(Not mastered)
I know this is not a complete track yet (lacks lots of things) but what's your idea about the arrangement?

Before adding other elements like drums or any variations to the selected sounds I just want to know could you feel the continuity through the parts? You know I've always had problem with the arrangements.



Groove on! Thanks!

 

OK. You have two basic chords, which would sound better with a stronger bass anchor than you're using. That said it's very Steven Segal movie theme, and would benefit from a chord or key change in the 2 bridges, maybe from minor to major (?) to proved an emotional couterpoint.

 

Just my opinion, but I hate the piano sound, foster! Sry. Piano melody is... ok. But prolly the weakest element. I think you could try repeating ur call & response (28s ish) but using (ie) pia & strings and then use strings and brass in the climax / crescendo, maybe coda? U got room to speed up slowly towards the end for super dramatic explosion (irony?) finish. atm it sounds like a super macho, languid countdown timer. Like the news will be at 9pm ish, and read slowly by Jean Claude van Damme drinking a beer! Maybe smoking a pipe?

 

no idea about your further composition, but
1) I definitely hate the buzzing sound and then the harsh metronome click,
2) there should be more bass - not essentially volume, but maybe just some wise EQ
3) piano would definitely deserve at least little reverb and maybe some nice stereo effect (aka haas doubler or so)
4) take your time with dynamics automation, constant volumes and sudden changes make sound too artificial
I like the basic feel of the song, definitely check some music from composer Brian Tyler as it reminds me of him a bit, he made soundtracks for Furious 7, NFS: The Run and other movies and games

 

It sounds like the typical ABAB type form that has been used for so long. There was a C thrown in towards the end to relieve some of the repetitiveness, but it was ineffective for me. I get bored very easily by hearing the same patterns playing over and over. It's so easy to add variation. Make a note go up instead of down, play the pattern in reverse, inverse it vertically...etc etc. And I didn't notice a single pad. They are a very helpful tool to assist with continuity.

Let me guess, you were inspired by Groove3 Producing 80's Synth Pop in Live?

 

There is no continuity problem as long as you actually continue.

 

Thank you guys for supporting me. Until new track would be ready listen to this one:


Be sure all of your lovely suggestions will be considered.

 

Just discovering the meaning of evolving:


Next step is .....

 

Last edited by a moderator: Oct 24, 2016

I'm going to be really blunt here. Too much arpeggiation! Are you trying to get into the Guinness Book of Records for the most notes in a bar?
I see you added some pads, unfortunately you can't hear them over the arpeggiation. The sounds have no depth, as they are really tinny.
Unless that's what you're trying to achieve. In your bid to reject minimalism, you are suffocating your music. It cannot breathe!
Thin it out find some nice presets or samples, that have depth and character, and there's nothing wrong with using them either, as right now you need to concerntrate on arranging, not sound design.
Now. I know this will probably go in one ear and out the next as usual, but at least give it a try.

 

Already devised my friend, already devised....... now what should I invent?

and also lots of them:
www.youtube.com/watch?v=NNqVoDjiVY8

 

FOSTER there is a lot going on in this composition, which in a way is impressive.
What I like is that you progress and respect the pauses to build up and wane.

And since you've commented on my music so positively, I honestly think that your skill is more developed, with more awareness of the structural sense and direction, richer in strategies and tricks.

I wish I could internalise the stuff as you seem you are doing.

 

unfortunately this arp sound is better than anything else in this arrangement, with all respect, level of 12 years old boy using his virtual toys, please work harder and supply us with your next arrangement after one year to see a progress, good luck

 

....and not only. But for arrangement's sake: copy the arrangement of a dozen favorite tracks or so using the following workflow: load the "source" track in the daw, and start creating empty midi blocks underneath. Rename them accordingly: intro, bridge, interlude, chorus A-half1, chorus A-half2, tension, release, breakdown, buildup, chorus B-1, chorus b-2 etc. Be aware of instrument changes, drum pattern changes, accents, fills and so on. Then color them to taste. Then layer your instruments under this empty midi track. Identify what you already have (melody, bass, drums, pads) and place the midi regions accordingly so they match the source.

To answer your unasked questions:
0. Whatever greatness you think you want to achieve as long as you're using a daw to make it, obey to the daw's rules of making music.
1. Don't worry, copying others will not brainwash you into not being able to make an original arrangement in the future - quite the opposite.
2. Don't worry, however great you think your current idea is, your first tracks will suck so hard at the beginning they will be unlistenable but as you create you will have new and better ideas more easily.

And food for thought: the human brain needs a certain level of unknown (chord inversions, different rhythms for different instruments and so on), otherwise it gets bored - there's not a single song without inversions these days. at the same time the human brain needs a certain level of known: drum-fills, crashes, velocity variation. all music from classical to electronic follow this rule, this balance in music is like the balance of N2 & O2 in the air that we breathe.
regardless how you think the music should be, if you don't respect these rules you won't go anywhere. that's why you are asking if there is continuity through the parts because your subconcious is feeling that something's way off (and you're right) - deep inside, your brain needs these base rules and your concious side is desperately trying to break them.

 

well Foster, I hope you will take this as positive criticism coz that's exactly how it's meant. Your tracks sound as if every note has been drawn, there are no changes in the velocity and dynamics and you have too many melodies going on at once. It seems like when you sit down with a drink and 3 people start talking to you at the same time, it drives you nuts coz you can't understand any of them. There is no 'feel', no soul no human factor if you draw your parts, digital 'warmth' is very cold, if you know what I'm sayin'. It has the intention of your cpu, not yours. Music is about touching people by putting every bit of feeling you have, playing an instrument, laying down that vibe. You (hopefully) won't be interested dating a robot either, do you? I hope you can do something with this feedback, again no dissing intended....just a push into a more musical direction.

 

This is an interesting remark,although it seems that people are starting to feel pretty comfortable interacting and assuming computer programed identities, because these identities satisfy your need of attention and vanity. A bit of what happened with the Eliza program, back in time, or what more recently the movie "her" pictures.

I think Foster even being excessive he has managed to communicate where is he dwelling on in terms of composition and he presents the things as exercises, with not a major pretension.


I also think that music (and its standards) implies a lot, but a lot of hard work and contention.

 

my first impression is that i hear everytingh too "dry" for this style! expecially the piano.. also it sound not so real.. (from sound to note.. every note have same power.. you should give him more realism with velocity and expression" .. or maybe i will prefer to choose a more electronic piano sound.. in general this work has a very good idea of starting

 

Chord changes added (someone mentioned this already). It's mostly stacatto. Try some sustain. You didn't want to discuss drums? Drums could help overall, and could help indicate next step. I know this has to do with mix, but the arpeggio seems to be the dominant in the mix. To me that is support. The lead instrument needs to be on top. If you change the mix that way it could actually help inspire more to your arrangement. If a person discards drums and or mix they may also discard possible inspiration for arrangement changes. Nice start.