A friendly reminder:
We're in the final 24 hours to submit your production.
Please get your production ready and submitted (through the forum) today.
To make it easier for me to create the collection post, please update your initial post with the appropriate links (final version), or explicitly mark your entry as "final entry". Please also don't forget to make your files accessible to download. Thank you.
If I didn't miscount, we have 08 very interesting entries so far, with a couple still in the making.
I'm curious if we can exceed 15 this month? This would be amazing.
2024-DEC-01 Info: Due to a small error in the PM system, every forum user accidentally received a message addressed to the admin. Apologies, you can safely ignore this PM.
SONGWRITING COMPETITION - SWC085 September 2024 - Winners announced
- Mister Fox
- Site Admin
- Posts: 3380
- Joined: Fri Mar 31, 2017 16:15 CEST
- Location: Berlin, Germany
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
Welcome to the forum, Pauila. I'm new here, too.
Your musical piece really appeals to me. It's very simple with a sparse arrangement. The arpeggio guitar(?) is very hypnotic and relaxing.
And, just when I felt that guitar was becoming too much, at 1.55s you completely changed the arrangement in such a refreshing way. Your song has a very warm tone - which I love.
I prefer not to get into the weeds about the mix because it's a songwriting competition. However, there's no doubt that a good mix can translate the intentions of the songwriter. I like your song and your mix.
Thanks for sharing!
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
Love it! Oh man, your song sounds GOOOOD turned up loud! It's aggressive... in a good way
I really like how the track builds then drops away, then kicks back in.
My only feeling is that the song needs another breakdown maybe 3/4 through...AND...that you had some vocals!
Would love to collaborate as a vocalist.
Great stuff!
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
I'm curious about your comment using the Mixolydian mode. My understanding is that this is simply a dominant 7 scale in the modes...and closer to a major scale with no minor scale notes. A modal scale that contains both minor and major notes and is commonly used in jazz is the Dorian scale because it has the minor 3rd AND the major 6th, which gives it that major/minor feel. The melodic minor would take the major/minor vibe a step further.
Sorry if I've got this wrong, just interested in modes but not an expert. School me, please :-).
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
Yes. This is a lowered 7th degree, characteristic of a minor. But the composition uses an additional lower 6th step. It gives a minor sound to the melody. I chose this mode. Maybe it would be more interesting in the Dorian mode. You can try it.
C-D-E-F -1 tetrachord sounds like a major scale. G-Ab- Hb- C 2 tetrachord sounds like a minor scale. It's not all about harmony and chords, but about melody.
C-D-E-F -1 tetrachord sounds like a major scale. G-Ab- Hb- C 2 tetrachord sounds like a minor scale. It's not all about harmony and chords, but about melody.
Last edited by PauiLa on Tue Sep 24, 2024 05:54 CEST, edited 1 time in total.
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
Thank you. Change is an attempt to bring hope.PonySho wrote: ↑Tue Sep 24, 2024 00:52 CESTWelcome to the forum, Pauila. I'm new here, too.
Your musical piece really appeals to me. It's very simple with a sparse arrangement. The arpeggio guitar(?) is very hypnotic and relaxing.
And, just when I felt that guitar was becoming too much, at 1.55s you completely changed the arrangement in such a refreshing way. Your song has a very warm tone - which I love.
I prefer not to get into the weeds about the mix because it's a songwriting competition. However, there's no doubt that a good mix can translate the intentions of the songwriter. I like your song and your mix.
Thanks for sharing!
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
Hi EsteveCorberaEsteveCorbera wrote: ↑Sun Sep 22, 2024 19:28 CESTDear fellow challengers and Mister Fox.
On the subject of the challenge of this theme, which is recurring every year, it always makes me think of music to meditate or to find peace...
Thanks for sharing your track. Seems like you've put a lot of effort into your track, considering the amount of layering.
I like your track. For me, it is more background-sounding music. If there were one thing I would change it would be to create contrast in your track. It really is quite full-on in terms of the same texture/sounds being used, which creates the same energy for the entirety of the track. You can create contrast by changing the arrangement periodically through the track. That could mean reducing the instrumentation, going for warmer tones, bringing in new sounds, or adding something rhythmic. You could also create contrast by doing 'builds', which is simply introducing new instrumentation/volume/pace as the song cycles through.
