Gijs
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Posts posted by Gijs
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I decided I will never attempt to make money with music/art anymore. I promised myself to refrain from any actions that might hold the promise of making money with music/art.
I came to this drastic conclusion, because I realized how much my longing to make a living from music was pressing on me. My musicmaking progress would usualy follow the same path. I would start out realy loving making music, but as the days go by I feel more and more pressed to try to make money. Since it's so frustrating to do so with out compromising I felt more and more irritated, even to the point of me feeling apathic towards others when I was occupied with music. By this point I would stop doing art for a few days. I would feel much better and then return to making music. The process continued again till I felt I had to stop. I couldn't realy figure out what the problem was. I recently realized I would feel like this because of the frustration of working my ass of without any kind of possibility to make something out of it.
Do you recognize this? If so, how do you handle it? And if not, how come?
I decided to get money out of the eqaution. I feel greatly liberated, but also a bit sad, since I will never life from art. I have plenty of other options, so my choose doesn't require any major changes. Still, I ended a dream. A very frustrating one, but still a dream.
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Here is my channel I have only gone into creating videos over the last month and using a camcorder for the first time ever to (never mind a video editor) lol. Great idea for a group and will subscribe to your channels shortly.
http://www.youtube.c...C4jOjA2g/videos
You're added!
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Here 's my channel..
www.youtube.com/user/soundontape
Ok, your on there!
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Awesome thanks man!
Also I just subscribed to all our Song Stuffers! Enjoyed the diversity in music! Keep rocking guys
!Yes, that's actualy the idea behind the list
This way we can keep track of eachother on YT.Can't wait to check out all of your channels!
I'm at http://youtube.com/socperezjr ...posting original songs, covers, and beats.
Consider yourself a Sonstuffer on Youtube! I added you.
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Hey brother great idea doing this! I wish I thought of it first!
add mine if you don't mind www.youtube.com/* known troll *
Cheers!
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'Castles' is my own compo, and all voices are mine. It is a simple love song,.. and when a man is in love, he is high.. sad though, because in the end,.. like castles,..Love can come tumbling down.
[media=]
I'll add you to the list and I'll subscribe to your channel.
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Found another competition of sorts. Actually, this one found me...on youtube. I've checked it out & entered a tune.
- It's called "Kozmic Dreams Popular Song Event"
- Like many of them, it runs in cycles. At the moment, it's accepting entries, but entries close when the next round begins.....which is June 28th. So not much time remaining to get into this round.
- Most of the entries seems to be youtube links, but that's not a requirement. Supposedly, any online song link is acceptable as an entry.
- All other rules, guidelines and information...along with entry instructions, are contained here https://kozmickonstr...ORM-_ep_86.html
Tom
Thanks, Tom! I'll add it to the list. Let me know what your experiences with this competition are!
- It's called "Kozmic Dreams Popular Song Event"
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I just wanted you to know that I saw this post, took your advice and entered a song in the original contest. Seems that I caught them between contest though-LOL
They responded very positively though, letting me know they'd notify me as soon as the next round opened up for entries. Certainly nothing to lose by entering and I wasn't aware of either of these...so thanks! I appreciate every little bit of useful knowledge that gets passed onto me
Tom
Your welcome. That's the whole idea of this thread. The Original Song Contest is a great competition. I understood they where btween seasons at the moment. I'm not sure when they start again. Mystonian is also a great contets.
Let me know what your experiences are when you participate!
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You have a great sound. Vocaly and on the guitar.
Would you like me to add you to the Songstuffers on Youtube list? (http://forums.songstuff.com/topic/23817-the-songstuffer-on-youtube-list/page__pid__154912#entry154912)
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Is it just me? I don't get it... Every time I listen to a local artist it's obvious to me that they wrote the music before the melody. Why on earth would you want to reduce your melody options by going at it that way? A given progression always reduces your note choices. Make your melody shine by itself first... then you have a good starting point right?
Here is a note melody experiment I created to show the insane difference this makes.
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What's your opinion?
I added your youtube channel to the list. And I subscribed to you.
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Here are my reflections on a first piece concidering the methode's I metioned in the OP. Here's the piece (It's a piece for two voices. In this case two piano voices). :
Analyses
It starts with an introduction of the main theme in the highest voice. This voice is playing solo. A solo is the strongest way to focus attention to a voic. I think it's realy important to give both voices time to introduce themselfs. The strongest way to let a voice get to the foreground is by letting it play solo. Aftee the highest voice plays the main theme solo the lowest voice does the same. The highest voice does play a few notes to keep te attention of the listener high. I didn't realy do this very well. I ment to repeat the maintheme by playing only the most important notes, but it's not realy obvious I tried to do that there. This gives a bit confusion as to whether the voices is telling something new and should get the full attention. This goes even stronger for the highest voice, since we are naturaly inclined to give it our attention.
