Jung (I've come undone)

  • I like this a lot and it's not my genre. LOL.


    BTW, looks like I dialed up a pretty good death metal profile with some really good Ola "Will it chug" tone. I just have to make the track sound more death than heavy. ;) I might do that mix next.

    The more you find what Kemper can do then the harder you try to find what it cannot do -- like make a good cup of Frappuccino.

  • Thanks Monkey_Man but not really far enough, I’m still mired in mediocrity. It’s like I picked up the guitar, got to where I am now a year later… and have been stuck at here for the past twenty :(

    I hear you bro'.


    Here's the thing 'though:

    Unless the goal is to become the next big-time shredder or whomever, my advice is to "ignore" what those guys are doing. Measuring one's self against virtuosos has diminishing benefits as one develops.


    You start out inspired by those guys, and sure, you can continue to derive motivation from them, but once one's found one's voice, things tend to settle there.


    The trick from that point onwards, IMHO, is to explore the myriad, mathematically-endless permutations and combinations that're presently available to you now. Therein lie endless possibilities, brother. You've found "Per" so you can cease chasing Per-fection now and focus, as you are, on extracting the most you can from this level of on-tap expressibility. You now have the tools to make things happen, so in-theory, if you can hear it in your head, you can find a way to express it via the means you have at-hand. If you've got to pull off fancy editing tricks in order to overcome small-finger-athlete constraints, you can do so, but I propose that over time and already at this point AFAICT, you're seeing the futility of those endeavours. It's a rare song that demands athletic dexterity, and the few that do can receive the editing treatment I spoke of.


    Just my lowly 2¢ worth, brother. This need not be a frustrating time, but rather, one of excitement brought about by possibilities.


    IOW... go you good thing Per! :love::thumbup:

  • Thanks waraba wish I could play like those guys. I don't know much Zappa but I know people that saw him at the Albert Hall and were blown away, and of course the musicians around him are also legendary. Something to aspire to :)


    Thanks for the very thoughtful post Monkey_Man . I hear you brother, but it's hard. Of course I want to excel and be at the pinnacle of musicianship at least in as much as I can be. I've always been both blessed and cursed with a drive that puts me in constant competition with myself and makes me a bore 5 minutes into learning any subject. I can't just do something, if I commit I have to go stupidly too far in.


    But the bigger issue isn't just my own technical limitations (which are many) but my artistic ones. To me great music is about communicating something, about an iconic motif that haunts you for days as an ear worm, about something that tethers you to your past and motivates you for the future. I'm stuck in pleasantville, music that's just so mediocre it's inoffensively pleasant.


    As you're aware there's a term in all of the arts "nice" it has a special meaning here, when someone says something is "nice" they don't mean it's good, quite the opposite. It's f*****g atrocious and something you'd put on a refrigerator as an example of what the kids did as a cautionary tale, it's pleasant and inoffensive and takes no risks and is bland and safe and didn't require real design or artistry, but is in fact cookie cutter. It's also where you get all that weak design and art, where people don't fully commit, don't elevate to the next level, it's not even good enough to call out the details of what's wrong and needs to be elevated to the next level because the whole thing is so bad you just don't know where to start...

    ...that's where I'm at. The valley of suck.

    It might be the only way out is to start adding vocals somehow, as that's often the real communicative element. But I also feel like beyond that there's just a lack of detail, contrast and worst of all a lack of originality that needs to be addressed. It's at that point here I can see there's something (or a lot) wrong but just don't have the critical facility to figure out exactly what and how to fix it.

  • Firstly, many would say you're too-hard on yourself. I won't 'cause I'm equally-as-guilty, but there's that...


    For now I'd try what I did way back when when I was writing with MIDI alone (last time I wrote actually but that's a long story):


    Use a simple mono-synth tone like a low passed sawtooth wave (no resonance) to represent lead-vocal lines. I used ROMpler "voice pad" patches to represent backup-vocal lines.


    I toned down the lead-vox patch so that I could listen to a song and imagine new lines or development without having an interim melody screaming at me as a distraction. Worked for me so I'm happy to recommend trying it. This alone may well take you to that next level you keep thinking about.


    Whilst listening to this you can jot down lyrics to fit those lines if and when they pop into your head. The interim-vox lines, especially in-context with backing chords, are far more-likely to fulfil that "iconic motif that haunts you for days as an ear worm" aspect you speak of than a bunch of chord progressions.


    Come next year some time I may be able to help you complete the pieces with some real monkey squealing. :D