Tensei
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Posts posted by Tensei
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No please no ç_ç
Hehe, this just makes me want to do it so much more. Nothing's better than pissing on childhood nostalgia. =P
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Eyes on Me should totally be made into a Ska mix, with live trumpet, trombone, guitar, drums, bass and organ.
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Edit: Sorry guys, apparently I'm not allowed to post project mixes, especially if they're quite close to being done, guess you'll have to wait until the Xenogears Project is done =)
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Amplitube 2 + M-audio Fasttrack + Ibanez RG 2570 is what gets me going. =P
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It's not bad considering you're still a beginner, and arrangementwise there's definitely a spark, productionwise it still has a long way to go.
The comping by the piano is IMO decidedly un-jazzy( you could say the chords are too 'simple'=P), but that's not necessarily a bad thing. Bass is way too soft and too bassy (might seem like a contradiction, but on a double bass you usually want to hear the attack clearly so you actually know it's a double bass, and not a bass guitar).
Sax..hmm what can I say..it's okay for a sequenced soundfont sax, but it doesn't sound anywhere near convincing. If you get this thing up and running I suggest you look up a live sax player on the site to play the part for you, it will make an amazing difference.
Piano is okay, it doesn't stand out, but it doesn't hurt my ears with its fakiness either.
I reaaaaaallly suggest you add some nice downbeat jazz percussion to this, it will definitely help keep the song a steady pace. Again, this definitely good for a first-time mix, and has some potential too.
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It's almost 2 weeks!!!
Hey dudes Tensei has an awesome WIP goin for Tears of Stars. Any male vocalists interested speak up! It's an acid jazz type of song with a lil big of a trip hop influence.
Female vocalists are very welcome too though!! hehe =P
I got an update in the topic with vocal melody and lyrics for the first verse so anyone who wants to try is welcome to check it out and send an audition.
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Whoa, CHIPP is gonna to flip when he gets online in a few moments and he sees all these replies. =P
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No, you got to know chords. Nearly any type of complex lead playing where you don't want to be stuck in the pentatonic scale requires a decent knowledge of chords. Geez, even using double stops would mean you know at least something about chords, let alone sweep-picking or tapping arpeggio's. That you're not going to be playing them if you're shredding through some metal song doesn't mean you shouldn't know them!
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I believe you should try your luck on google.
No instrument is easier to learn through the internet than the guitar due to the sheer amount of websites dedicated to it so you shouldn't have any trouble finding material at all, and with a vague description like that I really can't help you much further.
Just work your way through the about.com pages, they're pretty good IMO, after that you can start looking up specific techniques you're interested in (string bending, legato, sweeping, etc.)
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If you want riffs that sound like metal, pay careful attention to the metal song you're actually playing and how the riff is built-up. Take a look at the intro riff to Master of Puppets, you'll notice it alternates between full power chords and a fast downpicked phrase. It's all based on a relatively simple chord progression, but it sounds so cool because of the numerous ways the chords are 'processed'; you got the chromatic descending phrase to give a sense of speed, and the staccato power chords as a means of power.
What I mean by this example is that you have to find out what exactly makes the riffs sound so cool to your ears, and try to emulate this form of 'processing' your chord progressions. As a general rule of thumb, there's usually a fast-picked, palm-muted open string involved (The E generally, because it's the lowest, and sounds the heaviest), alternated by different chords or double-stops, to give the riffs some harmonic content.
Don't feel down though, the riff-based approach to writing songs is really hard IMO, and it will take some time until you're able to come up with something that doesn't sound cheesy to your ears. Practice makes perfect!
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I hate eclecticism more than anything else.
God, you've come to the right site then, because everyone here is like totally cooped up in the niche of their favored musical genre and refuses to listen to anything else, so you should fit right in. Since you don't want to argue with me anymore I'm not going to respond to any of your other points, tempted as I might be. Good job missing most of my important points in that post though.
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So, why Malmsteen?
