18 Jun
2018
18 Jun
'18
5:15 p.m.
On Sat, 16 Jun 2018 22:02:16 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
The production level is very good. The levels are very well honed.
The drums and percs do stand out as being very well rendered. Dynamics
are well expressed in the riff starting at 1:05. The electric guitar
sounds are very nice and adds a lively touch. The string pad washes
are excellent. The com
This said, in general starting at about 2:30 there's the feeling of a
linearity that's installed. Even though this is a backing track for
lead vocals, there's a feeling that things are going around in a linear
fashion. Passages are repeated. The last chorus at approx. 5:08 has an
effort in hammering a bit more the piano notes to break from the
linearity, but there's notmuch of a build up in terms of energy which
pretty much stays the same thorough.
I am also facing the same issues and I listen in amazement at how
linear some past pieces were. So I try to make it a point to vary
in sheer intensity. Maybe just a little, maybe a lot, maybe in
between, but to vary. To consider that a silence is as rich in
every aspect as a full band playing.
By pure coincidence I read something by Friedemann Findeisen a couple
of days ago in which he was saying that only changing notes does not do
it. Going from one chord to another with the hope that it will be a
"dramatic" experience on the listener's part does not work most of the
time. He continues saying that what's needed is a change in energy.
Of course Findeisen is preoccupied by pop music so it has to be taken
with a grain of salt. Everyone remembers poignant chord changes. But
do they happen always ? And when they are not, what happens instead ?
So again, the piece is very nice and sweet, very well produced. One
would hope to hear vocals. The addition of vocals could have a
modifying feedback on the music to make it rendered more at the
energetic morphing level.
Cheers.