Just ideas and thoughts. I love hearing new and original music - thanks for sharing.
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
Thanks a lot, I was able to go further in the mixing, thanks to the good advicePonySho wrote: ↑Tue Sep 24, 2024 00:57 CESTLove it! Oh man, your song sounds GOOOOD turned up loud! It's aggressive... in a good way
I really like how the track builds then drops away, then kicks back in.
My only feeling is that the song needs another breakdown maybe 3/4 through...AND...that you had some vocals!
Would love to collaborate as a vocalist.
Great stuff!
I won't have time to add a breakdown, but it's a good idea...
and as for the vocals, I can't sing, so your suggestion is really interesting
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
OK, here's where to download SWC085__JanKoekepan__MisguidedMeditations.wav:
https://files.catbox.moe/fq9cj8.wav
Here is a zipfile:
https://files.catbox.moe/adi1r5.zip
Here is my process:
Initial concept:
The whole point is that the screams under discussion are silent, internal - so I decided to explicitly avoid a harsh sound or rendition of screams as opposed to a very measured sound, and yet with lyrical content relevant to mental health, psychoanalysis and so on. This led me to Triphop with overlaid nonmusical elements helping to represent the concept of the challenge, with a direction taken from Guided Meditation.
Started with four strictly sequenced elements:
Precomposition done on sticky note pad with pen, just outlining successive snapshots to be programmed on the Engine. This ended up with 14 sequential patterns to be programmed on the Engine.
Used JBL EON 206P portable PA for general audibility. Did a quick reference listen on AKG K612Pro headphones for sanity. A few sound design tweaks, then printed to SD card.
Initial mixing:
AKG K612Pro and iLoud MicroMonitors for reference.
All done internally to the Portastudio, using on-board 3-band parametric EQ and fader sets to achieve better separation of tracks and taming of annoying frequencies. Mostly dropping mids on the pad and arp so that they didn't interfere too much with other future sounds. Also a bit of scooping on the percs.
Adding of effects tracks:
Zoom G3n on Portastudio's Send 1 and then fed back to inputs C and D for assignment to stereo wet tracks. Used pre-fader data for effects recording to leave plenty of room for later edits.
Boss VE-500 handles dynamic mic and adds radio voice, and room reverb.
The lyrics represent a sort of opposite number to the usual guided meditation stuff, layering in a verbal counter to the meditative nature of the usual new age pap.
Overdubbed a solo:
KORG Kross, Prayer Pad preset. Straight into a stereo channel.
Next mixing stage:
Normalising and exporting for final mastering using the Portastudio's internal mastering - Audacity to trim and normalise to -1dB.
Vocal element is too loud. I had mistakenly left its dry track live. Need to do an adjusted mixdown, dropping its fader a couple of dB and scooping it a little. Remixdown. Renormalise. Export again.
Last mastering - trim the ends, normalise, gentle compression of flyaway peaks. Reduction of noise by profile at the points of silence.
Here are the lyrics, with the time markers inserted for where I recorded them:
0:00 The suppression of the animus by the ego is a necessary step in management of the persona. By harnessing the animus, the ego strikes a light that by implication casts a shadow, and this shadow, untamed, roils with monsters.
1:10 The typology of the elemental personality is intuitively comprehensible in terms of the classical humours. The persona we train to be sanguine or phlegmatic, but in opposition we find the rage of yellow and the despair of black bile, choler and melancholia.
1:44 Choler and Melancholia.
1:58 Choler and Melancholia
2:08 Masked by sanguinity
2:18 The primal scream is a lie, for it is only the shadow that can truly scream, and when it emerges the triumph of the ego is over and the metastatic shadow bursts from within like a fungus that has consumed all the nutrients that its host could offer.
3:05 Light and shadow live in tension, and so do individual and society. Shame is a sickness of society, a weapon that society hands the ego to flog the animus.
3:40 Tell the beautiful lie, the ego says. Hide the shadow inside, the ego says. Do not show your weakness, for the shadows of others may hunger too.
