Melodious Punk

This is the kind of stuff I love most from David Wise, and this style is great for bringing out all the beautiful little harmonic details that occur from his more repetitive tracks. gorgeous.

because I have never cared/wanted to know/given a fuck about most any electronica genre or sub-genre's defining aspects I'm happy to say this tune will just forever be all that is happy hardcore for me. It is the type of music I would dance to even if everyone in the club was dead.

this is a great mixture of styles. it's more relaxing than I would expect but I could definitely beat something to a pulp with it playing.

that's just great. I like that the snare is low-pitched, it sounds pissed off.

I love the design. and the puzzles vaguely remind me of Lolo, which would be UNBEWIEVABULL! If they haven't played Lolo, they would probably like it.

O.M.Y. is hilarious! they don't look nearly bored enough though

I don't know if there's much love for old-school electropop here but I've been dipping back into YMO lately and I thought I'd share it with ya. http://youtu.be/sGG1pfnAW6g?t=11m6s

this is definitely not a song to relax to. It's more intended to ride imagery from one connection to the next like a comic book. I used the sound of wind blowing through trees as a very quiet pad for many of the sections. I should try making those even louder next time!

I like working with other musicians, I always write music to be played by people I know and appreciate, including myself. 'nuff said.

that's cool. I always wondered what those look like. to narrow the scope, I think of Mr. Bungle's Disco Volante a lot, and it has some tracks that just give me a really empty feeling. the album is also mixed really dryly, which enhances the feeling. http://www.youtube.com/watch?v=jj9CM1_rREE

oh! and an interesting note, that melody at 0:48 was originally played on horn, which almost never uses vibrato. It looks like I'm turning into an old fuddy duddy after all!

thanks timaeus. I think I'm just going to ask our bassist to record that line, I was enjoying it's transparency but through anything other than massive subs it sorta drifts from view. and concerning the shift at 2:36, you gave me a really great idea. I think instead of lazily implying that the character is malfunctioning and dying I will record an entire noise rock section in the same tempo and just bring it in for a few bars. that should relieve the ambiguity that was also bothering me. thanks for the feedback, while I believe that it is actually a perogative to make SURE that people say wtf throughout a piece, I appreciate your thoughts.

what's your bass setup? so preeeeetty :,D this feels like it could totally happen live. it starts off like a Herbie Hancock tune. I dunno the original tune but I like the little fragments of melody in this. the percussion sorta falls apart towards the end, I would use softer mallets halfway through.

Steve Reich is a really interesting composer in terms of dynamics. He can seem really static but then also seem very fluid at the same time.

I see a lot of suggestions in electronic music circles about having things be fat or thick or phat and BIG! I have a lot of favorite electronic music and otherly music which is none of these things. Does y'all have some music that emphasizes lightness and weakness in a great way? I'd like to find more. p.s. I think Dale North's contributions to OCR often give me this feeling.

thank you for listening! pads skurr me! ;A; I normally write for small ensembles attempting to mimic the nature of emptiness, and i try to have as much silence as possible. but maybe I could make a variation of the whole tune with trance-styled aesthetics as an exercise in thickness! and I agree with you on the bass. I normally play my basslines with some awesome 30-year old strings I slap on a fretless to get that wimpy dead sound with more overtones, but Ableton is not my favorite program when using live instruments. and your thoughts on the "chip" sound compel me. I know almost nothing about chiptunes, but I like analog synths, so I went that direction. I actually was starting to toy with a much thinner, weaker synth tone for that character in the story, but perhaps actually using a gameboy tracker would achieve that while adding some interesting overtones. fanx!

this is great! You're using a very nice piano tone and I would love to hear this played on an acoustic instrument. Your hand balance is great and the only thing I could suggest is more dynamic variation to create tension, but that's largely up to how you would like the tune to feel. The whole piece feels very quiet. Very silent like light filtering through a forest canopy.

I agree that you shouldn't worry about adapting to a norm for sound quality, but there are some influences you may want to investigate which I think fall into your ideas that you mentioned earlier. First off, this site is largely composed of electronic musicians, so I think you can take everything with a grain of salt and still get a ton of great feedback. But in terms of bass and recording setup: You may want to check out Ween. They are a band whose first few albums were recorded on very lo-fi equipment on purpose. They adapted to the limitations and their songwriting is deeply married with the functional style of their equipment. "The Pod" is a good example. Music that uses very little bass is abundant. An acoustic guitar in standard tuning goes down to 82 hz, and there's loads of music written with very little use of those frequencies on guitar. Nick Drake is a good example of how someone can use the intricacy of their sonic patterns to compensate for a lack of sonic range. Your bleepy arpeggios in this tune remind me of that. Basically, I think your tune is fun. If you used a tuba sample (or an actual tuba) for the bass it would mimic that bright cheerful sound.

being from a classically trained/hardcore rock background, it took me a long time to wrap my head around the remix concept, I just didn't interact with many electronic musicians. I really like the tone clusters you played from the original halfway through the piece, your piano's tone was a little harsh on them, but they were played very delicately.

In the ever-demanding pursuit of a dream to create Mega Man 2 boss remixes that ever-deconstruct more ever-increasing components of Mega Man 2's gameplay and art style...I have done Woodman. Depending on your view, this tune is played by: robot-gypsy forest creatures, a Baltic folk/chiptune supergroup, or a musical theatre version of Woodman's stage sung and played by Mega Man, the cyber-dog, the cyber-bats, with Woodman as a silent antagonist. HEREIT IS https://soundcloud.com/melodious-punk/wooden

cool! I have always enjoyed this soundtrack though I never played the game. Some of the instruments give me pleasant memories of my days with FL I think it's a very cool remix. there were a few violent resonance peaks in the 2khz-4khz range, but very listenable. thanks!

and it had the word "tube" in the name. sold.

ouch! but if you don't want to spend too much time twiddling, you'll probably get great results by matching presets like Jaxo suggested

there's a lot of other ways to go about this. What is your guitar rig? If you're going for a purely software approach, you can still apply many of the tricks that have been developed over years of complicated pedals, pickups, and amp setups. Fo' Example: If you're using single coil pickups(not recommended for ultra-fuzz:), you can use a noise eliminator to get rid of a 60hz hum, then you have a nice clean, and very bright tone to work with. A single coil tone typically has a wider frequency range than humbuckers, so you then have more sound to eventually contour and distort to your needs. This idea of starting with as much tone as possible, then removing and modifying the parts you don't want is a flexible recording/tone concept. For super heavy fuzzy gain, I typically run bridge humbuckers to the following chain: compressor -> TUBE amp effects loop -> pre-amp modeler -> fuzz pedal (muff sounds are nice) -> TUBE amp gain set high getting the compressor in early isn't necesary though! Putting a compressor after the fuzz can sometimes produce really cool harmonics.

also, if youtube is less preferable for ya, here's a soundcloud link https://soundcloud.com/rvgsymphony/tomo-club-bonds-of-sea-and