- Music Producer and DJ making primarily progressive and tech house but like to dabble in a bit of breakbeat. But it's all about the music, i don't discriminate.
- Leeds, England
Hey! It's funny you mention games - I can actually see this working in a game - it has the intricacies, the detail and the energy which all feels quite "arcade" to me. I can definitely tell you've improved too - it's really nice to hear. There's lots happening in this track - and there's lots of stereo width - I am getting things coming from all angles, which is really interesting. I think the structure-wise this has the nice break-down in the middle, but I'd consider getting more experimental with that side of things. Drop the track right down to just a bassline and low-passed sounds, or just a hi-hat and bass or something like that - you have lots happening - but I feel like after a while it's hard to single-out one sound over the other - it becomes a sort of blend of everything. Energy-wise the track is good, but it tails off a little towards the end, there's not so much in the way of drama, or tension. I once got told that it's nice when tracks tell something of a story - so you may wish to try and incorporate that into it - but it's going to depend on the use of the track really - this may work well in a club somewhere, but less so for home-listening. Sound-design-wise it's fine, and the mix also sounds fine to me - I guess now you need to find a way to inject a story, or drama, or some soul into the track. Also - it may be worth considering key-changes and maybe more melodic elements - that's my personal preference talking, so it might not be your thing for this stuff - but I sort of felt myself wanting a change in pace, or change in tone after a few minutes. Hope this helps!
The intro sounded pretty solid - all the elements seem to work well in the mix, and no real balance issues from what I can tell. Nice use of panning left and right for some elements too. I'm not entirely sure without a spectrum analyser, but if your sub/bass is in stereo - it might be worth cutting that down to mono. My mastering engineer often call me out on that - it might sound nice on headphones, but I believe it's not such a good idea. I think by about 2:50 ish I was hoping for something in the way of a high-line, or a melody of some sort to come in. The breakdown at 3:11 felt a bit clumsy - like some odd fading issues and then the acid mid-line that comes in feels a bit loud, and maybe a touch unprocessed - Also, the way it pumps, makes me think it's being compressed against something. The line at 3:48 ish I'd have maybe brought in a little earlier - but if I'm honest, I have a tendency to get impatient with tech-house/prog-house these days, since when I'm DJing, I'll want to mix the next track in sooner than later, and then you miss the good part of the tracks. Your track is actually quite busy - and this is a pitfall that some producers come across - it's very easy to add and add to the track - layer upon layer, and often if it fits then the assumption is it will work - but often just because you *can* do something, doesn't mean you *should* :) - less is sometimes more, and especially when you hear the track on a HUGE system - some of the elements might get lost, and then it becomes more about spending longer tweaking and processing the sounds you have, instead of just adding more. So with that in mind, I'd want to probably remove a few of the elements (at least from time to time, if not everywhere) - and make more of the melodic elements - look at utilising some more reverb and delays for the higher elements - you can create the illusion of space with some well placed reverb - in fact you can even use reverb to place things differently in the mix, which can be quite useful. If it were my track, I'd take out the acid style lines, and look at the melody closer - I'd maybe simplify the drum pattern and percussion and work on making that shine too - getting all the sounds really crisp (EQ everything - not drastically - but as a rule, you want to be cutting down on frequencies that you don't notice in the mix - and the EQ will help you space things out on the spectrum and get things sounding crisper - just remember to be gentle! hehe) I'd also likely go deeper on the bass and look at areas with way less elements - but to be honest, I"m not a prog-house producer, and my productions often have parts where things get almost silent! Your track here is obviously much more orientated towards club/mix use. The last thing I'd say - which I feel I often say to people, is the track is lacking something unique - and this is a hard one to grasp and explain, only because it's quite intangible - it's almost not even something you can *do* per-say - but basically if somebody was to do a blind-test and listen to this track (assuming it was mastered and polished up ready to go) alongside another progressive house track - how would somebody know it was *yours*? Where is your uniqueness, your signature sounds - some of the best producers (the ones I was familiar with anyway) had a certain sound - I could tell an early-era James Holden remix or a Luke Chable remix from a mile off - they have something that is distinctive. Now, this may be something that just comes with time - I'm told my tracks have my signature throughout, but I can't necessarily pinpoint it, or hear it all the time - but others seem to be able to - so it's going to be hard to put into action - but it could be recurring sounds, a favourite synth, a particular way of programming drums - but ultimately, the bottom line is the track needs to stand out (without being crazy or bonkers of course) - but enough for people to think *I NEED THIS TRACK* - they have to want to hunt it down. The more time you spend crafting, the more likely someone will want to find it - people can often subconsciously (or consciously I guess) hear the amount of effort that has gone into a track - and that can pay off big time. I hope this has been helpful! Thanks for allowing me to listen to your track, and all the best with pushing your sounds!