{tech house} TRINIDAD

[danc]

One day we'll get back in the clubs... and... with "TRINIDAD" I wanted to bring a Caribbean carnival feel - done with really groovy rhythms. All by me - took hours to nail them.
And man do I make those kick KICK. Regarding the rhythm... I am using like 5 different claps... about 10 different hats... and about 16 different snares. The point being I am going for variety, whilst keeping it totally tight as.

And later I bring in a melody which sounds like it was played on steel drums. Ok - it's synthetic and intentionally so.

It's 5 odd minutes long and I have brought in some quite distinct breakdowns to keep it rolling on.

Thoughts everyone... anyone??

[PhillipOrdonez]

Cool!

I would remove the ah ah ah sometimes, especially when the other vocal is present.

Could use a b section at 2:20.

Got to a sort of b section later on, try bringing it up earlier.

Cool melody and groove, nice drums and vibe.

Keep it up, danc!

[danc]

Cool!

I would remove the ah ah ah sometimes, especially when the other vocal is present.

Could use a b section at 2:20.

Got to a sort of b section later on, try bringing it up earlier.

Cool melody and groove, nice drums and vibe.

Keep it up, danc!

Thanks Phillip - totally agree about arrangement amends/refinements. I'll be working on it later today and re-post.

[danc]

Cool!

I would remove the ah ah ah sometimes, especially when the other vocal is present.

Could use a b section at 2:20.

Got to a sort of b section later on, try bringing it up earlier.

Cool melody and groove, nice drums and vibe.

Keep it up, danc!

Thanks Phillip - totally agree about arrangement amends/refinements. I'll be working on it later today and re-post.

OK - new arrangement - did pretty much what you asked for!

[PhillipOrdonez]

Nice! I would polish the intro a bit more, but flows much better than before!

[Auryn]

One day we'll get back in the clubs... and... with "TRINIDAD" I wanted to bring a Caribbean carnival feel - done with really groovy rhythms. All by me - took hours to nail them.
And man do I make those kick KICK. Regarding the rhythm... I am using like 5 different claps... about 10 different hats... and about 16 different snares. The point being I am going for variety, whilst keeping it totally tight as.

And later I bring in a melody which sounds like it was played on steel drums. Ok - it's synthetic and intentionally so.

It's 5 odd minutes long and I have brought in some quite distinct breakdowns to keep it rolling on.

Thoughts everyone... anyone??

Been a while since I listened to one of your tracks and I was pleasantly surprised. The level of detail in the drums and percussion is impressive and because of the carribean carnival theme it serves the bigger picture nicely. The track is also very cohesive sound-wise and the arrangement is interesting throughout.

[danc]

Been a while since I listened to one of your tracks and I was pleasantly surprised. The level of detail in the drums and percussion is impressive and because of the carribean carnival theme it serves the bigger picture nicely. The track is also very cohesive sound-wise and the arrangement is interesting throughout.

Appreciate you giving me a second chance Auryn!! Every day is a learning day and I'm progressing slowly to getting those BIG production sounds, whilst not losing sight of stamping my own identity onto things. Regarding BIG sounding - I non-stop keep finding that judicious EQing is the only way - everything has to own a space in spectrum.

Plus... being absolutely anal picking the right ambience reverb settings.

[Auryn]

Been a while since I listened to one of your tracks and I was pleasantly surprised. The level of detail in the drums and percussion is impressive and because of the carribean carnival theme it serves the bigger picture nicely. The track is also very cohesive sound-wise and the arrangement is interesting throughout.

Appreciate you giving me a second chance Auryn!! Every day is a learning day and I'm progressing slowly to getting those BIG production sounds, whilst not losing sight of stamping my own identity onto things. Regarding BIG sounding - I non-stop keep finding that judicious EQing is the only way - everything has to own a space in spectrum.

Plus... being absolutely anal picking the right ambience reverb settings.

mixing reverb is goddamn tricky, especially in dance tracks where you want to retain the impact. what ambience reverb do you use?

also, BIG and TIGHT can be important but you come across as very production-focused, don't forget to have some FUN too !

[danc]

mixing reverb is goddamn tricky, especially in dance tracks where you want to retain the impact. what ambience reverb do you use?
also, BIG and TIGHT can be important but you come across as very production-focused, don't forget to have some FUN too !

I use a range of industry standard/popular reverbs like Pro-R, Valhalla Vintage, Eventide etc.
And... some less standard ones, like 2CAudio Breeze and Polyverse Comet. However... what I often do is pair them up on their sends with other processes like frequency shifters and bit-reducers to add age and flavour (verb isn't always enough on its own). I generally stay away from IR, instead just running standard verbs on ridiculously low settings (if used as insert then wet/dry is often <6%). The low settings follow this rule... reduce it until it stops being heard - just felt. However... the cumulative effect of each of those "just felt" FX adds up to something you can hear. Obviously I do use verb that you do clearly hear, but that is often left only for the "main event" (the show piece) item in any given section of music.

One ambience dedicated box I am looking into is Spacerek from D16. It's had suitably positive feedback in reviews and forums. I might test it out and see if it adds anything to my process. Even is I can already match it with something else, it might be worth adding to my collection if it speeds up my process - time savers are always worth considering on that basis alone. Just like Endless Smile might be hated by some for giving an instant solution to uplifting before a drop... but who cares... just buy it and use it.

As for me being very production focused.. um... yes... I agree... and rightly so. However... we need to have context here... I am ALSO very focused on music theory (e.g. especially counterpoint and the study of twelve notes by Josef Rufer), getting a human groove (not relying on computed SWING settings) and yes.... having fun as well. The fun bit is 100% required (why do it otherwise).

