[Italo disco] Come to me (mp3)

[Oliwerko]

A three day's work; this eurodance track is the third in series of such pieces. Based on the same principles, it's again a step forward in all fields.

Most notably, compression was used properly for the first time, with the expected benefits. The drum track (or more accurately - a whole lot of tracks) is pretty rich, as the hi-nrg drum tracks were.

Maybe it doesn't really sound that great, but I learned a lot on this one; particularly in the field of EQing and DSP.

I wonder what's coming next

February the 12th, 2011.


http://oliwerko.ic.cz/Music/Come%20To%20Me%20(Edit).mp3

[wandering genie]

I´m listening to the track. It sounds really good to my ears. It is a catchy tune 

Oliwerko Said:

but I learned a lot on this one

That´s the whole idea of making music. A process of constant learning. One learns making music and also listening to music made by others.

Maybe you could talk a little about the process of composition you followed 

[Oliwerko]

Thanks for listetning and commenting!

You're right about the process of constant learning. Speaking about listening to music made by others, there is a lot of that behind this particular track. There's a lot of research of 80s italo disco tracks by a producer by the name of Michiel Van Der Kuy. I've done research as to which instruments he used and used these in my italo compositions, which gives them the same sound.

As for the process of composition I began with the drum track and laid the bassline. Then I just kept on adding melodies to the already-made progression. Nothing hard, the song's simple really. Percussion/bass solos and the intro is only a matter of cutting out some tracks. The most important thing for me was to keep using the contemporary equipment (mainly Juno-106 bass, Ensoniq ESQ1 synth leads and linndrum percussion).

[Harbinger]

Notes as i'm listening:

First struck by the synthetic packaging, but the song structure is better than amateur. Very good rhtyhmic progression and instrumental progression. Reminded of early 90s retro timbres, layers, and FX -- basic and unembellished. Hell, it sounds like the stuff i was doing 20 years ago, but more dance-oriented. I would urge the composer to get off the often-traveled superhighway of box programs and MIDI instrumentation. Other than that little criticism, this is well-done, and i'll think i'll keep this in the rotation.

[Oliwerko]

Thank you for feedback!

What would you suggest as to getting off the highway of box programs and MIDI instrumentation? I feel that I developed some habits which are hard to break...

[Harbinger]

First, if you're using GM-based samples or instruments, stop it!   Consider using other samples for your personal projects, or learn how to pass whatever samples you use thru FX plugins that alter the timbre (flangers, bandpass filters, etc.). I get the impression, however, that you know how to use plugins. Normally you want to use these "box" sounds when you're composing tracks that must be used by other MIDI players; avoid them for your own music.

Second, learn the art of timbral shifting. Read my article here, especially the paragraph on timbral progressions, to get a better idea of what i'm talking about. Timbral shifting is the quickest way to modernize your sound, but requires a little technical skill to employ it. Basically, this entails morphing the timbres of your instruments, either slowly over time, or in different musical clauses or sections. Run a melodic line (maybe with a little variation) thru a different or morphed timbre than the original line. Trackers i know that use this method innately: Xaphoid/Zaphoid, psishock, solo. Find their work here or at traxinspace.com. Listen to how their instruments seem to become other instruments over the course of a stanza or line. If you use VSTi's, the work can be done for you. If you use samples for your tracks, you'll hafta do all the work yourself with FX commands.

Third, EXPERIMENT. Intentionally try to compose tracks that are nothing like what you would normally do or maybe would even want to hear. You'll find yourself teaching yourself about how to translate what's in your mind's eye (ear?) into a song. This is the art of Art. And force yourself to compose without considering what other people would think, as if you were all alone in the universe, and the piece would have no impact on anybody. That's the hardest part for most artists -- pulling away from the perceiver's viewpoint, and giving birth to an idea that does not rely on perception to exist. Think about that, and let your imagination roam freely. At some point, you can put the reins onto your imagination and learn how to guide your inspirations to their best realization.

I know this may all sound esoteric and metaphysical, but this is usually the route the greatest artists follow, even if they're invisible to everyone else.

[Oliwerko]

Thanks for specific guidance. I thought that you meant this, but wanted to have it confirmed anyway. I use plugins (no GM in fact) and don't use samples at all, except percussion and some specific sounds. I guess I'll just have to have some fun with filters, oscillator sync and such.

I'll definitely read the article, thanks for the link.

The experiments you mention...yeah, I've done things like that before in a very small scale. But I have yet to unleash myself completely into unexplored areas, for I still feel that I need to learn more before doing this, and moreover...am a bit lazy to do so, to be honest.

But I think I am on the right way, and most importantly I am enjoying the ride

Thanks again for kind advice, it really helps me progress.