Number of times the name of this track has been misspelled as "Really Glitchy Automation":
GG, Satera. I'll have to work harder next time to avoid getting trumped by orchestral producers again.
Thanks 1f1n1ty. ;) I'm looking forward to it! It was a great challenge and just really enjoyable to be involved again with everyone. I'd certainly encourage anyone to take part in it in the future. The feedback alone was very well worth it.
Hey, aliaspharow! I missed you
I like the percussive texture you're doing here. Lots of offbeat sounds that you managed to blend together perfectly - I always struggle a bit with that, making each percussive sound fit together.
I could have probably use a more prominent sub in the first bit, although the bass does pick up the pace at around 0:10.
Those sweep arps like the one at 0:33 are super cool - I just wish they lasted longer :P
Hey! Thanks again for the great review. I guess I'll drop by and get another one :)
First off, holy crap that name.
So right off the bat we have lots of sine waves. And that doesn't really change much throughout the whole song, yet you still made creative sounds out of just that. You did a good job giving different personalities to different tones. This is made especially well with a purposeful use of distortion.
Composition is super cool here. Really nice use of harmonies to produce a tranquil atmosphere with a hint of darkness and distortion.
I hear lots of reverb, which is good. I was just hoping for more delay. Recently I've really started to come to appreciate how ridiculously good delay can be, with the whole textural stereo range thing.
The drum beat at 1:15 is super well done. It's got sufficient range, volume, brightness, and impact.
Biggest gripe is probably the repetition. You're aware of this already, as evidenced by the description. It sounds like it would be good for BGM, as it's just diverse enough, but as a standalone track, the sound becomes dull pretty quickly.
The outro is pretty good, except over time you take out this one harmonic that's present at 3:21, and by 3:26 it's completely gone. I would have personally preferred it if that harmonic remained in the sound all the way, which would allow the track to end more ambiguously - better suited, in my opinion, to this particular sound.
Overall, really nice work! Could definitely see that you tried variation as much as possible.
Wow! Thanks a lot for this detailed review. Np for my review ;) It´s actually some sine waves there but not too much. The thing is I recorded a synth here which has a very soft tone in general (The Vermona Perfourmer). Even Saws sound very soft if you filter the high frequs. So it´s actually a wild mix of lots of different oscillators. I used delay acutally on nearly every track. I used a tape delay and kept it relatively subtle on most tracks. You here it mainly on the mallet like sounds and the bass. Also the marracas (shakers) have a lot of tape delay. The cool thing here is that it gave that drumcomputer shaker sound some contrasting sound after it hits. So it sounds like a shaker shaken back and forth. Hmmm... I think after 3:26 it´s just the reverb tail of this pad like string sound. So I didn´t take any tone out by purpose but I get what you mean ;) So again: Thanks a lot for the nice feedback!
Bruh this sounds pretty good! I can imagine this playing in a small hub world for a nice, 16-bit video game.
+ PxTone? I've never heard of this one :O
+ The chords are super interesting, and the melody is super cool! Really awesome compositional work.
+ PERFECT LOOP :D
+ Really good work keeping the flow of the song going throughout. Never did anything feel abrupt or off-putting.
- I would have liked brighter drums, but I can understand if that isn't entirely possible.
- The melodies are pretty drawn out. They're cool, yes, but they aren't exactly easily remembered.
- The whole thing sounds rather mono. I would have enjoyed to hear some playing around with panning and stereo and such.
Ah, thanks! I'm surprised you haven't heard of PxTone (?); it's a pretty well known, free-to-use program.
Yeah, I suppose in this, I tried to focus more on changing it up a lot rather than making a memorable melody. Well I guess that means it's harder to get it stuck in your head, thus making it less likely to become annoying? :P lol I know what you mean.
I'm surprised you hear the piece as mono, as I did have quite a bit of panning involved in the piece (take for example, the opening square waves), but I guess it doesn't quite come through in the export? I didn't really play around with stereo panning though, so I may give that a shot.
