Radiowar
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Posts posted by Radiowar
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generally speaking house lives at 120-130 bpm and is, with some exceptions, defined by four-on-the-floor beats. what youve got here more closely resembles some form of downtempo breakbeat. on the other hand, your synth and percussion choices here are somewhat reminiscent of the minimal/tech house sound youd find on labels like kompakt.
imo best advice for "learning" any style of music is to immerse yourself in the culture surrounding it as much as possible. listen to tracks, listen to mixes, try creating mixes of your own, put yourself in a live situation (as audience or performer). that maybe sounds like very vague, impractical advice, but i think it can be really easy to get caught up in the "rules" of mainstream edm and its endless list of subgenres. the more you know the music, the more the boundaries between styles becomes fluid, the more likely you will be able to create something that not only succeeds as dance music, but comes from a place of authentic impulse.
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oh damn apex was so dope this year i definitely wanna be a part of this
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Second, other tracks are great! However, if we wanted to cover every franchise / every stage then we would have a completely unmanageable album on our hands. We do not have the manpower to pull off something the size of the larger site albums (see: the Final Fantasy albums), so we have to limit our scope in order to make this at all realistic.
hypothetically speaking, since there are 41 stages in brawl (including melee stages + hanenbow), one track per stage would make a ~40 track album, maybe 3-4 discs? the scope would be mitigated somewhat by the fact that the project would not be focused on remixing the entire soundtrack of one game (mixers could basically cherry pick their favourite sources from a number of other series) and also would not necessarily be restricted to entirely new tracks (for example if somebody wanted to contribute an older track modified for looping, etc.)
so say all that was not an issue, are there other concerns? like filesizes or something that would restrict how much content could actually be added?
im just thinking out loud
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if there is an ocr Project M Project going down i definitely want to be a part of that
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thaaat lobby sample is genius
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lots of things!!
the great thing about ocr imo is its one of the few music communities ive come across that isnt bound to a particular musical identity (artist, label, genre, etc.) and since video game music is a cateogry broad enough to include just about anything it allows you a great deal of freedom to experiment as well as the opportunity to be exposed to things you havent heard before. like if you look at the kind of musicians/listeners here theres such a wide variety of musical backgrounds that in any other context we probably would not have much to do with one another. the site projects pretty much exemplify the variety of styles here, and although they arguably result in albums which are somewhat incohesive (something ive been critical of in the past) theres something to be said for a site where an album dedicated to a single subject can yield hugely different interpretations. somehow having a website that is not fundamentally about music allows for a better musical experience than some other places which are.
also i think ocr's unique definition of "remix" can be really helpful for developing composers/songwriters/etc, like the whole idea of requiring a certain amount of source usage while encouraging variation or originality really forces you to think about establishing motivic coherence in your music while also finding ways to develop or change an idea without losing its character entirely.
also also ALSO i like ocr bc it has a p big audience built in its a great platform for reaching lots of new people
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Oh Good ,, This Thread Againe
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was listening to this on the way home today. great album for a long drive :]
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this is excellent, very solid ep, i enjoyed it a lot! a lot of really neat sounds here (the piano sounding instrument on 'better unsaid' reminds me of aphex twin's piano stuff on drukqs) and storm watch is very pretty.
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^word
its just how these things go that one or two artists with a particular style blow up and suddenly they are the representatives of a genre that is actually incredibly deep and varied. talking about dubstep and only mentioning artists like skrillex or nero is like talking about rock and only mentioning kiss or something.
im just gonna post a few different examples of some tunes i like !
okay so that is more than a few! but a good variety i think
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it seems with all the hype around dubstep lately that there is a lot of misconception as to what the music has to offer. i'd argue that there is more subtlety (not to mention variety) to the genre than people give it credit for. not saying that this is the case with this mix, which seems to suffer from the remixer's lack of experience more than anything, but it probably doesnt help.
what i find most disappointing about this mix is how unimaginative it is. when you look at a lot of this kind of high-energy, abrasive dubstep, (PrototypeRaptor does it particularly well, to use a familiar example) the power doesnt actually come from how loud the drums are, or how many different LFOs you can stick on a bass, it comes from the use of contrast: loud and soft, fast and slow, dense and sparse, etc.
right off the bat this track is in wubwub mode, immediately giving up any sense of a drop - what should be the most powerful tool at your disposal. nevermind the rhythmic simplicity, or the fairly dry, generic sounds. the track has already showed its hand, and despite the attempt to switch things up with the 4 on the floor breakdown leading into another dubstep section, it's too little too late.
i know it's unfair to compare a newcomer's work to that of somebody like PrototypeRaptor, but the fact that this track and Nullification both bypassed the judges panel suggests that the two are of similar if not equal quality, when it just isn't the case. i also realize ocr's primary concern is the music's relation to the source material rather than it's function within a particular genre or style, and on a purely conceptual, arrangement level, this track works. but it seems to me that the issues with this track are not to do with some abstract notion of genre, but fundamental musical ones which, in any other context, would almost certainly have been questioned.