After the two voices introduced themself the highest voice repeats the main theme again. This time the lowest voice plays only the last part of the main theme. It's a partial repeat, but the effect is the same of repeating the main theme in it's entirety.
The highest voice plays some elaborations on the main theme, while the lowest voice keeps repeats the first sentence of the main theme and later the main notes of the main theme (during the second elaboration on the main theme by the highest voice).
Following is an elaboration on the maintheme by the lowest voice, while the highest voice plays the last part of the main theme. The elaboration of the lowest voice isn't realy done very well. Because it lingers a bit it doesn't really attract the attention like it should. I could have played some ornaments there. That way the focus would have gone to the lowest voice more strongly. The attention does go the lowest voice when the dynamics go up.
Then the two voices grab the attention one after the other in a rather quick succession. The highest voice grows in dynamic and thus taking the foreground. Besides the grow in dynamics there are nomerous chromatic notes that grab the attention. The elaboration (rather weak one, since the main theme is not realy recongniseable) ends with a long trill. The lowest voice takes the foreground, while the highest voice repeats the last part of the main theme again. The elaboration of the lowest voice isn't realy strong aswell, since the main theme isn't realy recognisable here either.
Now there is a little part where both voices are in the foreground. I triy to play them in strict counterpoint rules (predominantly 3th and 6th between the voices). There are probebly a lot of mistakes, so the effect is rather weak. After this there's a alternation between little solo leading us back into the main theme.
The highest voice introduces the main theme again (In E major). The lowest voice repeats it, while the highest voice plays the last part of the main theme with some variations. Then follows a sequence of alternation between the voices having little solo's. This folllowed by the two voice playing chords simultaneously (in C# minor with a c natural in the scale). By playing the same the piece gives an effect of consolidation of the voices. Atleast, that was the idea.
Now there is a part where the voice play in (an attemp to) strict counterpoint. The lowest voice has an accompaniment-like feel. This isn't a good thing, since it suggests it's the baackground voice, while I didn't want it to be that. I could have done this better by adding in some ornaments in the lowest voice. That would have broken the accompaniment-like feel. The lowest voice turns into a solo after this. The highest voice repeats the last part of the main theme in a spreas-out fashion.
After a little alteration between the voices, a little solo of the highest voice leads to the main theme again (in A major), played by the highest voice. The lowest voice repeats a falling segment it played a few bars earlier (during the alternation of the voices). By playing something from before the cadens the lowest voice gives the feeling of not complying to the highest voice, who is playing the main theme again. The lowest voice doesn't want to go back yet. This effect is a little weak, because the falling segment doesn't really have a strong character to it. I could have made it stronger by making it sound more "angry". For example by playing in C# minor. By repeating the last part of the main theme (it's biggest charasteristic is that falling last note) there a sence of consilidation. This is a nice part of the piece for me. To bad that falling segment of the lowest voice didn't realy work ou. otherwise the consolidating effect would be much stronger.
Now the highest voice plays an elaboration while the lowest voice plays the last part of the main theme with some variations. The highest voice ends in a long trill, while the highest voice plays an elaboration. After the trills, as the lowest voice is still elaborating, the highst voice plays variations on the last part of the main theme again.
The piece ends with simultaneous chords and a final cadence by the lowest voice.
Reflection
The are a couple things I could have done better. There are a few instances where I forgot the main theme material and played some random notes. This is bad for the clarity of the piece. Esspecialy when this happens in the background voice. It forces the listener to pay attention to something new.
In general what this piece realy misses is a deep ineteraction between the voices. I tried to play "by my own rules" in this piece. The interaction between the voices isn't realy there yet. I will try to better this in my next piece. Stay tuned.
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There are a couple of musical style I realy enjoy. In chronological order: Baroque, Romantism and the 60's. My development as a musicwriter are centered around my attemps to combine these styles. I'm developing a methode to do so. I will descripe this methode in this opening post. It will be under development constantly. I hope to discover something new to add in on a regular basis. In the following posts I will post (a link to) a piece/song I wrote in order for me to discuss what it's relation is to the progress in developing this methode. Here's the methode:
Eclectic counterpoint
1. Introduction
The syle of music revolves around the interaction between two or more voices. All voices have a distinct lyrical character. They "come together"in the piece and interact. They go thru all sorts of interactions and influence eachother thruout.
2. Clearity
The goal for the composer is to keep the interaction clear. The listener should be able to distinquise between the voices without having to strain to much.
Mulitple voices
The essence of eclectic counterpoint is to let several melodic voices sound simultaneously. However, the listener will only be able to focus on one voice at the time. To keep a sence a clearity a single voice has to clearly be in the background or in the foreground. There are several tips and tricks to do so.
