MikeRobinson

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MikeRobinson last won the day on June 2 2016

MikeRobinson had the most liked content!

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About MikeRobinson

  • Rank
    Senior Member

Profile Information

  • Gender
    Male
  • Location
    United States of America

Music Background

  • Musical / Songwriting / Music Biz Skills
    Composer, Scoring. Computer programmer.
  • Musical Influences
    Zappa; Metheny; Enya; Ray Lynch.

Collaboration

  • Songwriting Collaboration
    Not Interested
  1. One thing to bear in mind about copyright – if you intend to sell your material – is that they're going to ask you for the US Copyright registration number, and they're gonna check it. Your copyright registration is like the certificate-of-title for a car: independently-verifiable proof that you [say that you] own it, and that you therefore have the right to license it. Companies ordinarily won't consider material – won't even let it cross their doorstep – unless you have this. (Lawyers call it, "due diligence.") No one who's in the business of selling music is going to get near the idea of "contributory infringement," so you have to have your ducks in a row. You can register any number of works at one time as a so-called "collection" for one $35 fee. (The notion of a "collection" is simply for copyright-office practicality: the registration applies equally and individually to every work included in it.) Furthermore, the registration takes legal effect immediately. (A printout or a PDF of the web-page showing the registration number will be sufficient: you don't have to wait – sometimes, many weeks – for the pretty piece of paper to show up in your snail-mail box.) http://copyright.gov is the official web site and it is filled with authoritative information.
  2. I think that you can sell that song, say in Nashville, and I think that you should try. Get the copyright paperwork in order and start hitting the streets with it. This is a "pay dirt" idea – it's been done forever but when done well it's always new. I particularly like the way that the various sections present refreshing changes of tonality in the middle, thus creating the effect of two tightly-linked sections. The only thing that feels a little odd to me is the bridge – it introduces an idea not foreshadowed anywhere else in the story. I like the music of it, but wonder if those two lines could be rewritten. Both you and your daughter did an excellent job of performing this.
  3. Yeah, but at the same time ... "don't bet the rest of your life upon the illusion(!) of 'The YouTube Video!'" At the end of the day, "your performance," drunken or not, doesn't really matter. What matters is that "you own(!) the rights" to the song that you perform ... and ... that anyone else on Planet Earth actually gives a damn to hear it.
  4. Way ... way ... way(!) too many words! Stop thinking! No one wants to listen to a lyric that obliges them to think! You have two good sentences here ... but they are very good sentences:
  5. Can I be blunt here? Okay: "what's the point?" Thanks for picking me up. Thanks for the summer stars. Now (unexpectedly ...) I'm about to die. However, in spite of the fact of my very-imminent demise, I'm just ... feeling nostalgic. I just want to talk about daffodils, the moon and the stars. I think that you see my point: even though all the images and the metaphors are properly aligned, no real-world person faced with that actual situation would actually feel that way.
  6. "God help them both" ... Mr. and Mrs. Barak Obama are striving to raise-up their daughters in a fish-bowl. The Carter family strove to raise-up Amy in similar condiions ... ... and the Trumans ... ... and ...
  7. To my way of thinking, "super-duper über-sequenced god-knows-what ..." ... is just ... ... the 21st Century version of ... ... ... "an instrument." "An instrument," simply stated, "is nothing more than potential." It is, "a starting point, nothing more." Anyone can get there, without effort. "T-h-e Question" is: "what happens next?" In "the old days," the next step required hand-eye coordination and perhaps-years of physical training. Today, those physical constraints might be removed. But the objective has not changed. You must connect to your audience. And, by the way, "your audience neither knows nor cares 'how the trick was done!'"
  8. My personal enjoyment of [computer-based ...] music originates from realization that computer technology ... I am a software consultant by trade ... "liberates me from the limits of my music lessons." While I am a reasonably-adept keyboardist by now, "the keyboard" is to me "a manual typewriter." I am both fascinated and excited by the realization that I don't have to be "a paragon of hand-eye coordination" in order to render the music that has always been running around in my head. Of course, "this comes at a price." "With great power comes great responsibility." Unfortunately, even though modern computer software might put an entire (virtual) symphony orchestra at my command – with a generous choice of "halls" in which my virtual symphony is to perform – I must somehow(?!) figure out what to do with it. However, I guess that this is just yet-another extension of "my crazy life-long affair with digital computers." I've been utterly fascinated by these machines since I was (literally) six years old, and that fascination shows no sign of stopping. (I like that ...)
