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AlexOConnor

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    288
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AlexOConnor last won the day on November 26 2013

AlexOConnor had the most liked content!

Community Reputation

23 Good

About AlexOConnor

  • Rank
    7 Years on Songstuff
  • Birthday November 15

Contact Methods

  • MSN
    saiminhru@live.com
  • Website URL
    http://luxis.co.uk
  • ICQ
    saiminhru
  • Skype
    alex-oconnor

Profile Information

  • Gender
    Male
  • Location
    England (UK)

Music Background

  • Band / Artist Name
    Alex O'Connor
  • Musical Influences
    Milow... Turin Brakes... Damien Rice

Collaboration

  • Songwriting Collaboration
    Interested

Critique Preferences

  • Getting Critique
    Give It To Me Both Barrels

Recent Profile Visitors

6,201 profile views
  1. Night Stripper demo with vocals

    This is so good!!! I love it
  2. Hi I'm a new member saying hello

    I love Jazz! Don't forget to give a little too
  3. The song I've been writing for years

    Thanks Jen and David, appreciate your thoughts and I feel we are all on the same line of reasoning. My biggest issue with this song is that I don't really know how to end it and poor use of the hook as I now realise. The biggest issue with the last chord sequence is that it starts on f#minor c#m a7 then fmajor (not standard voicing) - so in essence I've been resolving the sequence between a major and minor of the same chord in essence... obviously the lyrics don't match either. I'm going to try some rewrites, any suggestions on progressions David? Many thanks
  4. Wrong Reasons

    Sounds brill, I could imagine this in the Lorde style. Count backwards to try to save it <<< Not keen on this line and I suspect because of it's harsh tones CounT BaCKwards will make it hard to sing it without projecting a somewhat clumsy vibe. Sometimes when a lyric doesn't fit properly the first word of a line can be started at the end of the preceding bar. Possible variations could include: Counting back to try and save it (substitute back-wards" for count-ing) Count backwards try an' save it (dropping the d of and)
  5. Heyyyyyy

    Oooh, a pianist song-writer..... Splendid P.S Of course you should still write songs!!
  6. The song I've been writing for years

    Done
  7. Friday night party tune!! (Electro Funk)

    It's so refreshing to hear a real bass line promiment AND interesting in the mix, mega props for that! My one and only criticism is a bit lame because I have nothing of substance to offer in substitution, but particularly in the beginning I felt like the gap between the end of one lyric and the start of another was quite long, that typical 70's and 80's vibe for me is riddled with vocal sampling! But I appreciate yo may not be going for that. Great track!
  8. The Girl With The Flower In Her Hair (UPDATE 17/06/2017)

    I like it so far, I especially like the pizzicato string arrangement you've written although I think it would add to the song to have that arrangement played more softly (e.g not so much attack, slightly more sustained and not so promiment in the mix). The vocal is nice and I like the lyrics too but I do think sections of the song could be made more obvious for example, when the song reaches a point with more impact like a powerful vocal line, other synth parts could be recorded prior to this phrase to add some build. Just my euros worth
  9. The song I've been writing for years

    I think anyone who listens to this will hear how I get lost in my own performance in this song, and not in a good way! I don't share every song I write on songstuff but I do share songa I want an honest critique of. I really feel like I have to finally get this song to some form of finality. Critique of any sort welcome. Many thanks guys =] as requested I've uploaded it to a website. Although I had previously uploaded it directly to songstuff it seemed not to work properly. free.mp3
  10. Do You Write Lyrics On Paper Or On A Computer?