The foreground
The most powerfull way to get a voice to the foreground is by a solo. Clearity is no issue in this case.
The background
A voice can assume a background role by repeating harmonies or melodic intervals. A strong way to stay in the background is by repeating the main theme.
Background and foreground simultaneously
The fore and background voices can sound togetehr by the use of strict counterpoint. Don't overuse this technique, because it will strain the listener.
From back to fore ground
To bring the focus to a background voice you can:
- Play ornaments.
- Play enharmonic notes.
- A change in dynamics.
3. Segments of the piece/song
In this chapter I will discuss the diffenent segments of a piece/song.
The introduction
It is important to give all voice the time to introduce themself. The strongest way to do so is to give all voices a solo in the introduction. This way the listener can get used to the existence of multiple voices.
The cadens
It gives a strong effect to cadens with a solo.
The ending
A final cadens with a solo also gives a strong effect during the ending.
4. Methodes of interaction
In this chapter I will discuss different methodes to achieve certain types of interactions.
Disagreeing
A sence of disagreement can be achieved by:
- Denying a modulation by one of the voice towards a second voice.
- Denying a thematic change.
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I quess what the OP ment was:
Hey guys, if you like instrumental music, listen to my piano cover!
Whether or not we like intsrumental music in general is probebly not what he had in mind. I'm not sure, but still pretty sure.
If you are going to answer the general question it's think it's important to keep in mind that instrumental music is kind of a extremely broad subject. There has been instrumental music for as long as we humans make music and it has come to us in numerous ways. I could either write a book about it or say:
Yes, I do.
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I had a conversaton with my father a while ago about music in general. At one point the conversation plunged into the inevitable subject of commercial music. We both came to the conclusion that there is a destinction between art-music and commercial music, but it's very hard to draw the line.
A little background information: When my father was a teenager he was a big fan a John Lennon. His first big musical cruss was on Imagine. There might be a thruth in saying his love for popmusic started when popmusic was on it's best. Like many of his generation, and also of other generations, he feels that it all went downhill from then on. He and I both have a aversion against music that is made soley to make money. We can both realy enjoy music that is a product of artistry. We started to try to draw a line between the two, but it proved to be difficult.
I think many agree when I state that Sgt Pepper is more artsy then Biebers new album (if not: why?). But, when Brithney sings the vocal part of Baby with all her heart, shouldn't the singing part of that song be considered art, but the rest of it not? If Rebecca Black thruly felt Friday was a song she could poor her heart in (she's a teenage girl and it's not uninmaginable that she felt connected to the song right?) isn't the vocal part of Friday a piece of art? If the bassline of Ushers You make me wanna is played wholeheartedly isn't that bassline art?
But, what is art in popmusic (and in general)? When can we consider a piece of music art and when can't we? What do you think, can we draw a line between artmusic and commercial music in popmusic? And if where?
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This.
Even the slightest noise in your recording environment is going to be a problem when you turn the gain on your pre-amp up to mic level. The noise floor can become an insidious racket.
Prevention is definitely better than cure with this. Over used Noise Reduction algorithms leave noticeable side effects in the form of horrible metallic chirping sounds that are actually more distracting than hiss. You have to think very carefully about whether you've actually improved the sound when you use them.
Yes, that's defenitly the problem. I had my mic placed right next to the computerfan. I did a recording in another setting before and the problem of the his wasn't there. I never understood what the difference was. It makes perfect sence now.... haha. Well, thanks for the help guys! (You too, John)
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lol
all is forgiven! It is a genuine point though... it's easy to miss the wood for the trees. Too much info or too complete an answer and it just becomes a jumble and many would skip over it. If I added titles and pretty fonts I more or less wrote an article lol
doh!
Yeah, see. I'm at a point where I don't really know a lot about a the terms and such yet. So, in order to noet get overwhelmed to much, I tend to ignore the detailed information and focus on what I can comprehend at the moment. But maybe a lot of other readers found your article to be very helpfull. You never know, right?
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what mic are you using?
It's a low end usb-mic. It's MXL studio 1.
