Is it a bad idea to give your music context?

[Modus]

When I'm making a song, I have this habit of imagining it's for some show that was never made. It motivates me, but I think it makes me want to do strange things when composing. And then I think that this song makes no sense to people who aren't imagining exactly what I am.

I'll include an example, a WIP. There's lots of empty spaces I plan to fill in but I feel like I've been working on it so long that i can't separate weirdness from creativity: http://tindeck.com/listen/ngfm

So is visual context OK? Or should I stick to just emotions?

[Moseph]

Anything that makes you write good music is okay. Even beyond that, people listen to film music out of context all the time without complaining that they don't understand it, so I don't see any reason to have hangs ups about imagining a visual context for creative purposes even if the listener won't know what it is.

[Modus]

Yeah, that's a good point. But I think it is possible to get involved so far in your vision that musical rules are broken and unorthodox thing start happening.

[AngelCityOutlaw]

Good music is good music. The end.

[Nabeel Ansari]

Yeah, that's a good point. But I think it is possible to get involved so far in your vision that musical rules are broken and unorthodox thing start happening.

There's no rules in music.

[Dissidia]

Good music is good music. The end.

QFT. Nuff said.

[EC2151]

Just remember, if someone says "I don't get this" or "I don't know why you did things this way, because it sounds wrong"

don't just respond with "well, it has a personal meaning" or "you just don't get the personal context"

Because when you post a personal work in a public venue, you have to be open to public interpretation and criticism.

I mean, we all know that, but I've encountered too many artists who write off all criticisms and questions as "Well, you just don't know what I was thinking of when I made this; it's personal" well, you're right, I don't. That's not an excuse.

So when I make a song, I usually either post a little explanation to go with it, or just leave it completely up to the listeners interpretation.

[Moseph]

Also, I don't find the musical example in the OP weird, for whatever that's worth.

[Modus]

Just remember, if someone says "I don't get this" or "I don't know why you did things this way, because it sounds wrong"

don't just respond with "well, it has a personal meaning" or "you just don't get the personal context"

Because when you post a personal work in a public venue, you have to be open to public interpretation and criticism.

I understand some people do that, but I bring it up because what I think sounds good doesn't sound good at all to many others (whose opinions I value) I don't blame the critics, I blame myself and come up with all these crazy reasons why things aren't working.

Like this thread.

OK, I just need to win that Nobuo Uematsu contest, shake his hand, and some of his genius will definitely rub off on me. That's what I need to do.

[Nabeel Ansari]

I understand some people do that, but I bring it up because what I think sounds good doesn't sound good at all to many others (whose opinions I value) I don't blame the critics, I blame myself and come up with all these crazy reasons why things aren't working.

What doesn't sound good isn't your musical composition, it's your production, something less subjective and more of something you study and get better at.

[Moseph]

Has it occurred to you that even if you could accurately convey the complete context of the music to others, they might still criticize it within that context? Returning to the film score analogy, it's entirely possible that I could disagree with the person who scored the film regarding what makes for good music in the film's context. This isn't because we're trying to think of the music in different contexts; it's because we disagree about how the music ought to relate to the context. We might both agree that the scene calls for creepy music, but what he finds creepy I might find comical.

So, are you able to articulate to yourself and others why the music sounds good to you in your imagined context? From a theoretical perspective, it's not enough to say that the music makes you feel a certain way or "fits" a certain scene and expect a productive discussion to come of it. You need to discuss why the music makes you feel like it does, or why the music fits the scene. If you're looking for constructive criticism, your focus in justifying your work to others shouldn't necessarily be in explaining the context to them or simply hoping they'll respond to the music in the same way that you do. Your focus should be first in discussing what reaction you want people to have to the music and then in discussing why you think the music will cause people to react that way. And if people don't react the way you expect, press them for details. They may or may not be able to give a coherent statement about why they react the way that they do, but the very fact that they don't react as you expect at least gives you something to work with, because it demonstrates that your understanding of how people interpret meaning from music may not be complete.

[Modus]

@Moseph: Maybe it does go beyond context. I guess I should try asking people what sort of emotional reaction they felt from my composition. Get a large pool of answers and compare it to what I was going for. I should be able to see patterns forming that point to how I'm not conveying something to someone else accurately. I like to shoot for a beautiful/moving sound in my mixes but I keep falling on the edge of "cheese". seems to be an easy mistake to make.