Also not really sure what you mean about "brighter" drums (higher pitch, shorter?). But thanks overall for your feedback. :)
Welcome back, Garlagan! Glad to be blessed by your amazing work :)
Oh, perfect! You showed in up in R4R. I really want a Walkaround R4R :D
As far as I know, this is what you consider your best piece right now. Correct me if I'm wrong. There's are some really good reasons for you to believe that, and although I don't share the same opinion, it would be shameful of me to deny the excellence present here. So let's get started.
I'm always impressed with how you can create cohesive tracks without an extremely graph-able structure. What does that mean? My tracks tend to follow some sort of verse-chorus-verse etc structure, sort of like there's always this down section here and then I build up and there's a distinct drop here and then it goes back down and then builds back up to another drop and then goes back down again. But you create cohesive sections that don't smoothly fall into any of these categories of verses and choruses, rather it mostly just feels like freelance wherever you want the track to go. And yet the intensity still flows smoothly. One of the things I'm most looking forward to seeing in our collab is how you'll execute this flow in our thing :)
Also, after mistmurk mentioned basslines, I'm beginning to notice more and more how good they are. My basslines tend to be super generic, so I'm giving you props here, too.
Great percussion free-styling at 3:30
I do feel like the track is missing something in terms of chordal variation - you mentioned in the description that every chord has its base in a major 7th chord. While I like the intentional decision at first, over 7 minutes of the same type of chord over and over struggles to stay harmonically intriguing, even if you switch up the upper harmonics enough.
Have you ever tried parallel harmonizing a lead in a solo? I do it pretty often and it's a great way to thicken a thinner lead sound like the one you primarily use in this piece. This moment in 1:56 would be a great place to add in that harmony. Preferably in thirds. Or maybe sixths.
Also, the outro felt a bit unsettled in a way. Don't know why, don't know how to describe it. :/
And... I guess that'll be my review :) Fantastic work on this track, although 2 is still my favorite thing from you <3
Glad it's a good'un! The organization is definitely one thing I've worked on, looking forward to playing around with it in our track too!
Basslines are honestly something that I just gradually did over time, not sure how those ideas developed aside from them needing to be somewhat melodic.
I'm glad you like the percussion style at 3:30! I was really proud of what I ended up doing there.
Nothing to disagree with in terms of chordal variation. Only thing I'd say is... well, at least it still has far more variation in harmonics to twist the mood than most music. ;_;
Parallel harmony: Yes, I've actually done this a fair amount. Not quite as much in this, but there's a moment of it at 6:15 where I tried to use it effectively.
Not sure what to say about the outro there either - it's pretty similar to how I ended Float. They're pretty similarish songs overall, too.
Now, lookee here. Serponge has two songs named after him. Who will make the third?
This is a long one! Woah
And this is a masterpiece! Right off the bat, the really cool sounds draw me in. As the intrigue begins to settle and the melody to sink in, I begin to become comfortable - I'm in it for the long ride this time. You always keep the piece interesting by doing something cool, whether it be a cool bass drum riff, an unexpected harmony, a tempo change, or something else entirely. You always keep the sound dynamic, with continuous automation and evolution of the texture. With so many ideas, it would be really challenging to keep the piece cohesive, but the ride felt good when it was over - every piece felt like part of the same thing. The drums really helped to keep the whole thing together, and it was especially helpful that the drums were mixed so well. The entire song's production value is top notch, in fact - exactly what I'd expect from a legend like you. Props!
I can only have hoped a few things - perhaps a bit more variation in the actual synths used would contribute to a small nagging repetitiveness that hits me, especially when this track comes to be over 7 minutes. Also, I have to agree with TL that at 5:24, the drums feel a bit spam-my. The ending was really nicely ambiguous, but I feel it dragged on a bit too long.
