Invitation to listen to "Logic Tune"

I listened to it with an earbud (mono, no less) because I am at work, so I cannot comment on the mix quality. Musically, I didn't dislike it. In any case, we listen to all types of music here, even if our members generally prefer classical. You can post whatever you want... No problem

Hi Simone,

thank you for the mono listening, a practice that I have nevertheless seen recommended several times to evaluate the quality of a mix, even if I cannot tell you exactly why (I will go and find the source).

At this point, I am counting on your stereo listening.

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alberto

In "mono" I should have put it in quotes because it wasn't actually a mono listening session, but rather with only one earbud because the other was broken.

Listening in mono is done to see if there is signal cancellation, which occurs when phase correlation tends toward negative values, i.e., when the signals on the right and left channels go towards out-of-phase. Anyway, as soon as I have time to listen in the studio, I will be able to tell you better.

I liked it very much

Stefanus wrote:

I liked it very much

Hi Stefanus,

a sincere thanks :-), even if a little late. I hope to publish something else by this spring.

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alberto

The audio is convincing; despite only 2 minutes, I would say you went very close to the limit ... but I made it to the end.

It has its own pleasantness despite being very redundant..

Lupino wrote:

The audio is convincing; despite only 2 minutes, I would say you went very close to the limit ... but I made it to the end.

It has its own pleasantness despite being very redundant..

Hi Lupino,

thanks for listening, although I am not entirely convinced that I understood the meaning of your observations: it seems as though the piece is too short and, despite this, has many repetitions. Is that so?

And then I would like to know what the limit is that I almost reached.

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alberto

Not too short, but despite lasting 2', it quickly reached MY limit of endurance (let's say by a hair, I listened to the whole thing)... so don't mind me, we are in the realm of pure subjectivity. However, you asked for an opinion and I didn't shy away.

To explain myself better, sometimes I happen to listen to a track that is even longer and then I feel like saying: "already finished?!"

I assume that by 'limit' Lupino means exactly the redundancy he perceived while listening to the piece.

That "but I made it to the end" implies a hint of sarcasm that I can perceive very clearly. (I am not saying this to be argumentative, but I am inclined to analyze the meaning of what is being said, even when not being explicitly clear)

To me, it seemed quite balanced; the duration is not excessive and it flows fairly well.

What I don't like is the drums; they appear too soft (setting aside the work that can be done on the sounds and eventually during the mixing stage) and a bit predictable rhythmically.

Probably a more gradual introduction would make the piece be perceived differently.

It is not mandatory, this is obvious, but just one more possibility.

Why this title?

I am asking you because I often have problems deciding on the title of a piece and, except for a few cases, I decide based on the feeling I had at the moment I thought of it, or by referring to the period I am living through, or alternatively, also basing it on the type of sonorities I seek with specific sounds.

What Piccinesco sarcasm, I simply described what the piece conveyed to me (as requested, after all)

Lupino wrote:

Not too short, but despite lasting 2', it quickly reached MY limit of endurance (let's say by a hair, I listened to the whole thing)... so don't mind me, we are in full subjectivity. However, you asked for an opinion and I didn't shy away.

To explain myself better, sometimes I happen to listen to an even longer track and then I feel like saying: "already finished?!"

Ok, now I have the key to understanding your evaluations on the duration of the tracks. Thanks and bye.

Piccinesco wrote:

I assume that by "limit" Lupino means exactly the redundancy he perceived while listening to the piece.

That "but I made it to the end" implies a hint of sarcasm that I can perceive very clearly. (I'm not saying this to be argumentative, but I am inclined to analyze the meaning of what is being said, even if not explicitly stated)

To me, it seemed quite balanced; the duration is not excessive and it flows fairly well.

What I don't like is the drums; they appear too soft (setting aside the work that can be done on the sounds and eventually during the mixing stage) and a bit predictable rhythmically.

Perhaps a more gradual introduction would make the piece perceived differently.

It's not mandatory, that much is obvious, but just one more possibility.

Why this title?

I ask you because I often have problems deciding on a title for a piece and, except for a few cases, I decide based on the feeling I had at the moment I thought of it, or by referring to the period I am living through, or alternatively, also basing it on the type of sonorities I seek with specific sounds.

Hi Piccinesco,

thanks for listening and for the comments. Without a doubt, the drum sound and the patterns can be improved.

As far as the "non-gradual" beginning is concerned, I find your point of reflection interesting. In this case, I was counting on the "special effect" and the rather deep and immediate piano note to capture the listener; I will try to imagine an opposite type of beginning, i.e., gradual.

I must admit that choosing a title is (always) a problem for me too; good ideas never come to mind and in the end, I am never satisfied. In this case, it was a friend who imposed English on me because he wanted to publish the track on a CD (a shipwrecked project) where, indeed, all the titles were in English. As for the meaning... let's just say they are two words that can go well together.

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alberto

Well, you don't necessarily have to change the structure of the piece; it must convince you above all, and then others.

Listening to the sounds, it seems almost certain to me that you used a keyboard and not a PC; which keyboard are we talking about?

I am asking you this also because for me the moment "of the return" to my origins is approaching: I will close the PC (which I will use only for scores and mixes) and go back to doing everything with keyboards and a digital multi-track recorder.

I am tired of the approach to music by means of the mouse and, in any case, of using the PC.

Anyway, it would be like using a synthesizer's sequencer.

Why not use both?

You use the keyboard connected via MIDI to the PC and do everything much faster, right?

What are you doing, going backwards instead of moving forward?

Piccinesco wrote:

Anyway, you don't necessarily have to modify the structure of the piece; it must convince you above all, and then others.

Listening to the sounds, it seems almost certain to me that you used a keyboard and not a PC; which keyboard are we talking about?

I am asking you this also because for me the moment "of the return" to my origins is approaching: I will close the PC (which I will use only for scores and mixes) and go back to doing everything with keyboards and a digital multi-track recorder.

I am tired of the approach to music by means of the mouse and, in any case, of using the PC.

It would be just like using a synthesizer's sequencer anyway.

Ciao Piccinesco,

we are talking about a keyboard in the sense of a musical instrument. I use two (one weighted and one not, but with many controls/knobs/etc.) connected respectively via MIDI and USB to the PC.

On the PC, I have installed Cubase, which I use for recording MIDI tracks from which I then obtain the audio; these are always "treated" inside Cubase with some plugins.

As a sound source, I use some VST instruments and an actual expander.

I am also very tempted to buy a multitrack recorder (they are so compact and relatively inexpensive... how can one resist?) but in the end, I find the PC less immediate but more flexible, at least for what I do.

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alberto

I'm going back, Simò, I'm fed up with the PC and using it as a bypass.

Anyway, a recorder is like a keyboard sequencer; besides, for years I've used the mouse to enter notes into the piano roll.

I need to interact more physically and I've found a solution for preparing scores using one, at most two pages.

Just the thought of it already makes me feel better.

As soon as I make some pieces this way, I will publish them.

The day before yesterday, I bought (specifically) a hardware sampler to prepare percussive sounds.

I really feel the need for it.

I will also use two old toy keyboards from the 80s.

A mess, but it'll work. (Y)

Alberto, the PC is certainly more flexible; it is indisputable that in terms of speed, multitasking, and memory there is no comparison with hardware tools, but also due to the fact that I have witnessed dozens of PC crashes over these years, I am fed up.

Then, trying out parts of pieces, the physical approach is better, but in any case, I am talking about pieces of electronic music (hip hop, a genre in which I have not the slightest interest but I am tackling it anyway); if I had to tackle the writing and reproduction of symphonic music pieces, the discussion would change.