Why not Paul Gilbert (who has a similar style, except he's technically way better IMO), Michael Angelo Batio (same as Paul here), Joe Satriani (Who can write fucking catchy songs without resorting to simple progressions and without vocals)?. Heck, why not Buckethead( Who is just..wow awesome)?.
I mean, there are lots of interesting guitar players out there, even with your notions on "The current state of the world of Shred Guitar". It just seems really narrow-minded to act like Yngwie is the only guitar-driven artist with natural and not 'forced' originality (which is a distinction I completely disagree with, but I'll go over that later). I'm not saying you said that, but it is implied by your "I don't listen to any other guitar players than Yngwie, because nowadays forced originality is prevalent among guitar-driven artists."-statement.
Now, about the crack at Tom Morello, I think it's impossible to make a distinction between what you call forced and innate originality. Sure, Tom Morello probably thought something along the lines of " I'm going to use all the different pedals to get an original sound", but isn't that exactly the same as Igor Stravinsky thinking " I'm going to use old Russian folk themes in my music to achieve get an original composition"? Or Bach thinking " I'm going to incorporate elements of cantata's in my stylistically different pieces to get an original composition?"
Is there actually any artist out there that comes close to fitting your definition of being naturally original? You can call Jimi Hendrix innovative, but you can also accuse him of 'forced originality' for fucking around with his whammy bar and using a lot of different pedals and sound-effects.
About your comparison with Picasso:
Half of appreciating art, is actually understanding art. Yes, Picasso was a genius IMO, and not because he is THE Picasso, but because of the whole idea behind cubism and the way he incorporated it in his oeuvre. Obviously you seem to miss the point if you think it's about replacing ears with eyes, or even about his 'technical skill'. Why something as 'visually abrasive as cubism caught on' is easy to answer: The philosophy behind cubism was attractive to spectators and other artists in that period. In fact, nearly every modern(and most older) form of art has some sort of philosophy or explanation behind it.
You can draw parallels between Schoenberg's music and Kandinsky's visual arts, simply because they're based on the same (expressionistic) idea, conveyed through different means, so if you always thought of art as something purely visual (which is implied by your stance on cubism), I'm happy to have opened your eyes.
Also, don't give Green Day that hard of a time, Dookie was pretty good and I still enjoy listening to it from time to time, you should use someone in your comparisons who never actually was good (Avril Lavigne comes to mind).
P.S.
Did you know that Picasso wasn't the first one to come up with Cubism by the way? So much for your 'product of a disturbed mind'-theory. =P
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How can you improvise over chord progressions if you know no licks? =P
Anyway, there are a number of different approaches to writing music, especially with the aid of an instrument as versatile as a guitar; you can either just play around a bit with chords and come up with a progression that you like and that isn't
.Now you have a lot of different options already, are you going to arpeggiate the chords, or play them in eighth note power chords? I'm sure you can think of something.
Really, once you have a progression you can just build the rest of your song around it; come up with a cool melody that fits the mood of the progression, underline everything with a nice little bass-line, and add some drums (I wrote a little tutorial that might help you with this).
Another approach would be to build around a melody you've come up with (or that's from a song you're remixing), figure out which bass/chord root notes would fit under it, and 'flesh out' the song by building chords over your root notes.
Bottom line: there's a lot of different approaches to writing songs, and songwriting definitely isn't impossible for you, especially if you are able to improvise over chord progressions. Figure out which approach works best for you and get mixing =P
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NOOOO, EA, stop shitting on my fond memories of Planescape: Torment and Baldur's Gate 2
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Why reason still lacks one puzzles me, as it's not a complex machine. But oh well, maybe in the future.
I'm guessing it's for the same Reason (hehehe, puntastic) the program doesn't have a multi-band compressor; You can create it yourself by wiring some stuff together, so there's not really a need for a dedicated device.
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I'll have Dueling Consoles playing on repeat for the rest of the evening in your honor man, you rock!
Edit: and happy birthday of course
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There was an extremely famous American metal band called Pantera which had a really skillful drummer whose sound engineer seemed to specialize in the clicky drums and I never liked it.
