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I haven't done anything in like two weeks due to some life and lifestyle changes, but nice tune noways. Funky and dark, I'm diggin that shit. Did you do that in FL? it doesn't sound like 404 work to me. I'll give feedback to others when I get to my computer. I hate private links.

YoungJizzy> hey mama: nice beat, really liking all the small glitches sprinkled here and there. not much to say about the mixdown, everything sounds right to me. i'm tempted to say you should expand on the idea, maybe bring in another element at some point, but then again the beat works fine like that.

on the run> jazzy vibes again. that latin-ish keyboard snippet not sure what it reminds me of but it's great. i would have used it more personnally, like maybe chop it and try to construct an alternate melody with the different bits. not sure about the snare (the main one that's muted during the keyboard parts), i feel it could be hitting a bit harder (or maybe i'd suggest layering it with some finger snap sample or a real handclap sample to give it more character) but then again: personal taste, i like snares like that.

ReturnOfTheNowaysJ: ha, really liking the clap, especially the cla-clap-clap fill is the conspicuous absence of low end voluntary (re: your comment on mine)? ot maybe its just my headphones...
feel this could be at least one minute longer, with maybe a stripped down part somewhere, dunno, like it's obviously a dancefloor track but how am i supposed to mix it in less than 3 min (tho i figure you're not one to care about formulas). also i would have given more screentime to the funky warm synth at the very beginning (the part where mason posted a comment). in any case good stuff, just feel like this would deserve to be expanded a bit.

dfaultuzr wrote:ReturnOfTheNowaysJ: ha, really liking the clap, especially the cla-clap-clap fill is the conspicuous absence of low end voluntary (re: your comment on mine)? ot maybe its just my headphones...
feel this could be at least one minute longer, with maybe a stripped down part somewhere, dunno, like it's obviously a dancefloor track but how am i supposed to mix it in less than 3 min (tho i figure you're not one to care about formulas). also i would have given more screentime to the funky warm synth at the very beginning (the part where mason posted a comment). in any case good stuff, just feel like this would deserve to be expanded a bit.

Thanks for your thoughts dude, I'd say you're about 104% correct on everything there. Yeah, I don't know, I don't like bass right now. IMO it is way to big and textureless. It is too loud, everything else gets small... But lemme tell you something slightly funny that only production geeks could relate to. Last night finishing this track, it got late I had to go to headphones. Every time I put on those headphones it just throws my mix out the window. Like I can start to hear the bass that the krk's don't show. Well right before I go to headphones, I put an eq on my kick, cut some low energy that I'm not hearing, some shit happened in the real world, deal with that, then I go to headphones and start working. And the eq I just instantiated is gone... I'm like what the fuck? Figured I or fl is just tripping, proceed to work on track for the next few hours.

Go to set up a mastering chain, and there is an eq on the master, what the fuck, where the fuck did that come from? When I instantiated that eq earlier, had the kick soloed, I was really eq'ing my master, but didn't notice cause just the kick was soloed, then I put on headphones and returned to the full mix. My low cutoff was like where the krk's cutoff is, so the mix sounded the same when I went to headphones, I was like, oh okay, these sounds must have been clean with no foot, like I'm saying I don't like a lot of foot.

But then I go to master and render, discover this errant eq, turn it off, and everything is huge and flabby with tuns of sub the kick was like jabba the hut - fat and slimy with a big tail.

Neways, don't know what the point of that, other than a sort of perfect storm of stupidity, low end equipment, and a distaste of bass.



Yeah, but this track is short, there could be a lot more to it. Like the sections that exist, imo are too long as they are, not enough happens, but thenthe song overall is too short. Just your typical mess.

That funky warm synth was supposed to be the heart of the track, virus b with some nice swing, just sounded beautiful, and raw at max volume it just sounded so lush. Grispy - word I just made up. Anyway, I didn't have the time to figure out how to do the arrangement as a performance all in Geist so had to bitch out, and bring it into fl to finish the project, and did the arrangement there, and the focus kind of shifted in fl. That warm synth was over a funky trippleted kick pattern, but the track gravitated to a more standard swung 4x4.

But really you perceive very well all of my troubles and intentions with that track. I think you are paying too much attention.

Thanks though, for your attention, I appreciate it. Wish my stuff was worthy of it. Hopefully this week, I'm more on my horse, get a bit of a gallop going?

hehe, that EQ on the master story so familiar... then again that's the kind of careless oversight that sometimes lead to happy accidents

nowaysj wrote:Yeah, but this track is short, there could be a lot more to it. Like the sections that exist, imo are too long as they are, not enough happens, but then the song overall is too short.

that's the thing man, i think you might have some sort of musical ADD, like i feel you have really interesting elements separately (not talking about just this week's tuna here, but your overall output since i joined the tuna) and you don't give them the time and space they deserve and you go from a good idea to another within a single given tune without giving any of those good ideas enough space/time to develop fully, not sure if that makes sense, typing this while having my lunch at the same time

nowaysj wrote:Wish my stuff was worthy of it

nowaysj please...

