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Sun Om Beach


Otto Matta

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Damn Per, this is badass. I'm on my second listen and I gotta say this mix sounds fuller than your previous work. I heard a very slight melodic resemblance to Fresh Cut Pine which is one of my favorite tracks of yours. This stands very much on its own. That bass sound that comes in near the beginning is really cool. I love how it's accented by the noisy bass burst. That female voice sounds really good. Is that the new VST you picked up? Ahhh, 4:15 makes me happy. I LOVE that little flutey arpeggio. I'm trying to find something I don't like about it, but I can't. The ending maybe too abrupt, but that's because I like fade outs. Hmm, I don't think is a very useful critique. There are loads of intricacies that I'm sure required patience to create, but have to be rewarding. This track is quality and full of intelligence and thoughtful transitions. Effin cool, man.

 

I give Sun Om Beach a :clapping: :posford: :clapping: out of :clapping: :posford: :clapping:

 

What's the matter with you people. Listen and review!!

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Damn Per, this is badass. I'm on my second listen and I gotta say this mix sounds fuller than your previous work. I heard a very slight melodic resemblance to Fresh Cut Pine which is one of my favorite tracks of yours. This stands very much on its own. That bass sound that comes in near the beginning is really cool. I love how it's accented by the noisy bass burst. That female voice sounds really good. Is that the new VST you picked up? Ahhh, 4:15 makes me happy. I LOVE that little flutey arpeggio. I'm trying to find something I don't like about it, but I can't. The ending maybe too abrupt, but that's because I like fade outs. Hmm, I don't think is a very useful critique. There are loads of intricacies that I'm sure required patience to create, but have to be rewarding. This track is quality and full of intelligence and thoughtful transitions. Effin cool, man.

 

I give Sun Om Beach a :clapping: :posford: :clapping: out of :clapping: :posford: :clapping:

 

What's the matter with you people. Listen and review!!

Thanks so much, Billy. :D

 

Yeah, it's a lot easier - well, at the very least much more convenient - to get a fuller mix in Cubase than Reason. Yes, just like Fresh Cut (Pine) (which I lost the file for by the way, sadly), I tried to keep this one simple and compact, despite all my desires to make it long-winded. Yes, the female voice is from Cantor 2, although I used it in it's most basic way. The program is CPU heavy, so I have to wait until I upgraded (tonight - totally harrowing for a comp n00b like me) to take it further, but I can't wait to get some serious stuff out of my new robot girlfriend. The abrupt end is part of the attempt to keep things tight; I imagine I'll follow it up with some interesting action.

 

Anyway, thanks for listening and responding, and for the really nice comments. I'm looking forward to diving back in already and doing something new, now that I know my way around Cubase a tiny bit. And of course I'm looking forward to hearing some new masterpieces from you, my man. :D

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I would say it is good, but not great.

If you ever want to get signed, you have to make great.

Hey man, thanks again. I agree, it's not great. Part of the problem, I think, is that this time around I've decided to go minimal and not bloat my production with too much EQ enhancement because I intend to get these things professionally mastered. Correct me if I'm wrong, but from what I've read, engineers prefer stuff that is fairly flat and transparent. So that's what I'm going for. Trying to look ahead a little. Otherwise, I'd try to get the low end thumping more and the highs sparkling more, etc.

 

Plus, what this track allowed me to do was get in touch with the Cubase program in general (very good for me to get over those butterflies), and it gave me lots of direction and ideas moving forward. So I'm relatively happy with it as a step in the right direction, and I can say with a measure of confidence that my work should be improving from here. Pretty cool. :D

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Hey man, thanks again. I agree, it's not great. Part of the problem, I think, is that this time around I've decided to go minimal and not bloat my production with too much EQ enhancement because I intend to get these things professionally mastered. Correct me if I'm wrong, but from what I've read, engineers prefer stuff that is fairly flat and transparent. So that's what I'm going for. Trying to look ahead a little. Otherwise, I'd try to get the low end thumping more and the highs sparkling more, etc.

 

Plus, what this track allowed me to do was get in touch with the Cubase program in general (very good for me to get over those butterflies), and it gave me lots of direction and ideas moving forward. So I'm relatively happy with it as a step in the right direction, and I can say with a measure of confidence that my work should be improving from here. Pretty cool. :D

Certainly the best way to learn is by doing!