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There are other causes such as setting input gain incorrectly. For example... imagine you are one foot from the microphone... the volume of your voice reaching the microphone is what you are looking for etc... now place the singer three feet from the microphone... to get the recorded signal up so that it achieves a similar recording level for yhe voice either the singer sings louder OR you turn up input gain... the trouble is that in amplifying the signal to the same level the ambient noise is now also boosted.... ie the Signal to Noise Ratio (SNR) is now a hell of a lot worse. you can improve your situation by using a more sensitive microphone, and better Analog to Digital Converters (ADC), closer microphone positioning, generally quieter circuitry, placing your mic in a different room from your computer and othet (fan noise etc) and by careful cable routing ( though that is more to reduce crosstalk between cables) etc. Closer positioning can also bring in to play "proximity effect" (boosted bass) depending on your mic and microphone pop (use a pop blast screen - buy or cheaply make your own. My first home pop screen was made with stockings/hose and metal coat hanger lol on the subject of cable noise make sure your audio cables are as isolated as possible to reduce noise of varios kinds. particularly as far as possible from mains/grid power cables and digital cables, including midi). yes you can use denoiser software/hardware but you WILL colour the original sound to. While it can be done to an acceptable level, prevention is better than cure. Something to also consider is the use of a high shelf Eq but that too will also colour your sound.lol I must try to write shorter posts no one seems to read the longer ones
Sorry, John. Didn't mean to ignore you!
I think I didn't respond to your post, because it's so jammed with information that I couldn't encompass it when I read it. I was busy tingling with the denoiser at the time. Seemed like a great solution. I should have read your post more carefully, because the solution was already in it..... Forgive me... Haha..
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What kind of computer monitor and how close is the mic to the monitor / computer as well? CRT's can give off resonate frequencies like neon lights and single coil guitar pickups. Generally I isolate my computer in a closet and pad for insolation
I can't say about europe but in the US if your house was wired before 1960 you are going to have some serious ground issues
Yes, that's the source of the hissing. It's standing next to my computer and it's recording the computersounds. The hiss is far less after I put it futher away from the computer. Good call!
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Hello members,
In this thread I will make a list of contests you could enter with your youtube musicvideo's. If you know of any that are not in this list, please post a reply to this thread. If you have any experience with these contests be sure to share them with us!
Youtube original song contests:
Mystonicrecords
http://www.mystonicrecords.com/
Original song contest
http://www.youtube.c...inalSongContest
Kozmic Dreams Popular Song Event
https://kozmickonstr...ORM-_ep_86.html
..more to come....
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A quick word about chord progressions and theory. The more you listen to and read actual songs, the more holes you will see in music theory. There is more to theory then a basic understanding of how keys and chords work. There are modulations and subsitutions I play jazz and in jazz there are a lot of variations to basic theory. Things that don't make sense and sound wrong while sounding right.
The same is true for many forms of music. Theory is an idea of what could sound well. It's not something carved in stone. You are allowed to color outside the lines. The most important part is that does what you are doing work for you? Songwriters also do the same thing. They color outside the lines. Learning more theory isn't always the answer. A little knowledge is a dangerous thing a lot of knowledge is too. When you are writing trust your inner ear. Your inner ear is your sense of musical taste. We all have it and it's different for everyone.
To me there is actualy but one rule in music that ought to be followed (just my opinion): Part writing.
Whatever you do, make sure all parts/voices/lines are complete on their own. Can you listen to the drums alone without thinking: "Huh? Why is there a bar missing out of the blue". Or: "What a strange change al of a sudden".
It may sound simple but it's far from it and it is done wrong almost all the time. When people write chords they often think: This chord sounds nice after this chord etc. They forget that they are actually writing 3 or 4 (depending on the chords) melodic lines that tend to form chords, but in essence they aren't writting chord progressions. They are doing partwriting. They bass goes up a fifth and down a sixt for example. This is not nice most of the time, but it isn't realy noticed since it's a chord structure that's being percieved.
I think partwriting has a huge influence on how well a song works. If it's done badly you can hear the song "not working very well". If it's done wright they song makes sence, no matter the genre. I think Beethoven's late string quartets are the perfect example of the importance and power of good partwriting. The chords in his 'songs' are often strange and certainly unconventional, but the song works to an profound extend due to the almost perfect partwriting. And the songs Beethoven wrote are not that different from what Abba or Queen or Britney Spears do/did in essence. They combine melodic lines. You could argue that Beethovens songs are more elaborate and profound, but in the basis they are the same. All harmonic music is.
So, to the OP: Study partwriting. Haha, I'm sorry if this is a bit of topic, but I hope it will give you something to digest. Now or in the future.
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I just wanted to add, Being around musicians in real life even if they are only aquaintences really helps. You'll look at someone and think I can do that or I can't do that I want to be able to. If you play with people who are at your level or just above your level it gives you the opporitunity to excell. If you play with people who play beyond your abilities it can frustrate you. But the important thing is not to be shy about playing infront of others. As soon as you have a song to play, play it.
Thanks for the tips Mike! I responded to you post earlier, but I quess something went wrong.. I don't have anybody I know of my level at the moment. (I have a friend who started to play the guitar a few months ago, but he seemed to have given up on it already..) I will take up on your tip to refrain from being shy about it. As soon as I think I need a guitar in my sings I will jump at the occasion and play it in myself.
p.s. my finger hurt already.
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This way we can keep track of eachother on YT.
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