@neblix: Dude I know.. I knowwww...

I'm trying so hard to get that crisp sound everyone else can do so easily. I hate to say this but.. I feel like there's something wrong with my sound drivers or some shit. I don't know what else to do, nothing sounds close to crystal. It's just mud and GGGrrgggrgrbbblerg fffffff

That's what it sounds like.

[Nabeel Ansari]

I'm trying so hard to get that crisp sound everyone else can do so easily. I hate to say this but.. I feel like there's something wrong with my sound drivers or some shit. I don't know what else to do, nothing sounds close to crystal. It's just mud and GGGrrgggrgrbbblerg fffffff

That's what it sounds like.

Pro tip: your listening equipment has a huge impact on the sound.

What do you listen on?

[WillRock]

I recently did an original album of music which was make to play with scenes from the 1950's alice in wonderland animation film, but I released it as an album without that context anyway... and you know what? People dig it all the same afaik, so I wouldn't worry about it too much.

Besides, you don't have to tell people the context you see your music in if you don't want. Ignorance is bliss.

As far as i'm concerned, you should make music for yourself, and do it in your own way, and if you like your own music the way it is and the way you make it, then screw everyone else. If they like it then great... if they don't then they aren't worth it.

[Modus]

I listen on some mid-end earbuds, neblix, cause I figure most people use these to listen.

I'll have to check that out, Willrock. And yah, make music for myself. Tis true, but I find it a lot easier to write or make videos for myself for some reason. Music has always felt like half work, half play for me. No idea why.

[Moseph]

@Moseph: Maybe it does go beyond context. I guess I should try asking people what sort of emotional reaction they felt from my composition. Get a large pool of answers and compare it to what I was going for. I should be able to see patterns forming that point to how I'm not conveying something to someone else accurately. I like to shoot for a beautiful/moving sound in my mixes but I keep falling on the edge of "cheese". seems to be an easy mistake to make.

And I should clarify that by "reaction," I don't mean only emotional reaction, although that's certainly included in the concept. I'm speaking about the sorts of things that tend to come up in WIP threads or discussions of music in general. If someone, for example, says, "The melody doesn't work with the harmony" or "The low frequencies are muddy" or "This makes me feel all tingly inside," that's a reaction. In a perfect world, you as a composer would know everything about the music you write, including how everyone who heard it would react to it, but in reality it's impossible to know everything. One of the ways composers improve their skill is by familiarizing themselves with the various ways that people react to music (and to sound in general) and trying to understand what elements evoke those reactions in people and how to reproduce and combine those elements when writing music.

From a mixing perspective, for example, anticipating people's reactions means knowing what makes a good mix. It means being aware that (some) people hear, say, mud in the low frequencies, and knowing what this mud sounds like, and knowing the ways the low frequencies can be changed to evoke different reactions. More easily said than done, obviously, but the first step is always awareness. Even if you can't predict how people will react to what you write, you should always try to be aware of your own reasons for doing things. Why am I writing a bassline that leaps around? Why am I EQ'ing this flute? Why does this guitar's distortion sound good to me? That sort of thing.

EDIT: Don't mix on earbuds. Check your mix on them, but don't actually mix on them. They don't accurately represent the frequency spectrum which makes it really difficult to make good mixing decisions. You can get entry-level studio headphones for under $100. I've heard a lot of people recommend the AKG K240 as a good inexpensive model.

[Nabeel Ansari]

I listen on some mid-end earbuds, neblix, cause I figure most people use these to listen.

This pretty much explains all of the problems I've heard with your production. You need some good headphones. Save up $80 for a pair of AKG k240 headphones, a lot of people recommend them and they get good mixing results. I bet you the minute you hear your own stuff on those you will be in shock. Trust me, listening equipment is really important, because you have to mix and master with an equal frequency balance and make sure things aren't too hot, too wet, etc. When you mix and master on ear buds (not even headphones, dude?), I mean EAR BUDS, you won't be able to hear half the problems that people are trying to tell you to fix. I don't think context of all things is the main issue with your music.

You don't even need expensive mastering headphones if you're just a hobbyist. I mix on Sennheiser 202s (good quality, thumping bass and they're $30) and these REALLY color up the bass sound, but I've learned to compensate by adding extra bass to my mix so flatter sounding listening equipment will hear a more equal representation. I also ask my buddies on AIM for production advice.

