I’d really appreciate some feedback...

[in.name.only]

 

Hi folks I’d really appreciate some feedback on my latest production and mixing. It’s called ‘needless:fearless’, the genre is electronica with some acid undertones.

 

Sorry, it’s quite long again, but please listen if you can, to what you can. Many thanks

[Atlas007]

Well crafted piece.

Mix is also interesting and coherent to the genre.

I would tune the vocal, at least for the most part.

The piece being rather long indeed, I would insert a bridge somewhere in the middle. Perhaps moving part of the outro to the middle of the song could do the trick.

[in.name.only]

Thanks for that Atlas. I think I’m going to re-record the choruses and possibly add another element so that there’s a bigger contrast to the verses. That might also help with the length. I’ll post the link here when I’m done.

 

Appreciate you taking time to listen and comment.

[in.name.only]

Ps looks like I’m going to miss 303 Day for getting my acid interpretation on YouTube

[MikeRobinson]

I think that you've got an exceptionally well-presented piece here ... very solid from beginning to end, especially at the end.

 

Now here's my "maybe out-of-genre suggestion" ... underneath all of this, add sweeping strings. Create an undercurrent of melodic movement that is very definitely situated in the one area that the present composition does not have: "the bass."

 

"What if there was a symphony orchestra in the room at the same time?" Maybe playing nothing but strings – violin, cello, double-bass?

 

This might offer you an entire momentum to under-gird what you are doing right now and to propel it forward. It might consist of entirely legato notes.

[in.name.only]

Hi Mike. Many thanks for your kind words

 

I’m just trying to picture your suggestion re the sweeping, legato strings. Do you mean something like Unfinished Sympathy by Massive Attack?

 

[MikeRobinson]

What I'm thinking about is a "basement track" that's playing legato sequences of long notes – whole notes – which are touching on (or, harmonizing with) key notes of the melody but following their own melodic sequence at other times. I don't have any particular artist in mind. These parts not only fill-out the lower registers of the sonic spectrum (which are right now basically vacant), but they also create movement and continuity. If you listen carefully to many modern pop arrangements, and certainly if you're into any sort of classical music, you will hear this being done.

 

It does not try to call attention to itself, because it isn't meant to be the focus of the piece. But "if you muted it, you'd immediately feel that something was now missing."

 

For instance: let's say that the main melody is playing sequences of two- or four-bar measures. Underneath this you lay a string sequence that's playing five- or six-bar measures that still regularly "touch" the melody (so that the two still sound like they belong together). This natural difference of rhythm can serve to pull the melody line forward. At the end of a phrase, the two parts might "land together" to cement the sense of continuity, but then they once again proceed with different timing – playing hopscotch with each other in a pleasing way.

[in.name.only]

Ok that’s really interesting Mike, I’d heard of using asymmetric beats but I’d not heard of what you’re describing before (which isn’t saying much - I’m still relatively new to all this)

 

But it sounds really interesting so I may well give it a go. I love the idea of using strings in pop music but unfortunately my purse doesn’t stretch to decent quality string plugins and samples. Probably the best I’ve got is the Spitfire Audio Labs with BBC orchestra. However from what I understand you’re describing the sample quality might not matter too much.

[in.name.only]

Hi again folks. So this is needless:fearless reworked and updated. I’ve completely re-done the vocals, this time in the right key (oops). Reduced the reverb and added a number of elements/automation which I hope keep the listener’s attention. As you can see it’s only slightly shorter but I’d really appreciate any updated feedback if possible. Many thanks.

 

[Atlas007]

Good vocal improvement!

 

I think that the addition of sound FXs are a good idea too

However, I would make them less prominent. In some situation "less is more".

I don't mean those are occurring too often, but I would modulate their loudness or strength to make them less obvious; IOW, more subtle ...

 

I maintain there is a need for a bridge, which I would insert right after the first decay.

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I like your outro's. It adds a real interesting vibe and I would emphasize the crowd effect, although your fade out is excellent!

[in.name.only]

Thanks Atlas. I’ll have a think about a bridge, it’s not something I’ve done before but there’s a first time for everything!

 

I’m a bit embarrassed about the crude FX. I know exactly which bit you’re talking about. In fact I put some curved automation in on the gate and it sounded great on playback from the project. But for some reason, yet unknown, when I bounced it it didn’t seem to apply the automation properly. I’ll have another look at it - I think I was just getting impatient at the time. I’m sure it’s in the settings somewhere, just strange it doesn’t happen on any other automation.