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noumenon has always been one of my favourites and i cant imagine a better tribute to the person who created it. words like 'empty' dont do justice to the intricate detail of this track, especially in its use of negative space. i love how the instrumentation evokes avien's track, and with the vocals and the crackling vinyl create an almost overwhelming sense of loss. like djp said this is something more than just a remix.
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awesome!!! cool
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thanks everyone im glad you are enjoy ~ ~ ~
just wanted to say been listening to this all night on turntable.fm ..dopewhat is turntable fm i cant access bc im in canada
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ive been sort of inactive around here lately, something im working on fixing. in the meantime thought i'd post an original EP/mini beat tape i put out earlier this month.
http://thisetc.bandcamp.com/album/i-am-see-through-of-course
it's free on bandcamp (with name your price option for super generous people). instrumental hip-hop similar to/inspired by artists like Lone, Flying Lotus, Boards of Canada, Baths, Gold Panda, etc. if you are into that kind of thing i hope that you will listen :]
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haha didnt take long for someone to get to Jay Maisel's wikipedia page damn
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thought i'd post this for those who remember Kind of Bloop, the 8-bit tribute to Miles Davis' Kind of Blue produced by Andy Baio a couple years back. apparently last year the photographer of the original Kind of Blue album cover took Andy to court over it, and he's made this post on his blog today describing what happened.
it's bullshit obviously but when has that ever mattered. and i feel bad for him, because it is bullshit and because it was a great album, and i guess also i was selfishly hoping for a similar project/sequel to happen somewhere down the line.
maybe some kind of kickstarter fundraiser album project is in order.
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No samples used! What do you think of it?
this description =/= "wu-tang style beat" !! sounds too clean
even if you have to use one of those vinyl distortion plugins or smth. key for any of that 90s stuff
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i think i like back to basics the best. but i am just really into beats like that. everything sounds timestretched wayy down
the primo beat needs a cool scratched hook
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Ha Ha Ha. Ha ha haha ha. Ha HA h Ha ha HA hah A. HA ha HA A ah AH AH AH AH AAA HAA AAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
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SPEAKING OF LORN
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oh man i love quarta330, whatever happened to him
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My regular club night tends towards stuff likeand, as well as a healthy dose of jungle/drum & bass, juke and techno.
scuba is cool i like scuba. generally im not into the more dnb influenced dubstep but they mad good
hey heres some stuff heres some more stuff
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As much as I like Burial and plenty of "chill" dubstep as it were, I just can't get into James Blake. It reminds me of Eskmo, except instead of raw technicality and production there's just a lot of noise and "minimal" elements. Personal taste thing though, I totally get why people like him (the vocal line in "Wilhelm Scream" is killer) but I can't help but get the feeling that a lot of his stuff is more style than substance, and the substance that does exist could've been done better.
oh man i love the minimal stuff. klavierwerke is my favourite james blake ep. also i dunno if i would be so quick to sell him short on the technicality, the way he manipulates his samples (esp the vocals) is just...i dont eve nknow. i mean even his more "traditional" stuff (the bells sketch is my fave example), there's a lot going on there. he's such a fresh voice, the way i think of it is like...if burial was r&b influenced dubstep, james blake is dubstep influenced r&b. i just come away from his shit like man, this is 21st century soul music.
House music?
in Post Your Original Music!
Posted
thats about it, really.
you could make the argument that the hihat and bass patterns also skews toward breakbeat, because in spite of being syncopated they emphasize downbeats as opposed to offbeats (even though there is an open hihat on offbeats, the fact that it occurs only after 2 and 4 has the overall effect of lengthening the rhythm, or making it seem slower/downtempo, and ultimately pointing attention towards the hihat on the downbeat). this is a generalization, but a side effect of four-on-the-floor rhythms is an emphasis on offbeats, if for no other reason than the kick will pretty much own the quarter notes.