Advice and feeback seeked: redirect - number 10-04


I kindly ask for your feedback and advise on how to develop the song attached. I would like to further it’s basic idea but somehow I am out of good ideas and feel stuck.
What do you think about it, what would you change / add / remove?

Thanks in advance for any critics!

I do not completely understand your view of making music. Creative expression by asking others?
However, since you kindly ask, I’m going to give you a one millior dorrar review.

First, I will write a part about what you can do without even listening to your song yet. Then, I’ll take a listen and maybe comment on it.

Harmony in music is very important in most musical genres, so that all tones sound together with each other and have “related” frequencies… So are dynamics, relations in the difference in volume levels, between seperate parts of the song and sounds after and with each other in the song.

Harmony makes making music more limited than it seems, and it is very advisable to practice and read yourself into scales/keys, chords, making melodic variations on a certain scale, making bass grooves with silence (rest) in between, and making chords relate to the bass foundation. You will find that you can only use 12 semitones on a western equal tempered instrument, of which sometimes only 7 different tones in a scale are used to create chords. That are the foundations of which you could even “randomly” try to make progressions of; it’s not that hard to find a chord sounding well next to another one if you know what scale/key you are playing in and you know the notes in the scale/key. Read more on and OpenCourseWare of on topic “Fine Arts”.

Dynamics are not that limiting to your creativity, but may be just as worse in importancy as harmony, can completely ruin a song if wrong, and it has to be crafted with a “certain principle of logic” and be a logic part of your music. Sounds can question-answer each other after each other, (short) silence is a big part of making music correct. Equalizing and filtering sounds that are in the bass and present low mid and the mid, the loudest achieved by ear design 3 KHz or the high can give a total different perspective of its sound when you equalize/filter them just as you would like to hear them, in parts or over your whole song. For over longer time, make automation fading in / fading out with the tracks, or in play in different strokes/levels/presses/pushes/? over time when recorded from live input, and add sections of songs that have a different “level” in perspective of the listener or a difference between the certain parts of a song. Even breakcore has its breaks sometimes. You can achieve a “meisured” level of constant -0.1 dB with flattening limiters/maximizers, but the listener will still mostly require to hear a difference in parts of a song.

So, when you know all these things, why would you want us to tell you that you can make a 1-4-7-8 scheme?
It’s a matter of creativity following a little principle within yourself. If you would try to apply any tips given without knowing the basics behind it, it will be a difficult time for you making music. When you understand some basics of music theory, its more of a creative flow than requirement of changes suggested by random internet users or other producers who may not be as skilled as you would like them to be.

I’m going to try to listen to your song now.

I like the sounds used so far. The non-ticking hihat is a bit too sharp high. There should be more melodical variation in most parts. Notice, that a melody that goes below as well as above the “foundation” note is received as more dynamic. I’m missing a short hit/sound (clap? snare? rimshot?) on each 2nd beat to make sure I’m dancing to something.
Also, the beats are a bit undistorted to my personal liking in this tempo. Not that you should just put distortion on the beats, but some little distortion layer may be nice. The mix of the sounds is quite okay, especially the instrumental section sounds good. The drums still need a lot of work, it’s only 3 samples with not much variation.

Please figure out what books people use in your native language to learn music theory. Read the manuals of effects and synthesizers (which you use), and Renoise. And stay at it. Keep trying and trying, because that’s the only way you will ever get better. And do not take music by theory, it’s always music, sound, people can listen to the end-product, some theory may help though. A lot.

Maybe listen to for inspiration.

Now, go practice some science! *(music)

EatMe out.

Wow … such a long time and such a good answer. If you still listen to this thread: BIG THANK YOU!

For talking about music theory in general AND for taking the time to listen to my track.

Some years have passed, some real life happened and I am still into making music. I started to read about music theory - just as you suggested, though independently since I wanted a deeper understanding - and I am happy to do so.

Now I get a glimpse of what kind of trivial music I was making five years ago. Not that I make much better tunes now, but I certainly have a much deeper understanding of whats going on. It has been a long way and it was easier to learn some french, but I managed to get some basic understanding of the language called music.

So to anyone reading this: read about music theory. Use the Ravenspiral Guide to Music Theory or read what I am reading from Michael Hewitt: Music Theory for Computer Musicians - they are worth it. Educate yourself and you will improve.

I am still reading the topics notifications.

Thank you very much for the important answer: Educate yourself and you will improve.