09-07-2014, 12:12 AM
Hey Juan, it's been a while since I commented on you work last, so now I correct (and apologize) for that oversight.
First of all, it takes a lot of courage to tackle something like this. This story is epic in scope, and while its challenges in isolation aren't extreme, weaving each movement into a cohesive symphony is the ultimate challenge, and this piece is unique to the forum in this way... So really, much praise for having the balls and the patience to work on this.
My main comment is that I feel you may have approached this much the way a mix engineer would approach a normal electronica work... My advice should you choose to take another look is to think about this one less technically wherever you can, with exception to Dave's excellent point about to bass congestion. Be bold and do things you'd never imagine doing in another song... Big reverbs, absurdly big dynamics, spacious panning (who's ever going to hear this in mono??)
Imagine a story... I launched, drifted in the depths of space in my capsule, encountering strange phenomena and even stranger technology until I entered the omega cluster (where the drums enter)... And upon landing at the colony, was surprised to find it in ruins... I escaped from the capsule and watched one of the few surviving colonists gunned down. Maybe it's what APZX was after, maybe not, but it provided me with a narrative to guide the transitions between sections and to create the spacial depth for each situation I encountered.
Visualize the story the music is telling and it will guide you in making emotional decisions and a seamless, unified work... Much like Night On Bald Mountain tells the story of a witch's sabbath, summoning the demon chernabog with sacrificial rites, so must this symphony tell a story that APZX has graciously allowed us to interpret.
Your work is excellent, I just personally feel this mix needs to be seen less as a song and more of a series of movements that each encapsulate different aspects of the listeners journey.
Now I'm the one making spherical comments...
First of all, it takes a lot of courage to tackle something like this. This story is epic in scope, and while its challenges in isolation aren't extreme, weaving each movement into a cohesive symphony is the ultimate challenge, and this piece is unique to the forum in this way... So really, much praise for having the balls and the patience to work on this.
My main comment is that I feel you may have approached this much the way a mix engineer would approach a normal electronica work... My advice should you choose to take another look is to think about this one less technically wherever you can, with exception to Dave's excellent point about to bass congestion. Be bold and do things you'd never imagine doing in another song... Big reverbs, absurdly big dynamics, spacious panning (who's ever going to hear this in mono??)
Imagine a story... I launched, drifted in the depths of space in my capsule, encountering strange phenomena and even stranger technology until I entered the omega cluster (where the drums enter)... And upon landing at the colony, was surprised to find it in ruins... I escaped from the capsule and watched one of the few surviving colonists gunned down. Maybe it's what APZX was after, maybe not, but it provided me with a narrative to guide the transitions between sections and to create the spacial depth for each situation I encountered.
Visualize the story the music is telling and it will guide you in making emotional decisions and a seamless, unified work... Much like Night On Bald Mountain tells the story of a witch's sabbath, summoning the demon chernabog with sacrificial rites, so must this symphony tell a story that APZX has graciously allowed us to interpret.
Your work is excellent, I just personally feel this mix needs to be seen less as a song and more of a series of movements that each encapsulate different aspects of the listeners journey.
Now I'm the one making spherical comments...
I'm grateful for comments and suggestions. Thank you for listening!