Really?!
I always considered Pantera's drum sound to be one of the best in terms of processing, and I've often enough tried to emulate it, but I guess it really comes down to personal preference =P
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First off, I don't know how the whole project thing works.
This is the point that immediately invalidates the rest of your post. I believe the proper expression here should be "RTFM NUB". =P
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Jumping on the AKG K240 (M) Bandwagon =P
also, I tend to use my cheap speakers as an alternative to the headphones, after all, it has to sound good through those as well.
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http://www.soundtempest.net/03%20Blinded%20In%20Chains.mp3
OK, I'm SURE that one works... sorry about that.
Woo, Avenged Sevenfold! And before they sucked too!
Anyway, Jahan, I think a lot of the impact of the kick and snare comes from some heavy compression (basically everything except the attack gets subdued), so if you can't get a punchy sound by EQing alone I think you should try experimenting with compressors.
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Fine, I'll have to say something appreciative because I promised, after having to listen to about 500 bazillion versions of your Valkyriemix. =P
Umm I like how Malcos promptly responded to my PM to check out my WIP and gave a good overview of how to improve it.
And I appreciate how quickly and easily I was able to update my already submitted mix by PMing Liontamer with an updated version.
Am I doing this rite?
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Original:
http://www.vgmusic.com/music/console/sony/ps1/valley.mid
WIP:
http://www.tindeck.com/audio/files/iepf-Demo.mp3
I just liked the vibe of this song, and this idea immediately came to mind. It doesn't keep in line with the spirit of the original or shit like that, IMO it just kicks ass =P
Should I work this idea out or should I just leave it as a short jingle and not submit it at all?
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Lots of Words
Very well, I might have misunderstood your assumptions on improvisation, but at least we agree on that. If you find out a melodic phrase during your soloing that works exceptionally well over that given point of the song, what's wrong with remembering that and applying it in similar situations? In an ideal world you'd be making up the solo as you play, but it just doesn't work that way for 99% of the people, you have to know at least a FEW stock licks to get by, even your favoured Yngwie does this.
On that topic, if you want to know what I consider the greatest shredder, look up Marty Friedman, especially during his Megadeth years. The man uses NO STOCK LICKS EVER (might be an exaggeration but meh). Yet he goes through the most obscure scales in existence during his solo's, except he doesn't know it, because he knows shit about theory. Yes, all that soloing is based on his own sense of hearing and musicality. THAT'S what I call a real musician.
I might have confused you with my notions on melody, but I tend to refer to melody purely as the sequence of notes that is used, without the rhythmic context, you obviously refer to it as 'the whole package' so that's probably where the confusion stemmed from. =P
As I said, YOU might think Clapton is an overrated amateur, but point is, his solo's MUST have some appeal, despite being mostly pentatonic, because why else would there have been the whole 'Clapton is God' thing etc. Heck, every single one of my guitar teachers went on and on about Clapton. This is exactly why I think that it's more important to know WHEN to play a note, rather than WHICH note to play (of course this has a role too, but it's less important IMO).
And ok, I digress, most criticism I have of Yngwie's persona is from circumstantial sources (Interviews, the UNLEASH THE FJURY video), but I remember reading somewhere that after Concerto for Electric guitar or whatever that was called, he considered himself to be a reincarnation of Paganini or some shit. Of course I'm biased by these things, but I've NEVER had anyone prove me he WASN'T some stuck-up prick. Especially if you compare him to a guy like Paul Gilbert, who could probably outshred him in his sleep.
About my remix, it's not a really smashing example of my vibrato, but I do tend to experiment with different variations in speed and wideness a lot depending on the song. If I'm just jamming I generally do exaggerate it just for the heck of it. =P
Xenogears: Humans + Gears - History
in Projects
Posted
Stars of Tears is about 90% done now, it just needs some minor tweaks, vocals and a little guitar solo at the end (sorry, I couldn't resist, I promise it won't be metal, it will fit the mood perfectly, I swear! =P)