also because of that, IMO, really great trap music, you have to lower the volume of the hi-hat, because the dynamic velocity isn't there. So leaving it higher in the mix, it tends to overpower. I think there's some of that going on in your track. I think your feel for patterns and rhythm is great. Especially when the hi-hat varies - but I would de-emphasize it in the mix - because that's where a listener's attention will go. And you have so many other elements that should be forefront attention. That pattern will still be there in my head - but right now it's too dominant, when a hihat should be submissive to everything else. That's just an opinion. For me the hihat pattern commanded too much of my attention.
Also, similar tricks in trap music to make up for the loss of dynamic performance, is the 808 / sub. I think the pattern is awesome, but I could only discern a couple key changes, and sometimes it clashed with the chord progression. My brain was expecting an 808 that reacted more dynamically to the chord progression. IMO, if you did that - it would gel more tightly. As it is, it stays the same note for 8 bars at times. And I think we run the risk of tiring the listener's ears. It's always cool if the intent is to create tension, but then we have to release that tension and resolve it for the listener - else it becomes fatigue. Just imagine if you listened to someone talk in the same monotone voice for 20 seconds - you'd be feeling an urge for resolution of the sound - didn't matter if they were saying most profound s--- you ever heard. It would be overpowered by the monotone delivery. Same thing happens in music. We have to build tension, then resolve it / release it. A lot of words I apologize - just saying, resolve the 808, follow the chord progression more tightly - I think what you have is decent - I'm thinking of ways to make it awesome. If you listen to the massive trap hits, they all play with that bass, build tension, and resolve it.
Speaking of tension and resolution of it, one other way trap music does that is by dropping everything except for maybe a synth sound. Perhaps even to silence. That does a couple things: it can release tension, it can give the listener's ear a quick rest (which releases tension), and it signifies a change - usually an emotional escalation. It's an easy way to grab attention too - and it allows us to take them in whatever direction we want musically. When your song starts, it doesn't give the listener a rest. And again, because of the general lack of dynamic expression in trap, the listener can have a quick break, and we can grab attention. If you added a few quick drops in there, perhaps differentiating the parts of the structure, I think it would be REALLY good.
Many of the trap music I hear these days - the producer is always trying to rattle the speakers. And that does two things... 1. it tires the listener - fast.; and 2. it further reduces the dynamic nature of music. And the way we control the listener - is mostly through dynamic expression. Listen to the song Fly S--- Only by Future - just one example. Even though the bass note stays the same throughout the whole song... TONS of dynamic expression. Instruments coming in and out, bass dropping in and out. That producer CONTROLLED the listener big time.
Alright, those are just my thoughts.
From a "coming up outta your comfort zone" perspective, and the sheer potential of the track, I'm voting for you. I haven't listened to any of your music other than this, so hopefully this is helpful. You also know how to choose instruments, and the way you laid this out is great. Oh, and btw, that synth that comes in at the end???? Massive nice. Right around 2:08. Man bring that up in the mix!!!! haha - and it provides an offset to the main melody, which is also a way to resolve the tension. I think you have a great feel for the tension part of the music - just needs more resolution.
In general, I'm your listener once I push play. Vary my experience more. Don't overpower me. Play with my emotions bro. Stress, resolve, energy, calm. LOL. And for anyone else out there that does more trap style music - keep in mind that speakers rattling isn't about the bass - it's about the CHANGE in bass - the dynamic notes of the bass, dropping the bass in and out. Just realize when you're listening to a song - for that one second when the bass drops before coming back in - how HYPE does that make you??? THAT is what makes the speakers rattle. Not the presence of bass frequencies. I know you know this CD - just stating that for others.
Alright man, hope this helps.