So - just very focused on all fronts. Today's music market has become a DIY solo process, with very few productions (even commercial stuff) going through the traditional mixing and mastering houses and being done totally at home, with people in their underpants, late at night. All this instead of watching yet another boring US box set - I know which one I'd choose.

[danc]

Got my feather duster out and did some tidying up on the drums - and fixed various levels and EQ on a range of things. Trying to get it really super squeaky clean polished.

[Troublemecca]

This was fun!! I do wish your claps had more presence though... I hear them clearly... but I don't 'feel' them, which is essential... to the point that If you were to remove them, the track might still bump and just not be house any more. Keep it house! Great work.

[danc]

This was fun!! I do wish your claps had more presence though... I hear them clearly... but I don't 'feel' them, which is essential... to the point that If you were to remove them, the track might still bump and just not be house any more. Keep it house! Great work.

100% agree with you - now you mention it I have no idea why I didn't spot it myself. This needs sorting out - I think this will totally transform the track. Leave it with me - I will totally sort this out and will report back!

[Popey]

Cool track danc. I agree with the clap comments but overall this track is fantastic. Your really kicking out some quality tunes and production is on point. Sorry couldn't give anymore feedback but not a lot could improve this and it's a banger.

[danc]

Cool track danc. I agree with the clap comments but overall this track is fantastic. Your really kicking out some quality tunes and production is on point. Sorry couldn't give anymore feedback but not a lot could improve this and it's a banger.

THANKS POPEY - wellllllllllllllllll..... I've done my first round of fixing the claps (which was absolutely necessary). I haven't just plonked extra volume on the claps - it morphs over time with more bottom/mid weight in some places, then judicious verb increasing in places and in other places adding extra air/sheen. On first listen you probably don't notice this anal detail - but listen multiple times and you'll get it.

PLUS - based on the comment on this thread regarding the intro needing attention... I've simplified it.

[Skimrok]

very catchy tune more you listen it gets better bloody awesome!!

[Auryn]

I use a range of industry standard/popular reverbs like Pro-R, Valhalla Vintage, Eventide etc.
And... some less standard ones, like 2CAudio Breeze and Polyverse Comet. However... what I often do is pair them up on their sends with other processes like frequency shifters and bit-reducers to add age and flavour (verb isn't always enough on its own). I generally stay away from IR, instead just running standard verbs on ridiculously low settings (if used as insert then wet/dry is often <6%). The low settings follow this rule... reduce it until it stops being heard - just felt. However... the cumulative effect of each of those "just felt" FX adds up to something you can hear. Obviously I do use verb that you do clearly hear, but that is often left only for the "main event" (the show piece) item in any given section of music.

Yeah on drums and perc I generally go with the same approach of reduce till barely audible. I don't own any of these 'industry standard' verbs though

As for me being very production focused.. um... yes... I agree... and rightly so. However... we need to have context here... I am ALSO very focused on music theory (e.g. especially counterpoint and the study of twelve notes by Josef Rufer), getting a human groove (not relying on computed SWING settings) and yes.... having fun as well. The fun bit is 100% required (why do it otherwise).

well you're definitely putting in the effort, I don't know a hell of a lot about music theory and I use the swing function all the time

So - just very focused on all fronts. Today's music market has become a DIY solo process, with very few productions (even commercial stuff) going through the traditional mixing and mastering houses and being done totally at home, with people in their underpants, late at night. All this instead of watching yet another boring US box set - I know which one I'd choose.

Am I the only one who still wears clothes when he mixes? Jeez you bunch of uncivilized savages! Anyway, I think the solo producer thing is kind of lamentable. I feel that writing and producing electronic music is so complicated and multi-faceted these days that it would benefit from people collaborating more. Agree 100 % on the last point about pointless series watching.

[danc]

Agree with all of your points... I realised after re-reading that using the term "industry standard" for Pro-r and Valhalla was a little lame. Let's just replace that with just "popular reverbs" - which they are.

So - just very focused on all fronts. Today's music market has become a DIY solo process, with very few productions (even commercial stuff) going through the traditional mixing and mastering houses and being done totally at home, with people in their underpants, late at night. All this instead of watching yet another boring US box set - I know which one I'd choose.

Am I the only one who still wears clothes when he mixes? Jeez you bunch of uncivilized savages! Anyway, I think the solo producer thing is kind of lamentable. I feel that writing and producing electronic music is so complicated and multi-faceted these days that it would benefit from people collaborating more. Agree 100 % on the last point about pointless series watching.

Regarding not wearing clothes - you are doing it all wrong... get your kit off NOW!

Regarding collaborating - absolutely agree with you - 2 better than 1. However, electronic music has always been (in the majority) a solo affair. Yes - there are exceptions, like Disclosure etc. But for bands with multiple band members it is nearly always just 1 in the band that is the DAW nerd (e.g. Liam from Prodigy) and all the others add "live" instrumentation/vocals. My background is making video games and this is very much the same... in the 80/90's we were solo coders, and had a few other people giving us assistance with graphics and audio files - but the long-haul effort was the coder writing in assembler (6502/Z80/68000 whatever) burning the candle in their underpants! And it is still true today - especially in UNITY community.

I'm not suggesting it's right or the best option creatively... but it is what it is. All of these new'ish services offering collaboration whilst you make music) are really odd for me - and not something that naturally fits into the way I work. Maybe I'm missing out.