4:05 The shadow rages against its bonds, fed to strength on sorrow and frustration, wrath and angst. If the shadow is the dumping ground for all the things that the persona must hide, then it feasts daily on the diseased flesh of human existence.
https://files.catbox.moe/fq9cj8.wav
Here is a zipfile:
https://files.catbox.moe/adi1r5.zip
Here is my process:
Initial concept:
The whole point is that the screams under discussion are silent, internal - so I decided to explicitly avoid a harsh sound or rendition of screams as opposed to a very measured sound, and yet with lyrical content relevant to mental health, psychoanalysis and so on. This led me to Triphop with overlaid nonmusical elements helping to represent the concept of the challenge, with a direction taken from Guided Meditation.
Started with four strictly sequenced elements:
Precomposition done on sticky note pad with pen, just outlining successive snapshots to be programmed on the Engine. This ended up with 14 sequential patterns to be programmed on the Engine.
- Novation Circuit for drums, internal reverb only.
- KORG Volca Keys for the arp, Zoom G1on multieffects providing a delayand modulation
- KORG Volca FM (with aftermarket firmware) for pad, Zoom G1on providing granular reverb
- KORG Volca FM (with aftermarket firmware) for bass, Zoom G1on providing slight room reverb
Used JBL EON 206P portable PA for general audibility. Did a quick reference listen on AKG K612Pro headphones for sanity. A few sound design tweaks, then printed to SD card.
Initial mixing:
AKG K612Pro and iLoud MicroMonitors for reference.
All done internally to the Portastudio, using on-board 3-band parametric EQ and fader sets to achieve better separation of tracks and taming of annoying frequencies. Mostly dropping mids on the pad and arp so that they didn't interfere too much with other future sounds. Also a bit of scooping on the percs.
Adding of effects tracks:
Zoom G3n on Portastudio's Send 1 and then fed back to inputs C and D for assignment to stereo wet tracks. Used pre-fader data for effects recording to leave plenty of room for later edits.
- Arp: added autopan, exciter, and noise reduction to reduce noise floor.
- Pretty happy with the percussion, so not really tweaking it at this stage. It's doing what I need it to do.
- Pad: added Zoom's Spacehole effect to give it more life, and also noise reduction.
- Bass: it's a bit too boomy and rumbly even for this genre, so to tighten it I compressed it, put it through Zoom's TS Drive, then an EQ that tightened the band before noise reduction. This gave me a more manageable, tamed sound without setting the level finally.
Boss VE-500 handles dynamic mic and adds radio voice, and room reverb.
The lyrics represent a sort of opposite number to the usual guided meditation stuff, layering in a verbal counter to the meditative nature of the usual new age pap.
Overdubbed a solo:
KORG Kross, Prayer Pad preset. Straight into a stereo channel.
Next mixing stage:
- Panning elements slightly to left and right to create more of a soundstage.
- Percussion and vocal I leave in the centre.
- The other elements I push left and right to some extent to create space.
- Recording a selective tape echo of the vocal to add depth with the Zoom G3n on send effect 1.
Normalising and exporting for final mastering using the Portastudio's internal mastering - Audacity to trim and normalise to -1dB.
Vocal element is too loud. I had mistakenly left its dry track live. Need to do an adjusted mixdown, dropping its fader a couple of dB and scooping it a little. Remixdown. Renormalise. Export again.
Last mastering - trim the ends, normalise, gentle compression of flyaway peaks. Reduction of noise by profile at the points of silence.
Here are the lyrics, with the time markers inserted for where I recorded them:
0:00 The suppression of the animus by the ego is a necessary step in management of the persona. By harnessing the animus, the ego strikes a light that by implication casts a shadow, and this shadow, untamed, roils with monsters.
1:10 The typology of the elemental personality is intuitively comprehensible in terms of the classical humours. The persona we train to be sanguine or phlegmatic, but in opposition we find the rage of yellow and the despair of black bile, choler and melancholia.
1:44 Choler and Melancholia.