^ no for reals. Imagine my frustration, I feel like I'm within reaching distance of a good song. It is right there... but I keep fucking up every time. I'm happy enough each time, but I am always disappointed. I want to put up just one really good song for TUNA! And to that ^ as well, I never put enough work into my tracks, so I'm always like on the lawn naked every time TUNA! happens.

----

But to my musical ADD... yeah maybe dude, but like I think everybody else has like musical depression or something... like get on with it motherfucker. We heard those sounds already, we heard that line already, MOVE ALONG. But people are really content to just let shit roll, I am not. That really gets into trouble in a dance context, cause you gotta let it roll to get the groove going, but you know, impatient nwj is like keep it moving!

But I do feel you, this conflict is a central theme for me. WORKING ON IT!

^tbf i have the opposite problem and i tend to let elements repeat/loop for too long and not bring much variations, something i deffo need to work on too

lets meet halfway

dfaultuzr wrote:lets meet halfway

Fair.

==

But lemme also say, your sense of timing, like where you think things should break or change, it is part of who you are as an artist. Some people do or don't break out of laziness, habit, boredom, whatever, that is not interesting, but if you are invested, have really felt it out and are breaking where you think is right, that is your decision, you are the creator. If people don't want to get on your groove... that is their choice and your choice. I guess you have to figure out what is important to you. If trying to get people to recognize you, and I guess buy your product, you better give them what they want, when they want it.

i think i have one for this week but ruff but :3
and if its fine i throw in another future garage one i work on

You know that strict no future garage policy we have.

But for you, an exception.

thanks haha

but its more like its not a TUNA per se but i wourked on it this week its really tuff for me to do tunes from the ground every week

got a couple more repetitive loops to annoy nwj with

ah no you got so much potential jizzman how many tunes you have you woudl say that are solid?
really just make a folder of all your tunes you dig and polish htose on the side take the best 10-15 and go for an album or sth or send those to record labels but yeah i personally heard a good handful of tunes even in the tuna from you that are raw diamonds

Good from now until saturday, work on b sections and bridges for them, or simple change ups every 2, 4, 8, and 16 bars.

@jizz

BudSpencertron wrote:ah no you got so much potential jizzman how many tunes you have you woudl say that are solid?

oohh, err... I think before I can answer that question I need to break out of this mentality that all my beats are finished already its so annoying going back to tunes you worked on the day before, like I feel like I gotta do a new beat erryday mane


nwj, asking me to make a bridge? wow dude, that would be an insane mission aint even got to doing hooks yet

yeah i hear you and there are definitly tunes that are finished after one setting dont let me talk you into sth
but yeah you know what i mean those tunes you stand behind that are stuck in you mind cause you like them yourself for a longer peroid of time

The reason why i say all this is for me to brake out of the loopy buisness (if i ever succedded)
is to go back and back to it. Listen to it maybe 20 times or more to get a different perspective yourself.
Cause its nice to have people say this is boring etc and thats always a good hint but in the end its your decision what to change when to change it and why you wanna change it

your lack of punctuation's amazing, not being sarcastic dude. I imagine you just taking one deep breath and saying out your whole post in one go

you know what, there are rare times when I do proper progression, but mit only happens when the sample really has something special going for it you know. my stuff is heavily sample-based as well, I just prefer it that way and I hate basing tracks entirely off synths, so I'm often left in a slightly weird predicament where if I'm only really getting a simple loop out of the sample, I stop at just that . Ultimately, this is just me making lame excuses hahah so maybe I should just slap myself across the head and start doing this properly

yeah man definitly its the way i talk and write lol
never repeat myself either

but yeah
sample based music is tuffer to get real progression out of
thats why i really dig daft punk and stuff. like tunes that heavily build upon one loop and just work
and honestly its just some of your tunes that tend to loop

i do agree on the tunes entirely on synths
but a sub should be ok or maybe a nice pad you know like just to add sth at some point

or maybe if you are more into "hip hop" instrumental style you know maybe think about the way beats are made for the rappers like than its i dunno 16 bars refrain-hook etc maybe that could be a guideline to break free from like build it and destroy it afterwards but with the basement still standing

JizzMan wrote:if I'm only really getting a simple loop out of the sample, I stop at just that .

Well develop your main theme (or two) and then create variation on that. And it seems like it is more than it is, until you start doing it. You don't need much. Just do the same thing, just do it a little differently.

Cheers for the advice guys

Yeah noways i just gotta get myself to start working seriously on music, too often its just all loops and no full trax... gotta snap out of it

Bud i stop at using subs, need to use more pads. The few times i did use the effect was incredible, like i was suddenly getting full-blown chord progressions when combined with the sample. Think i might get myself to learn some theory so i can approach pads properly

Thing that pisses me off most tbh is the engineering side of synthesis, sometimes it gets wayy too annoying trying to get the pads to sound right