    I do have a few notepads full of songs I've written in the past, but for the time being I just play and play and play until I've committed it to memory. I don't do it this way for any reason in particular, that's just the way my playing style evolved over the years.
  11. I've been writing this song for years and what I mean by that is I wrote it over the space of a few days but just kept playing it over and over... I love the song but I have always felt a sort of disconnect with it and I don't know why. I want to get it to the stage where I can record and am hoping general critique and creative input of others will prompt me... I've included the chords if anyone reads guitar chords should give you a vibe for the song Just the lyrics first, followed by lyrics with their accompanied chords for the interested. One day we'll feel prepared or ready I'm sure if the world was steady we'd be ready by now Lonely planet spin madly, don't leave us standing Someone show me how to be, care-free Shocked to the core, how can we be, care-free? Time cascades, the ageing worry over ageing more Pained and hurt, we hurry to dominate our flaws The lonely people are saddened, young hearts abandoned Can someone show them how to see, waging war desperately You life isn't yours, you just take what you please, like it's free It's not free Oh if I knew how to hear, I'd listen If I could to talk to those who cry, I'd heal them If I knew the words to use, appealing Sweet like honey, oh if we all knew how to behave: Care-free, so care-free E-x-x-x-x-5-7 a-7-6-5-4-7-9 d-9-8-7-6-7-9 g-8-7-6-6-6-8 b-9-8-7-5-0-0 a-0-0-0-0-0-0 One day we'll feel prepared or ready I'm sure if the world was steady we'd be ready by now E-2-5-7-9 a-4-7-9-11 d-4-7-9-11 g-3-6-8-9 b-0-0-0-0 e-0-0-0-0 Lonely planet spin madly, don't leave us standing Someone show me how to be, care-free Shocked to the core, how can we be, care-free? E-x-x-x-x-5-7 a-7-6-5-4-7-9 d-9-8-7-6-7-9 g-8-7-6-6-6-8 b-9-8-7-5-0-0 a-0-0-0-0-0-0 Time cascades, the ageing worry over ageing more Pained and hurt, we hurry to dominate our flaws E-2-5-7-9 a-4-7-9-11 d-4-7-9-11 g-3-6-8-9 b-0-0-0-0 e-0-0-0-0 The lonely people are saddened, young hearts abandoned Can someone show them how to see, waging war desperately You life isn't yours, you just take what you please, like it's free It's not free E-9--4-5-2 a-11-6-7-4 d-11-6-5-4 g-10-5-6-3 b-0--0-5-0 e-0--0-5-0 Oh if I knew how to hear, I'd listen If I could to talk to those who cry, I'd heal them If I knew the words to use, appealing Sweet like honey, oh if we all knew how to behave: Care-free, so care-free E-x-x-x-x-5-7 a-7-6-5-4-7-9 d-9-8-7-6-7-9 g-8-7-6-6-6-8 b-9-8-7-5-0-0 a-0-0-0-0-0-0 E-2-5-7-9 a-4-7-9-11 d-4-7-9-11 g-3-6-8-9 b-0-0-0-0 e-0-0-0-0 Any thoughts or suggestions? I'm not even sure what I'm asking but thanks nonetheless haha
  12. The most traumatising gig I've ever played

    First and foremost a big thank you is in order to everyone who offered advice. I made note of all the suggestions and we had a band meeting and discussed. Even the suggestions that didn't go anywhere still had immense value because it just helped us to talk about things. Things like band direction, equipment needs, set list type. I have always been a session musician and song writer and usually performed either acoustic or in a duo with bass and drums. I have played in sessions with lots of different bands over the years but this is the first ever band that I've been a regular member of. We've been gigging for about two years now on and off and like myself, the others in the band come from a similar background. This means that all of us have completely separate sound systems. Even though vocals go through the PA, the instruments do not. We haven't struggled in the past with this set up but this gig prompted me to dig out my Roland 24channel line mixer. It has two mic pre-amps for a 50dB signal boost to line level and all of the other channels have a 20dB signal boost to line level. We do have a fair amount of equipment including feedback destroyers and FX modules which also act as mic preamps for the quieter channels. With everybody through the PA it will mean that everybody will be able to hear everybody else (and not rely solely on memory or score) which will be a leap forward in respects the stage monitoring. What I do lack is a passive sub for the PA. We have two huge Peavey monitors and two smaller but better Fane speakers which we use for the Audience Voice/Stage front. Even the drums will go through the PA. The thing that always restricted us regarding PA systems was the sheer amount of set-up involved for me. I always set up the audio equipment because as the bass player I have minimal presets to adjust in comparison to the others. Every Six out of seven members sing at one point or another, in some beatles tracks we do there are four part harmonies. It was for this reason we didnt try the Roland mixer before because it only has two mic preamps for the SM-58's. This will mean yet another piece of equipment in the rack to set up and lug around but I think it will be worth it. I don't know if anyone has experience with IEM (In Ear Monitoring) but it has been repeatedly suggested by members that we invest. I've always found stage monitoring to be more atmospheric as a performer, would appreciate thoughts on that... For the time being we are letting go of some of our more "dangerous tracks", like Footloose which has a plethora of breaks and lots of backing vocal. So we have simplified slightly to focus on getting tighter as a unit. We used to rehearse fortnightly, now we are going to rehearse weekly... Especially for some of our larger 40/50 song gigs. After some discussion it did turn out that everybody really felt the same and nobody wanted to leave the band but in course of trying to find one specific person to blame for an evening of epic blundering by various people the consensus was just to focus on the next gig and take it from there. I suppose in many ways we were all so used to not staying in a band and going off to the next session that we held back from creating a proper unit as if every gig was the last. We have all been friends for a very long time and I think in a lot of ways we are like a little family. That presents it's own set of issues but by and large it's a great thing! Next gig we are playing is at the Gas Club in Swindon UK for an IT companies office party, type thing. Nobody knew where to begin or what to say and after a super tense few days if it wasn't for the suggestions I'd noted from here I'm not sure anyone would have said anything useful. So big big thanks. Things are looking okay for now, would appreciate much detailed advice if anyone has any on live setups for a 7 piece with: Drums, Keys/synth, bass, two rhythm guitar, one lead guitar, three backing vocalists, two lead vocalists. Thanks guys, appreciate the support
  13. The most traumatising gig I've ever played

