That has to be a least my fourth track that has elicited a "driving theme" response. I was thinking of changing my car anyway. Should I take this as an indication of fate?

I don't know about the wisdom of driving through London these days. 20 MPH speed limits, congestion charging, the wrong kind of snow. Give me twisty country lanes anytime.

Thanks very much for listening and commenting. Glad you liked it

Spooky intro indeed...then almost a chilled Psychotic angry...then I just said f@ck it and started bouncing my head, with an uncontrollable tap of my foot...

.....then...it said hold the hell on! ...time to be cool again.


Now both!

I thank you for this fantastic ride!

Thanks for checking this out, Baard. Glad you liked it

I was having problems completing this track, and I received the bad news during a very long and generally unproductive editing session. I didn't have any enthusiasm for continuing with this for a couple of weeks, but when I did return to it, everything seemed to fall into place quite quickly.

Thanks also for your kind words.

Thanks very much for checking this out and commenting, German. Glad you liked it

I was a little worried about whether the slow middle section would work within the overall context of this track, but I think I got away with it
Last edited by seismic1 on Fri Feb 08, 2013 7:06 pm; edited 1 time in total

Wonderful work Tim! One of your moodier tracks for sure, but it came out fab and was a really enjoyable listen.

Thanks for checking this out, V0RT3X. Glad you liked it

I had to be very careful with harmonies when constructing this. There were quite a few notes involved

First of all, my condolences on your loss. Somehow you managed to create a beautiful piece of music under difficult circumstances. It's another first rate composition with all parts and sections integrating into a complete, satisfying piece. The mood is more somber than your other pieces but it's still very enjoyable.

It's interesting to note that there is some funky bass starting at 0:59 but it takes a backseat in this introspective arrangement. I suspect the piece might have come out a little differently under happier circumstances.

For me, the highlight is 2:38 - 5:27. The slow section has real emotional resonance. Just beautiful. And the reintroduction of elements heard earlier works brilliantly coming out of the slow section. As an added bonus, there is a brief but tasteful solo at 6:09.

As usual, the mix and production is flawless. OK, I'll admit I want to put a low pass filter on the lead that starts at 1:40 but that's my issue with high frequencies that digital synths produce. In any event, that patch is clever and memorable.



Why are you tracking your exact hours? At work, I have deadlines and stress that I can't avoid. Music is just a hobby for me but I noticed it was becoming stressful when I gave myself artificial deadlines on my last track. When I switched my M.O. from "I'm going to finish this weekend" to "It's done when it's done," the pressure was off and it became fun again. Maybe something to think about?

Thanks very much for checking this out and for the great comments, ariston. I'm glad you enjoyed it

I'm never sure how these tracks will go down, given that I tend to mix things up a little. Three weeks ago, I was not very happy with the overall feel of this track, but I got there eventually.

Things are slowly getting back to normal at home Thank you for your kind thoughts.

cool! lots of driving imagery conjured up here.

yet another piece from you which is quite intriguing, harmonically.

it's kind of like 'knight rider' but to the umpteenth power.

I really enjoyed this, particularly the slow middle; the mix/production sounds great.

That would probably be the Surrey connection I live for "squiggles".

Thanks very much for listening and for commenting, folderol. I hope you have recovered

Spooky, chilled, psychotic, angry, uncontrollable, hell, cool.

ticking a few boxes then

Thanks very much for listening and commenting, mr.me. Glad you liked it

"Moody" is about right.

Thanks very much for the comments and for listening, Matt. Glad you liked it

Thanks very much for listening, commenting and for your kind thoughts, FrantzM. Glad you enjoyed it

I have to say that the music was just about completed (I had already added the slow middle section) at the time when this was interrupted by misfortune, so the somber mood of the piece was already fairly well integrated.

I think that bassline taking a backseat may have been related to the fact that Swollen had 3 layered basses which conspired to produce a very in-your-face effect. I was probably just pulling back from that slightly.

That slow section came together over a 2-hour period a few weeks ago. That is probably the longest piece I have put together in 2 years! I can't wait to start putting some new material together

That patch is a Pro-53 factory sync


I don't set deadlines for myself. I have enough of those at work

That 33 hours breaks down into 19 hours of structural and compositional work and 14 hours on the sonics. I don't know how this compares to other people. I remixed two more tracks over the weekend (sonics only) with a total time of 6 hours. It varies from track to track.

"Itch" also had a lot of bass action. It makes sense to mix things up otherwise you could end up with an album that is too samey.



Those early emulations haven't held up that well. I have a Creamware Pro 12 ASB which is considered a fairly close Prophet emulation and it couldn't produce a sound that bright. In any case, I'm sure I'm the only one who noticed or was bothered by it.



Smart. I only mentioned it because you know the exact hours which indicates that you are timing yourself.



I am sure there is extremely wide variation. In 33 hours, Remmie (Emerald Tablet) could write a triple album and complete a world tour . Whereas I could easily spend 33 hours fiddling with the sound design for one track.
Last edited by Frantz on Tue Feb 12, 2013 3:12 pm; edited 1 time in total