Musicdisk : Made in Holland
Title : Nuchter
Date started : 23-11-1997
Date finished : 05-12-1997 (Actually not finished due to time-limit)
Author : Vincent Voois (Vv) / P5
Lasting : 1:28
Samples : Croaker, Maz, Yannis Brown
Copyright : (C) 1997 Vincent Voois, General Noise Engineering
E-mail : vvacme@worldonline.nl
GNE-site : http://home.worldonline.nl
P5-site : http://www.groove.org/p5
Hmmz, these were the comments i got on "Bitter Sweetness" in MC5, i will
say what i have done with these to improve my way of sequencing:
Harvey Nelson
Acoustic guitars are well used in patterns. Solo's for instruments are
well placed in song. Bridge is exceptional. Format in channels for
acoustic guitars are perfect. Nice transition out at end.
I understand the fact that the guitar is formally used as being played
like a piano in "Bitter Sweetness" which is wrong, the fact that i'm no
guitarplayer makes that a handicap however i tried to configure the
instrument that way that one string can't sound polyphonical at one stroke
when it will be played and i tried to figure out the way of chording
balances you can stroke on a guitar, this is not easy to know when to
emulate a bridge and when not to emulate a bridge.
If you can play the chord and noteprogression, then i have done a good job
in it.Still, you need at least two or three acoustic steel guitars to be
capable of playing this piece (if the keygrips are not impossible then!).
Andy Voss
Hmm, guitars and trumpets, oh my. The guitars sounded a bit artificial
due to their volume envelopes and lack of variation. Decent control
overall, though.
The ending was a bit abrupt. Could've used a little extra bass or at
least some percussion.
Yeps, artificial indeed, no one plays a guitar with the exact stroke
pressure everytime, i have inserted more dynamical and flexible way of
playing.
David Menkes
Ahh...a harpsichord! Haven't heard one well tracked in a long time.
Quite refreshing. The horns were well utilized. Good modal theory has
been applied.
The only negative I can think of is the level of repition on the behalf
of the harpsichord itself.
I don't blame you for recognising the guitar as a "harpischord", see
Andy's comment why i guess you did so.
Though, i thought the saxaphone sounded quiet like a saxaphone and not
horns. The "repetition" factor of the "harpischord" was because the
somehow arpeggiated noteprogression was meanted for background but was too
much on the foreground which makes the repetive factor a nuisanse later
on.
Benoit Leblanc
A good sunday-type song. A melody easy to remember, it is excellent
overall. The sax sounds realistic.
Well i guess there can be some people totally satisfied with the results.
John Townsend
Not a bad little guitar ballad. Through decent tracking and good
samples, the composer has pulled off a fairly realistic guitar sound
considering that no extended samples are used. However, this song has
quite a few glaring faults.
The leads are rather dull and unmemorable and at times even detract from
the otherwise high quality of the song. Also, NNA's are used very
liberally and to an excess. I played this tune with software mixing
and it got up to 60- some odd virtual channels. When I judged this
song, however, I used my Interwave. It didn't sound much different when
limited to 32 channels, which I suppose is both a good and a bad thing.
Either way, this piece could have been tracked far more efficiently.
Incredibly abrupt and inexplicable ending... All things considered, a
good but flawed effort.
When i arrange my instruments, i arrange them on how they must sound in my
ears and how i have them in mind, because i only have 30 tracks to use and
Impulse Tracker refuses to give me keyboardcontrol in SB-16 mode i can't
test the NNA peak-usage of them in order to decrease the excess
environment of the song so, that's why i try to arrange the instruments in
that way the song would not bother you when it DOES use excessive NNA's, i
compose with feeling and soul and when a notecombination brings me into a
certain mood i like, i try to keep that mood by extending the environment
of the soul of the sound. If i fail to keep the mood, the song will fail.
The way a song ends or is build up suits an opinion in which, i think, you
may not judge any composer, everybody composes like he/she feels (i hope
at least!) and when a song has to go this way or that way then it shall be
so, in that case you have to get used to it or just don't like it but
giving points or withold points for it is not a way i use when judging any
song, i don't tell a painter how to paint as well else it will not be his
art but art determined by many critics, if you have a certain style, you
should develop it and improve that style and if you succeed, you can say
you have made something exclusively by yourself.
With me that is not the case anymore as you can hear several influences of
many artists around. I don't see any own style in my songs anymore,
though i still behave rebellic against people trying to take control of
the "strings" i have on my arms, fortunately people won't be able to
control my mind, in that way i can say "i'm a free man".
Vv.
