Post your FIRST POST here to introduce yourself, and afterwards to welcome new members.
Strictly NO MUSIC LINKS, OR LYRICS. The "Introduce Yourself" board is about YOU. Don't worry... you can let us hear works in progress on the critique boards, and finished work in the Musician's Lounge and the Showcase Board.
Includes lyrics, instrumentals, full songs, recording, production, and cover critique for music creation and other creative arts critique such as poetry, artist / band artwork and photography, and music video production critique.
Created a Sort-Of music video today. I wanted to play around with record Video + Music in combination. It was a pretty fun project, and I'm definitely doing it again. I guess you could call this "Practice" for editing real MVs together.
For anyone who saw the 1 minute vid I posted last week, here's an edited version it.
My new software finally arrived yesterday...Adobe Elements. All I need now is to figure out what I'm doin'!
Figured I'd start with something simple, like this. From what I can tell, very cool software!
"Music" is also, always, "a [human ...] performance." (In fact, maybe that's what it most-truly is, and always was.)
Although (US ...) copyright law allows you to express "your intellectual property" in as little as a lead-sheet, the true magic comes in actual performances – with or without singing. (And, you are entitled to protect recordings, too.)
Hi Monostone, I really enjoyed this tune. I won't go about the mix or the level of reverb used.
The thing that really calls my attention is that you said you don't know what the lyrics - "words" - mean. You said that they probably mean something. So, what's the point of writing them? Why didn't you go just for la la la's or instrumental?
I think lyrics are a very important element for a song, they have to tell a story, even if they are cheap and common; or abstract, cryptic or surreal. However, the songwriter must know what the intention, message or moral is.
The songs never stop running through my head. I grab the Voice Recorder app on my iPhone and warble them into the microphone as often as they come to me. Then, I strive to use the rest of my modest computer's prodigious power to do something with them.
First and foremost, it is a personal journey. I am content to do it, if necessary, only for myself. But I find that some of the songs resonate with other people, and I've even managed to make a few dimes. I don't think that I could possibly stop writing songs, even if for some insane reason I ever wanted to. While I would love for Publisher's Clearing House to show up at my doorstep with a stupendous check, just like anyone else would, I have come to prize my daily encounters with The Muse. She is a difficult master.
I've read quite a few tomes on mixing which suggest matching-up an instrumental track that is panned hard to one side, with a slightly-delayed reverb of the same sound on the other. Producing the effect of a really large "hall" in which the second sound literally is an echo.
To my way of thinking, what's really happening is that people today have access to a fairly-unlimited supply of genuinely "new and different" music, without resorting to the modern-day leftovers of the old "broadcasting" model. Although it is just as difficult as ever it was to get your song played on "the radio" (satellite or otherwise), how many of us actually listen to music that way anymore? There are literally thousands of "internet radio stations" out there who are (legally!) streaming music from "all over the planet," to "all over the planet." iTunes and Amazon are far from being "the only places where you can buy music."
Although the music industry wisely continues to pursue the "mega-star [brand]" model, because there certainly is still money to be made there, the industry is not unaware of the change. PROs such as ASCAP, BMI, and SESAC are aggressively reaching out to anyone who is selling music. Many artists, knowing that it costs essentially nothing to produce a potentially-marketable product and to keep it on the market indefinitely, are doing precisely that. The more bobbing-floaters you have in the water with your name on it, the more likely it is that, one way or the other, you will eat fish tonight.
The economics of the present-day music distribution business model are that the "cost of goods sold" is essentially zero. So, if you sell 1,000 copies of your song for $1.00 each ... (a) you might well have sold those copies all over the planet, and (b) nearly all of the $1,000 gross profit will turn out to be net profit for you, because overhead is non-existent. You can afford to experiment, and your audience can afford to pick and choose. Both producer and consumer today have options that they never could have considered before – with a globally-unlimited "reach," and with essentially no overhead or any other direct costs.