    He said he couldn't play with a drummer who was temperamental... The drummer said that was case because of stage issues and his stage monitor being covered resulting in lack of volume... There were other issues too like the keys player knocking out her jack mid song and later accidently triggering a techno beat in stars by simple red... The lead vocalist busted a guitar string and subsequently skipped a song in the set list... a detail the drummer was not prepared for as he tried to initiate the wrong song... In all honesty I think he was just so embarrassed by the entire performance overall and then bickering ensued among the vocalist and the lead guitarist which wasn't pretty... It also turned the lead guitarist had snuck quarter of a bottle of whiskey in just under an hour... There were a lot of factors, but by and large it was a terrible gig both by third party organisation and very unprofessional reactions from the band... It was demoralising sure, but myself and our female vocalist/guitarist played flawlessly all night (also being the most experienced)... Sometimes gigs suck but it doesn't mean that you need to suck with it. What worries me now is that the rest of the band are in a real slum... I've never encountered this before, all of my other bands have been nothing short of excellent (I realise I'm fortunate in that respect)
  14. How to sing with confidence?

    I try not to comment twice on the same thread unless it's absolutely necessary but when you say your ashamed of your voice... I find that sort of heart breaking. It's okay to be nervous. For some (not all) people, being over confident causes them not to try not quite so hard. Being ashamed however is not the same as being nervous. To define being ashamed: "embarrassed or guilty because of one's actions, characteristics". Such feelings will not enhance your performance, they may even hinder your progress as a musician and vocalist! Singing to an audience is an art form where you openly express yourself in a way most people are incapable or too scared, it takes a lot of bravery. That is certainly nothing to be ashamed of! It's true that initially you may feel a form of embarrassment about publicly sharing your work, particularly if you play originals, but these feelings shouldn't get in the way of what's really important and that's you! Your voice is an extension of yourself and you ought to be proud that you're one of the few people that can perform publicly and share your creativity, not ashamed. There are many people that sadly are incapable of performing for various reasons or -feel- they are incapable. Just be sure you don't find yourself thinking you are the latter! Singing with confidence only comes with time AND self belief. I personally feel a sense of humility and modesty is good, I personally don't gel well with overly proud or boastful musicians but the balance is always tricky!
  15. Last night, my band and I performed at a wedding in Islip near Oxford in the UK. We arrived with at 10 a.m and set up the PA and all the kit and stage lighting. We sound checked and everything was looking really great. One of the bridal party played the first dance on his acoustic guitar through our PA system and he did a really great job, great playing and he was a tremendous vocalist. We immediately took up the stage to begin our 30 song (Let's not forgot about the 2 minute gap to fill while we waited for him to be ready) set list and the first three songs went fine when the lead guitarists pedal board critically malfunctioned. After that he was using the stock effects on his amplifier which sounded really quite bad . I totally understand what went wrong, the wedding was very poorly organised (The bridge and groom forgot to even organise the caterer to dish up the food. No, really.) but I'm wondering what I should do? The lead guitarist left the band immediately and we have gigs fast approaching. All of our other gigs have been absolutely great but this one was honestly the worst gig I've had the displeasure to be on stage for. Fortunately because it was a bank holiday Monday and people had work on Tuesday most people left early so we didn't have to play our full set. We got great feedback from EVERYONE, but that's hardly a big boast considering basically everyone was completely drunk. I think what made things especially bad was that on average only 4 people were on the dance floor because the halls air conditioning was not purchased by the bride groom and it was ridiculously hot and everybody went outside to play with smoke bombs for photots and long exposure shots with sparklers. It was so demoralising and I genuinely hated every minute of it. Anyone else have experiences like this? How did the band recover? Thanks guys!
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