1:58 Choler and Melancholia
2:08 Masked by sanguinity
2:18 The primal scream is a lie, for it is only the shadow that can truly scream, and when it emerges the triumph of the ego is over and the metastatic shadow bursts from within like a fungus that has consumed all the nutrients that its host could offer.
3:05 Light and shadow live in tension, and so do individual and society. Shame is a sickness of society, a weapon that society hands the ego to flog the animus.
3:40 Tell the beautiful lie, the ego says. Hide the shadow inside, the ego says. Do not show your weakness, for the shadows of others may hunger too.
4:05 The shadow rages against its bonds, fed to strength on sorrow and frustration, wrath and angst. If the shadow is the dumping ground for all the things that the persona must hide, then it feasts daily on the diseased flesh of human existence.
Last edited by Koekepan on Wed Sep 25, 2024 02:48 CEST, edited 1 time in total.
Re: SONGWRITING COMPETITION - SWC085 September 2024 - Submissions until 24-SEP-2024 23:59 UTC+2/CEST
First and final version:
https://drive.google.com/file/d/1D5soA4 ... sp=sharing
Reaper statistics
Peak: -1.3
LUFS-I: -14.1
I have had a couple years' break with music. There were moments when I picked up the guitar to see what happens, but I didn't hear any music to come out of me.
Being a person who never shouts, the theme of this month's contest ("Silent shout") was something I felt I had some experience of. So I decided to see what happens if I grabbed my guitar again. I planned to make a short simple song around this theme. It came out to be a silent shout about feeling insufficient. Unfortunately, I couldn't express these silent feelings with my English, so I had to use my native language, i.e. Finnish. (But I asked Chat GPT to translate the words into English.)
To me the silent shout is something that creeps into normal everyday situations. In my case it changes the experience of situation internally with some sort of brain tremolo, but most of the time no one else sees or hears anything what's happening.
In quite early stage of this process I found a simple chord progressions that I wanted to use in verses (A-part) and insturmental parts. Actually the song is in B-minor, but as I used capo in second fret, I'm thinking and expressing this in A-minor scale. Musically the main idea is to use bass that walks upwards the scale (A-B-C-D-E). The chord progression looks like this: Am - G/B - C - Dm - E7.
In B-part there's no special ideas: it just stays in A-minor with chord progression: F - C - E - F - C - E7 - Am
I tried to do a key modulation in the C-part. Although it came out a bit messy, I left it into this final version.
Little by little I'm adding some brain tremolo to the song. It still remains as a basic simple song, but at the same time it becomes quite different.
PRODUCTION TOOLS
https://drive.google.com/file/d/1D5soA4 ... sp=sharing
Reaper statistics
Peak: -1.3
LUFS-I: -14.1
I have had a couple years' break with music. There were moments when I picked up the guitar to see what happens, but I didn't hear any music to come out of me.
Being a person who never shouts, the theme of this month's contest ("Silent shout") was something I felt I had some experience of. So I decided to see what happens if I grabbed my guitar again. I planned to make a short simple song around this theme. It came out to be a silent shout about feeling insufficient. Unfortunately, I couldn't express these silent feelings with my English, so I had to use my native language, i.e. Finnish. (But I asked Chat GPT to translate the words into English.)
To me the silent shout is something that creeps into normal everyday situations. In my case it changes the experience of situation internally with some sort of brain tremolo, but most of the time no one else sees or hears anything what's happening.
In quite early stage of this process I found a simple chord progressions that I wanted to use in verses (A-part) and insturmental parts. Actually the song is in B-minor, but as I used capo in second fret, I'm thinking and expressing this in A-minor scale. Musically the main idea is to use bass that walks upwards the scale (A-B-C-D-E). The chord progression looks like this: Am - G/B - C - Dm - E7.
In B-part there's no special ideas: it just stays in A-minor with chord progression: F - C - E - F - C - E7 - Am
I tried to do a key modulation in the C-part. Although it came out a bit messy, I left it into this final version.
Little by little I'm adding some brain tremolo to the song. It still remains as a basic simple song, but at the same time it becomes quite different.
PRODUCTION TOOLS
► Show Spoiler
Last edited by OlliH on Wed Oct 23, 2024 01:15 CEST, edited 1 time in total.