Steve Mueske

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Everything posted by Steve Mueske

  1. ImKen: Thanks for listening. The drum beat is polyrhythmic. I wanted sort of a loping there/not there kind of feel, though I think the sounds need to be sculpted a bit more. Matthew: Thank you very much for listening! It needs a lot of work yet, but I'm glad to hear you think it is working so far. Steve
  2. I enjoyed the mood, vibe, and message, but I agree the autotune is overkill. If it was interspersed with "real" singing or something for a changeup it would help. The high-pitched harmony actually sounds like a little kid. If this is the structure and length, you'll probably have difficulty getting it played because it is too short. As someone who likes music on its own terms I found it an interesting length, very unique. If it's a sketch, I'll be interested to hear what you do with it. Regardless, I'm enjoying what you're doing!
  3. I like this very much, very genuine and heartfelt. Your voice is really sweet and also has a soulful characteristic. My comments are about the recording itself. If this is a "proof of concept" type demo, you're fine. If you are looking for folks to pay attention to the recording there are a few things that should be addressed. First, the guitar isn't as steady as it should be. You speed up and slow down and there are a few misfrets. The biggest problem, however, is the ambience of the vocal. Maybe that's all that's available, but it sounds like a real tight reflective space, such as a bathroom or the nook of a bedroom. Either look for a different space or look into ways to dampen the sound (portable vocal screen, a few sound absorption panels, etc). You are very talented. I enjoyed this very much. Best of luck with it.
  4. I just posted the first render of a new experimental electronic piece called The Spiral. I actually started it awhile ago and let it sit. I have a lot of ideas for it but want to give it a breather for a few days first.
  5. The way things are right now I like. I get confused easily. The simpler the better.
  6. Musically, I think this is very good! I quite enjoyed it. Instrumentation-wise, the harpsichord felt a little thin and the French horns are a little dark. What's missing, for me, are dynamics -- changes in volume, attack, emphasis. The music is amazing. Working on dynamics (which will be tedious and hard) will lift this to another level. Obviously, you have the talent. I'm excited to hear more work from you!
  7. Dek, I worked on the tone of the lead synth, made a lot of little automation adjustments, added a tiny amount of reverb on the main drums, and added the reprise at the end (in a different key). Thank you for coming back, and for letting me know your thoughts. I am grateful for so many people here!
  8. Hi, here is the final version of my song Aletheia (11 edphi electro xen, etc.) I say "final" because it is the final end-to-end version, though I can and most likely will tweak things in the mix and/or master).
  9. ImKen, thank you for listening and commenting. Much appreciated. Just as an FYI, I never write with a movie, game, or BG idea in mind. I do hope that the music stands on its own and that listeners are "intentional". Having said that, I do hope that the music is useful in freeing the imagination to daydream.
  10. Here is the final version of Aletheia. I decided not to do the final mix with Mixbus. There was just way too much automation, sound design, unlabeled tracks, muted tracks, etc. (I'm a sloppy worker, especially when the track starts "taking off").
  11. Final version posted in original thread.
  12. critique

    I've been here ten years (two different accounts / long story) and I did not know you could tag someone in a post. I just saw this. First, I am very honored that you thought of me, especially with your track being as cool as it is. As far as the version comparison goes, I actually prefer the first one, though the second is tighter and has more control of the low end. The thing is, Soundcloud streams these at 128kbps, so it really f*cks with the depth and clarity of the sound. The most important things are to roll off the low end, don't over-compress, and use some form of dynamic EQ (if you can). My only gripe at this point is the weird interplay between the hi-hat and the filter on the synth. If I had to guess, I'd say that the filter is being controlled by a LFO, but it feels like it is using a different subdivision (or there is a little swing in the hi-hats or some such). My suggestion would be to leave off the hi-hats when the filter is so prominent and bring them back in again a measure or so before the drums kick in each time (so you still have the "oddness" but it also creates a moment of tension). When the drums do kick in it is totally badass. I think you have a winner here!
  13. After much consideration, I have decided to name my new 11 Edphi piece Aletheia. Aletheia is the Greek version of the goddess of Truth (the Roman goddess is Veritas). Whereas Veritas is typically depicted as a virgin in white, Aletheia is depicted as being naked and holding a hand mirror. This image really struck me as a deep image of truth. In many ways, this piece represents the next stage in my development with microtonal music. In the way that Mnemosyne marked the beginning of this phase of my exploration, Aletheia represents the next phase. At this point the song is done from end to end. Next stage will be to export all the stems and do the final mixing in Mixbus. I have never tried mixing in a DAW other than Reaper and I am hoping that the new process will force me to reconsider my process. I've never, despite doing this for fifteen years, had a dedicated mixing phase. I'm very curious to see what will happen.
  14. mix

    I think this is sublime! Love it! I listened to the ending several times and have mixed feelings about it. On one hand it is very cool and unique. On the other, it doesn't feel natural when so much about this wonderful piece are the subtle details (like the slowly rising volume of the keys). I love the texture in the final tail. Can the initial guitar fade out be less abrupt? Maybe fade the guitar and leave a gentle reverb wash behind?
  15. Dek: Thank you so much for dropping by and having a listen. I appreciate your time and the good words. David: Ha! I hear you. This is a weird temperament, there are no true octaves. There is a lot of shit going on to mess with timing and timbre. The lead reverb synth (which is the one I think you're talking about, unless you mean that very first rising chord, which is a pad) just sounds so incredibly sad to me. I don't know what that click is; it certainly shouldn't be there. It must be some kind of problem with audio not cut at a zero crossing. Thanks for listening and commenting. Richard: Back again, eh? I appreciate it. I haven't thought about changing the arrangement because the parts are in different time signatures and have different feels. I do think the piece should be longer, but am unsure what to do right now. Trying to finish it up to send to another microtonal comp. We'll see what happens. Thanks much!
  16. I enjoyed this and look forward to hearing another recording of it. Not sure what the spaces at your house are like, but you might want to look for a larger spot with deader acoustics (especially if you are planning on doing this over). Thanks for the chance to listen.
  17. I have added a new render, 3.6.17. Link in original post.
  18. Thanks for listening! Very much appreciated.
  19. Thank you, starise!
  20. Hi, Everyone: I have a poem in the March issue of Thrush. Check it out! Steve
  21. That's one of the coolest things anyone has ever said to me about poetry! I love reading it. I love writing it. Thank you so much for your good words. I have not mixed electronic music and poetry yet, though I do think about it from time to time. I don't really have a good answer why not other than to say I may be a little superstitious about it.
  22. Hey, thanks for listening and commenting! Glad you like the beat. Steve
  23. Thank you so much, John! We had a blast doing it. I've always wanted to do a postcard-length song, and this was the perfect excuse to do it.
  24. Well, a second piece of good news today! A collaboration I did with Manny Marx was released today on the compilation Gone in 60 Seconds Vol. 4. Free download at