  9. So, let's try to rescue this thing ... Chop off "the first-X critical seconds." Leave no split-second for a "musical-pad intro." Instead, drop straight into the vocal within the first two seconds, and make extremely sure that the first phrase of that lyric contains: "an irresistible 'hook.'" Next, go after the listener with "a wall of sound." Add multiple layers of instruments – by gawd, a virtual symphony orchestra – covering all the octaves. "You've basically got five seconds." Grab a few YouTube snippets of The Gong Show to see exactly what I mean. Yeah, that show was brutal ... it was "Name That Tune" in reverse. But – it was real.
  10. Aww-w-w-w... this is easy. How many people, during the ordinary course of their ordinary work-day, ever get to connect with any person that they meet ... as a person? Uh huh. Therefore, all of us, after suffering through yet-another day (Abba's "The Day Before You Came" comes to mind right now ...), go in search of some emotional connection. Maybe it's just the satellite radio on the way home. Maybe it's live music at a convenient bar as we limit ourselves (old-pharts that we by-now are ...) to one drink. A musician ... and, a songwriter ... is privileged to have the opportunity to speak to that thoroughly-anonymous person, and to do so using a product of his-or-her own personal creativity. "Our Audience" wants to be "pleasantly surprised" for at-least the next three minutes. "Our Audience" seeks what we may offer. (Feelin' "pressure" now? Uh huh. If you're a serious artist, you should!) However, that 'pressure' should just be what a craftsman ordinarily feels. "Making music" is an incredible privilege ... and a driving force. (If you "are a musician," you can never not be one ...) Even if you never make a dime from it, you are among the most-incredibly-lucky people in the world.
  11. First of all – foremost(!) of all – it is a strong lyric. Very clearly-identifiable images ... (we've all been there). Very good vocal performance. Drag yourself back, now, from "the author's position." Just listen to it, as though you'd never, ever heard it before. You happen to have a gem here. A diamond in the rough. What you should now consider is ... "what additional instruments, and instrumental parts, and orchestrations and so on," might amplify the present simplicity of this piece, without subtracting from what it says?
  12. The first thing that I would do with this, for the time being, is to subtract the "ocean sounds," and build-up the remaining instrumental for maximum impact before adding the ocean sounds back in.
  13. "Something to seriously think about" (with regards to frankly-all such lyrics like this...) is that they very-easily devolve into a rant ... if not a whine. Basically, in lyrics such as these, there are two parties: (1) "the jilted lover," and (2) "the jilter." Which unfortunately leaves no place for the third party: "the listener." The guy or gal who you earnestly hope will buy a copy of your recording, and listen to it over-and-over again. Strange as it may seem, a song like this i-s n-o-t(!) "autobiographical," even though it might use this point-of-view. Whatever "the jilted" might say to "the jilter" must be ... a work of fiction to the songwriter, who is devising a fictional scenario that is engineered to "resonate" with the only "non-fictional" party in these contretemps: the listener. The potential buyer.
  14. As I listen to this tune ... receptively ... openly ... encouragingly ... ... I'd simply suggest that it needs some serious mixing. Although the various sounds are "okay, by themselves," (albeit rather mechanical ...), there's no cohesion to it. The various parts, each at their various (wildly different ...) volume levels, make no particular attempt to "get along with one another" to present the listener with ... a singular musical experience. Take each of the component tracks and, first of all, normalize their respective volume levels: make sure that none of them overpower any of the others. Then, "plan the performance" in which all of these various instrumentalists are intended to be players. Imagine that these "people" really are performers, all on-stage at the same time in front of an eager and appreciative audience, and plan just how you intend to let each one of them, in turn, "shine!" At various points during the performance, some of them will "step up to the microphone," while others will "step back" and support them. During each musician's "moment of glory," their particular sound will be front-and-center. At other times, their sound will "continue to be heard, therefore be familiar," but will not take the lead. I have no "tomatoes" to lob at you, Chris. Instead, I invite you to take what you've got now and plan a cohesive musical presentation. Every one of your musicians has already handed you a very fine performance: you have all of them "in the can." What you need to do now, is to construct "a show." (And, fair warning, this happens to be "one of those things that Experienced Folks do so well, that we fail to realize that they are actually doing it.") "Doesn't it, like, just happen that way?" Uhhh... "no."
  15. Meh ... Logic Pro X, just because I own a Macintosh. And: "if you can't do it with that, don't blame the software."