But man, isn't this masterpiece just riddled with beauty? I can't think of much to criticize, or even praise because there's just so much going on here. Too much intricacy and complexity for my puny brain to handle, in the composition, the mix, the structure, the everything. Really, really nice work - have I followed you yet? Why haven't I?
I rarely give tracks a full 5 stars, but man, you deserved it this time. This is beautiful! <3
1f1n1ty! Hey! I haven't seen you around on my tracks before, so you might not be following me I guess. Welcome aboard if you decided to! I don't post a ton of tracks at this point, but I try to keep them as the good (or at least the fairly decent) ones.
First of all, I'm glad that everything fit so well together. That's always one of my big things with mixing/transitions and general instrumentation. I want things to feel part of the same piece, no matter how many permutations there are.
Part of me agrees with having more synth variation over the piece. Honestly, I would have loved to do that. There's only one big problem glaring in the face of that (well, one small one too - actually figuring out what the hell else to add): Mixing. Keeping everything balanced would be quite a bit more difficult when another instrument is added to the mix, mussing up its hair and all.That part is far, far easier said than done. :(
5:24 - yes, the drums do get a bit spammier there. I know that at the time, I was trying to think of how to "up the ante" or at least match the previous similar section, and that was the best drum sequence I could come up with.
Ending - yeah, agreed. It did go on a little bit long there, haha. I probably could/should have cut it by about 30 seconds.
>so much going on here
...this is what happens when you spend nearly 3 full days' worth of effort on a single piece of music. If you want to pick out all the little details though, I do highly encourage listening to it on loop for a little bit. :3 I always try to add in tiny little variations and sound candies throughout a piece for the people who really like it and focus on it rather than listening to it mainly as background.
Hey, remember me? We tried a collab a while ago but I tried to do too much :P
Dude, that name definitely doesn't lie - this is a hidden gem! There's so much maturity in this sound; you've done a ton of things that I really love!
Let's start from the beginning, shall we? Right off the bat we have some exceptional sound design - the arp sounds really sweet, and the vocal-based pluck lead introduced later is solid as well. Those bird tweets are well mixed and add to the overall atmosphere that the track attempts to achieve. But I also have a gripe about that piano - I have a sort of pet peeve against piano riffs written as if it were played by a synth. What you've written for the piano here are very much robotic block chords, with nothing else - a part that would have been better suited for something else, perhaps a pad.
Also it sounds like you could have began the piece a bit more mellow and progressed to this point. But that's just my subjective interpretation - doesn't mean what you did is bad. :)
Around 0:48 is when a bit of over-repetition begins to become noticeable. It's nothing major - you do keep it flowing by introducing new sounds and slightly different riffs - but overall the chord progression feels rather stale and worn out at this point and the piece really feels like it needs some more considerable compositional change.
But you know what? All of that just becomes pointless nitpicking when the drop hits. You do a very good job introducing a higher volume in the drop, creating a contrast between this emotional catharsis and the mellower events surrounding. The chords are well mixed and hit all the right frequencies. Drum design is phenomenal - every hit is exactly the volume my ears request, and the toms are especially clear and powerful. The drop overall stands apart as a very varied section as compared to the other parts of the piece.
Then we have 1:27, where you actually use a pad and a piano in tandem rather than in the beginning, where there was just a piano hitting some robotic chords. A much more desirable sound, for sure.
These chord sounds that begin to get introduced at 1:40 sound awesome as well.
And somehow you manage to fit two drops in a mere 2 and a half minutes. I just wish the second drop was more different than the first, but for how close time-wise they are together, it works.
Last gripe is that you didn't write an outro. Would have been a perfect place to bring out that humanized piano.
Overall, fantastic little gem. Lots of great sound design all over and solid transitional elements contributing to a cohesive piece. Small gripes with humanization and repetition occur, but they're nothing extremely distracting. 5/5, 9/10. Really good work! ;)
Hey. Yeah I remember :) thanks for the review, very in depth and you raise some good points!
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