And I know you can see the potential that Cubase has.

I did the some thing with Sonar earlier, I made a farely simple track to start.

Most of it was just a sound from my little phatty. You would probably call it hardcore I don't know.

Now I am into stuff I have to automate like hell. It takes much longer and sometimes I wonder if it is wearth it.

Just finnished a 'cyberpunk' style track :)

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Hello,

I heard your track few days ago, and I thought it was pretty good.

Not amazing but promising given that it's your first track with Cubase.

It has an old-school sound that i liked (that doesn't mean it was badly produced).

Also, it wasn't what I expected at all : I always thought that IDM means very abstract techno music or crazy breackore music.

But I guess I was wrong.

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Hello,

I heard your track few days ago, and I thought it was pretty good.

Not amazing but promising given that it's your first track with Cubase.

It has an old-school sound that i liked (that doesn't mean it was badly produced).

Also, it wasn't what I expected at all : I always thought that IDM means very abstract techno music or crazy breackore music.

But I guess I was wrong.

Thanks. :) Nah, IDM has that reputation because there is indeed a lot of abstraction in it, but there are also quite a few less abstract artists in the genre. It's a spectrum, and "IDM-ish" means I've got one foot in it. I don't know exactly how to categorize myself to others. IDM-ish, synth-pop-ish, electronica-ish, with an old-school bent? Hehe.

 

I'm liking this a lot. Reminds me of Vince Clark, Howard Jones, Scritti Politti and Bluetech.

Thanks, Colin. :D One of the sounds I made - a sixteenth blip in the first part - I called "NRhodes". Hehe. Tough to slough one's origins, I guess.
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Listened to it about 6 times so far, and played it to a few people. Big thumbs up all round!

Jesus, Colin, that's so kind of you. You've made my month. In a way I wish it weren't the case, what with getting one's ego tied up in the whole thing and whatnot, but that sort of attention - evidence that one's intended communication with others is taking place, and positively - really makes the effort worth it. Thank you, thank you, thank you.

 

Cool, sweet track. :D

 

Sounds like loungy Kraftwerk on mushrooms. :P

Hehe. Cooooool. :D Speaking of, I'm currently working on a robot love ballad. It's fairly ambitious for me, but it's coming along nicely. LOL
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Jesus, Colin, that's so kind of you. You've made my month. In a way I wish it weren't the case, what with getting one's ego tied up in the whole thing and whatnot, but that sort of attention - evidence that one's intended communication with others is taking place, and positively - really makes the effort worth it. Thank you, thank you, thank you.

Steady on old chap, all I did was enjoy a tune. ;)
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Yeah, well, I appreciated it. I suppose it's different for me than for you. You've had many years to get used to compliments. ;)

Many years to realise that - being merely someone's opinion - complements mean exactly as much as negative reviews... it took me far too long to detach from what people said about our music. Swiftest way to a big head that I know is to believe people when they say you're the shit. Having said that though, you have a piece of music there that I would be very proud to have created, you are a musical genius please will you send me a piece of your clothing maybe some briefs or a sock I wish to frame it and hang it in the bathroom where I may view it whilst sitting on the toilet.
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Many years to realise that - being merely someone's opinion - complements mean exactly as much as negative reviews... it took me far too long to detach from what people said about our music. Swiftest way to a big head that I know is to believe people when they say you're the shit. Having said that though, you have a piece of music there that I would be very proud to have created, you are a musical genius please will you send me a piece of your clothing maybe some briefs or a sock I wish to frame it and hang it in the bathroom where I may view it whilst sitting on the toilet.

Hehe. Very funny. :D

 

That's why I said I wished it weren't that way, because of the whole ego bit - I know that's dangerous territory, and I try to avoid it. But then again, I personally feel that our creating music is an attempt to make contact with The People. So I don't get as excited about individual compliments as those that say they've played it for friends, with positive results, especially from those who've been in the business for a while - like YOU, you superstar, you. So, ego aside, it means a lot, Colin.

 

Meanwhile, I can't be arsed to send a sock. Would you be happy with an autographed beer can I drank from? It still has some glittery Nick Rhodesian lipstick on it. ;)

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