[AngelCityOutlaw]

This pretty much explains all of the problems I've heard with your production. You need some good headphones. Save up $80 for a pair of AKG k240 headphones, a lot of people recommend them and they get good mixing results. I bet you the minute you hear your own stuff on those you will be in shock. Trust me, listening equipment is really important, because you have to mix and master with an equal frequency balance and make sure things aren't too hot, too wet, etc. When you mix and master on ear buds (not even headphones, dude?), I mean EAR BUDS, you won't be able to hear half the problems that people are trying to tell you to fix. I don't think context of all things is the main issue with your music.

You don't even need expensive mastering headphones if you're just a hobbyist. I mix on Sennheiser 202s (good quality, thumping bass and they're $30) and these REALLY color up the bass sound, but I've learned to compensate by adding extra bass to my mix so flatter sounding listening equipment will hear a more equal representation. I also ask my buddies on AIM for production advice.

I used to only have headphones. It sounded great but when I popped it into a stereo or something. My head almost exploded from bass overload.

[Modus]

Alright, I can manage $100. I swear to god, if my cat chews up the cord... I've lost 1 pair of earbuds and 1 headphone to this cat.

[mickomoo]

I believe music adapts a context once you supplement it with external content, which all artists do (genre classification, name), it's just that some artists chose to provide more information than others. If something comes from your heart then I think it's important to let that context define what you're making, it's the reason you create. That said, everyone views something differently. I feel what you're saying though, I'm a beginner and I haven't quite taken this craft seriously, so in the name of context I've made structural decisions that are quite weird to many people and cool to others, so when I want feedback for something other than production I have to keep that in mind. In the end I think it comes down to your audience, though a musician who places his/her work in the broader public eye should be aware of what any audience wants to hear and thus write something that is potentially capable of transcending its original context. Even so, unless this is your living, you should write things that first pleases you. After all, that's how new styles and genres, and new ways of thinking are born.

Also for the cat, try bitter apple spray (they usually hate the smell, except for my stupid cat, he grows resistance to everything we've used to deter him) or wrap your cords in substances that feel funny. Something like tinfoil I think...

[SnappleMan]

There's no rules in music.

But there ARE rules in grammar.

[Nabeel Ansari]

But there ARE rules in grammar.

You got me there. I noticed it too, but I felt like it was too trivial of a mistake to be an issue.

[Mak Eightman]

I'm trying so hard to get that crisp sound everyone else can do so easily. I hate to say this but.. I feel like there's something wrong with my sound drivers or some shit. I don't know what else to do, nothing sounds close to crystal. It's just mud and GGGrrgggrgrbbblerg fffffff

That's what it sounds like.

Dude I joined OCR almost same time with you, I had Athlon 855hz, 256mb ram. I used windows's sound drivers and mic-in of mine comp. Yes I had some vsts and electric guitar. And with this kind of stuff I joined to one of the OCR's projects.

I'd noticed that any thing I do sounds sucks, anyone can do better.Now I have better stuff to work with, but nothing changed. I still think I'm doing worse then others.

Whatever you are doing, no matter how good or bad it will be. Thou shalt strive for the best. IMO.

Btw, your mixes sounds cool)

[Modus]

I'd noticed that any thing I do sounds sucks, anyone can do better.Now I have better stuff to work with, but nothing changed. I still think I'm doing worse then others.

Whatever you are doing, no matter how good or bad it will be. Thou shalt strive for the best. IMO.

Seems to me you're saying that we'll never be completely satisfied with our work, and I get that BUT... Others, including neblix, have pointed out to me that I need to work on my production quality so it's not just my perfectionist complex.

Btw, your mixes sounds cool)

Thanks dood.

[AngelCityOutlaw]

Seems to me you're saying that we'll never be completely satisfied with our work, and I get that BUT... Others, including neblix, have pointed out to me that I need to work on my production quality so it's not just my perfectionist complex.

"The life of a musician is a pattern of uphills and downhills until the uphills end."

One of the greatest things about music in my opinion is that perfection can never be obtained. Whether it's in composition, performance or production, we will always be able to find areas in which we can improve. It's those who stay on the endless, bumpy road to perfection that seperates musicians from those who just want to play rockstar.

There's times everyone wants to just throw in the towel though. I've thought about it sometimes. But then I think.....what the hell would Duke Nukem say?