Absolutely.

I had to drop my tempos just to be able to play and actually process the music i was making.

found it much easier to write, play, and enjoy the music i was making.

Reggae and funk is a good example of utilizing space for the entire idea to develop into a cohesive sound. bits and pieces floating in and out picking up and supporting one another.

I'm starting to get a feeling that you're the type of person who doesn't like change, which I guess is all right, but probably not the best attitude to have when we are living in a period where change is a daily. Especially when electronic music is basically the definition of change. If you didn't have a stick shoved up your ass, you'd be able to appreciate the fact that people like country enough to try and bring it into the modern world. You even said it sounds good, but your mentality doesn't allow you to enjoy it. I honestly, don't see how this is disrespectful to your "culture", no one is saying "kill the hillbillies!" or "fuck country music", people are just making something new that they think sounds good. If you can't appreciate the fact that people like country enough to bring it up to date, then you're just going to be angry forever. I am not a fan of country music, but the stuff BURNT. makes is really good. Hate me for liking this "watered down" stuff, but it's good and nothing will change that.

el oh el

you need to get better at interneting and reading beyond before you use words and have such a stuck up opinion. (watch that you'll make this the center of your next post)

I really don't care about the modern state of what is modern music, mostly because it just lacks character when you compare it to things from the past.

If you don't have any thing else to compare it against, then you have a bias against nothing so then how can you validate your own opinion? where's the rigor in your thinking process then?

The one thing i've noticed in my study of music and it's history is the down fall of musicianship, where the production has increased. Perhaps there's a correlation in that statement, but we'll leave that to the scientists and people who might find that research interesting.

You obviously seem pretty butt hurt about my opinions more than i seem angered.

Me not liking change has nothing to do with any thing. I am majoring in engineering, if i didn't like change or progress, i'd be fighting an uphill battle with the very concepts that people are trying to break on a daily basis to improve the world we live in....soooo don't even go there lol.

And your reasoning as to why i said the things i said are not even remotely close to an understanding of a tradition that you know of the self.

I rest my case, as you've basically ended the argument that you're trying to make by not knowing what else is out there. This conversation will eventually spiral  into misunderstanding and unkind comments if you decide to progress.

Quote from: Marrow Machines on March 03, 2016, 06:34:37 pm

I highly doubt mozart went on over to the orientals and just hardly listened before coming up with his version of their music.

From what I understand, "Alla turca" was the "Hey brother" of its day: https://en.wikipedia.org/wiki/Turkish_music_(style)
Composers added Turkish-sounding percussion to their works because that was what people wanted to hear.

Quote from: Marrow Machines on March 03, 2016, 06:34:37 pm

Like it's cool that people are experimenting, it's just kind of a touchy subject when you want to use other people's culture at their expense if you don't actually know how to be utilize those influences.

This is exactly what I hoped you'd explain! Why is it at their expense? What do the people from the US lose when Avicii decides to write a house-country tune?

1) the time spent analyzing was the concept you've missed, and the message i wanted to take away. it has nothing to do with the flavors of what people may or may not wanted to hear. But the understanding of taste and application of that particular perspective in the music their audiences enjoy is what i was getting at. would you use a tool you knew nothing about? probably not, you'd use it at a more masterful capacity once you've learned and understood how it works and how it should and shouldn't be used.

2)I don't care what avicii and modern country does, that's not remotely close to what i am talking about. This is more about ancestral integrity and understanding what your very own roots are to create something interesting and cool. not to mention the respect you'd need to utilize a different perspective properly.


Once again, my first post was about the potential of abuse when it comes people's heritage. This about traditional folk music and the fusion of a modern context. Not popular music, you people can't seem to discern the difference between the two.

Read them carefully and take them into consideration. That's all.

If someone took the time to leave a comment on your track, they either want to see you improve, or think you're doing fine already.

I'd say this.

You're going to get your balls or ovaries busted either way and at some point you should almost seek that to get better.

My problem with the internet is the inherit disassociation of human feelings, and the lack of body language often makes the text messages easy to misinterpret.

You might have to find meaning in the words they chose, more so than the words chosen for face value. But you should be able to discern what is good comments and what is not worth you time getting stressed about. 

Still busted bro, you can also modify posts as well rather than keep on reposting....

There's a difference between making a clever new fusion, and adding "spice". I don't make "oriental symphonic dubstep", after all. And nothing's wrong with that.

I love throwing in ethnic/exotic instruments, but only if it's still with in the confines of the sound i am after.

I make sure to listen to the instruments in it's proper context before I try to throw it in there, a certain amount of respect must be paid in order to use it well.

*edit* most pop music now a days literally sounds the same and can be used for just about any thing it seems like.

It's tough to discern authenticity and a genuine pursuit of the sound you're after. Folk music came from people's lives and their way of life.  Businesses want to put a friggin price tag on it and make it accessible for consumption.

There's life in old music, it's tough to see life in the new pop music. The hardship of the individual isn't that much different even though times have changed.

But like i said, people gonna people.

So maybe I should go by the tenant of "if it sounds good, it is good" rather than thinking there is a correct "way" to mix?

The tip about doing EQ first is a good tip, thanks!

And sorry to potentially cause confusion, I don't have a limiter on any individual tracks, only on the master channel. It seems to me (correct me if I'm wrong) that limiters might have more to do with the mastering part of the track, rather than the mixing phase.

You need to do more research and develop your way of mixing while understanding some of the more scientific, creative, and mindsets of the mix you want to make.

there's is a correct way to mix, and that's more technical, science, physics, and math stuff. But the level at which most people operate they hardly know enough about that because they just use their ear and they have an understanding of what it does when they hear it.

I don't trust things at face value and i almost always treat my sources before i do any mix eq, mostly because it helps give a better sound if i do it before any other process.

You'll eventually know when you need to do things after you've eliminated variables of the problem.

It's tough to talk about a mixing conversation outside of having a true 1 on 1 conversation and read about it and have discussions about what you've read with other people.

Sounds like I need to work on my mixing abilities, which I was pretty sure was the case haha.

Although, I'm having trouble, conceptually, understanding the process of how to mix properly. I know that it's mostly about EQing, compressing, and using limiters to make all of the elements sound good together,
 

I am going to attack this personally and say it's not those things specifically.

Some concepts are correct but you're mistaking volume balance, panning, stereo image control (ie width, mono vs stereo) to be more important than EQ, compression, and lord have mercy the limiter.


After you get the volume balance, panning, and stereo image control, i'd suggest you eq first then see if your sound needs compression. I wold stick to that process pretty religiously.

You don't need a limiter on almost ANY of your tracks, and if you do, you need to reconsider it's input gain or turn the channel down. You'll loose so much character from your sound source if you think that strapping a limiter and cranking the gain/volume will make it sound good. No, that's how good sounds die early.


You also need to take on what mindset is needed to accomplish a mix. The technical skills in the world is great, but if you don't have a guiding hand in your process then all your understanding is straight down the pisser.

The philosophy you acquire will help you make creative decisions, tough or not, when making the mix, making the song, and eventually leading you to making the vibe and emotion of the track.

PM me if you have any questions about all that.

Thanks guys.

I was just wondering in comparison to what you do to actually master and from a  bedroom master.

I work so hard on my mixes and if i were to do any thing with the master it really ruins any thing that i've achieved in the mix. I really only want to raise my average volume. But not to loud to where my limiter is activating all the time, but at a decent loudness that's comfortable.

Seems like I am walking that path, I may need to get things professionally mastered to see what my next step should be.