One Synth Challenge #188: Six-Traq by Full Bucket Music (Taron Won!)

[Taron]

I felt triggered by the "dancibility" nonsense, too. ...

I don't agree with Taron on this. I think it's quite interesting if everyone would write down their most important criteria while voting...
My criteria have nothing to do with being fair or honest since how can we monitor those vague things?

You mean, you disagree with me complaining about making "danceability" a criteria, but you don't disagree with me not having "danceability" as a criteria!?
Fair enough!
Yeah, nah, it is fascinating to learn about people's voting ideas. There was a spell in time when connsenses appeared quite solid regarding the judgement to be made, how well a synth was used to create music and the various instruments and sound effects it takes. While mix played a good role in it for the simple reason that everything could be heard or enjoyed more, it wasn't explicitly in regards to the mix. The original SYNTH CHALLENGE was in the absolute foreground.
Even if one only tried to stick to that, it was- and still is- pretty hard. But I did love that very much. It shifts the "pressure" so to say and makes it more of a fiendish joy to design fascinating sounds, to make even a monophonic synth with one oscillator dish out an enjoyable instrument one wouldn't have expected.
By now many of us are so jaded, we hardly expect anything less than some great sound creations and focus has shifted to things like mix, power and possibly composition (something I still value most right after the sound creation itself). But, yeah, if someone shells out a brilliant piano or fantastic, classic synth-pad with original glitter of sorts, or automates the heck out of the thing to get fascinating effects, create deliberate moods, pffff, that's what it's all about to me. That's why I love stuff like yours (of course), but also Liqih's, Silverpants and all the brave artists, that explore wildly beyond the norm. A few of them I'm really missing by now.
And then there are those, who really try to make a synth work for them, even if I wouldn't listen to their genres, but they obviously understand what they're doing and can get stunning results.

So, yeah...I'm sometimes puzzled, when I chose to look at the score sheet, that's for sure.

I've been a bit distracted for years now, but I always love to offer my advice, if I have any. I've seen some of us grow so tremendously over the years and they turned into "excellent monsters", hehe, doing some fantastic stuff. It's a big privilege to be part of it and alone to witness that.
I wouldn't want my taste to get in the way too much. It'll always play a role, but we're here for each other as what and who everyone is. It won't help anyone, if I let an excellent effort appear flawed, because my preferences pushed them down. That wouldn't be good.

[The Sound Of Merlin]

I don't want to seem like I'm criticizing but it makes more sense to directly comment to the person instead of just putting it out there so 20 people can wonder if you meant them.

(To be clear, I'm not wondering that. But I imagine others are, maybe).

Edit: I'm responding to Peter saying many have bad mixing.

I am not quite sure whose post you are not critisizing? I responded to two posts that were posted here in the open so I assume that you were not "not critisizing" my post?

Okay, now I understand. After rereading your post I now understand that your edit is telling us that you are responding to Peter's remark on many have bad mixing. Well, I think it's very brave of him as he may expect that a lot of people will give his mixing a lot of extra attention when his next tracks will be evaluated during voting. I certainly will as I know there is so much to learn for me, for everyone actually in that department. And I do agree with Peter that a lot of mixes could have been done better. Besides this I also think that a lot of music and their creators may benefit from open and quite direct reviews. As long as it's communicated in a respectful way of course. In terms of that, I have never seen anyone going over the top here. Well, not to my standards anyway.

On the other hand (now I am talking about mixing again), I think it is typically something that is too often overrated. A perfect mix can also distract the listener from the essence of a track. As far as I am concerned, the emotion of the music itself is much more interesting to focus my attention to. Peter responded to an excerpt from my last submission by calling it a Sea of Mud. That was such a perfect observation of what I was trying to achieve there. Of course, you should avoid something like that at all times if you want to make mainstream dance music, for example. At least I think so because I don't know much about that. But yes, whether he thought it was good or wrong doesn't matter. In any case, he heard exactly what I wanted it to sound like. And I tried incredibly hard at that. The feeling you can have as a 14-year-old boy when you are completely blown away by the power and emotion of the music you are listening to. That's what I wanted to capture. And so I seem to have succeeded.

[The Sound Of Merlin]

I felt triggered by the "dancibility" nonsense, too. ...

I don't agree with Taron on this. I think it's quite interesting if everyone would write down their most important criteria while voting...
My criteria have nothing to do with being fair or honest since how can we monitor those vague things?

You mean, you disagree with me complaining about making "danceability" a criteria, but you don't disagree with me not having "danceability" as a criteria!?
Fair enough!

Huh??? I am not following you here? And I am not sure if I am really interested. I should reread this like 20 times and then think really hard and that's not worth the effort I suspect. Okay... To me danceability is not an important criterium. However I am very interested in what criteria matter to others. And besides this I am not interested in reviewing the values of any criteria. Although I am very interested in the persons behind them. I hope I am somehow giving you an answer?

[Taron]

(responding to your earlier post, TSoM!)
God, yeah, that's often so tricky with the mix. You, TSoM, are a seasoned master in virtually all aspects of music creation, from composition and arrangement to producing and engineering. And when the milkman comes with counting the bucks for the bottles, you'll have to explain what the cheese is for, hahahaha...huh?! I can't make up proper expressions.

I understand when a mixing engineer knows how to ensure clarity where clarity is due, what levels are proper for what target and all that jazz, but if it was just by numbers, there would be no star-engineers nor the need for anyone outside of some robotic automation (aka A.I.). The true icons of producers understand what the music needs first. I reckon that even there is room for invention in order to deliver original ideas and effects.
In this example, it would be like jumping into a soothing mud bath and then complaining about the dirt?!

I still sort of struggle the discipline and expectably the knowledge to properly isolate each instrument to ensure its clarity in the mix. My orientation is generally more akin to seeing a band, where each member has their place on the stage in front of the listener. But then there may be more abstract elements that could reach to outside of this scenario, more abstract, more emotionally compelling or psychological for that matter. I wished I had the certainty to compose such arrangements and mixes with pure, schooled intuition, so to say. And then I'm too damn lazy again or distracted by other aspects of the creation that excite me more at the time...pfhaha... dang it!

[Taron]

You mean, you disagree with me complaining about making "danceability" a criteria, but you don't disagree with me not having "danceability" as a criteria!?
Fair enough!

Huh??? I am not following you here? And I am not sure if I am really interested. I should reread this like 20 times and then think really hard and that's not worth the effort I suspect. Okay... To me danceability is not an important criterium. However I am very interested in what criteria matter to others. And besides this I am not interested in reviewing the values of any criteria. Although I am very interested in the persons behind them. I hope I am somehow giving you an answer?

Yeah, nah, that's exactly right. That's what I meant. You wouldn't have danceability as a criterium. Agreeing with me, who also wouldn't. Good!

[silverpants]

Nice to see my name used so positively Very glad to be called brave and special. That's exactly what I'm aiming for. Happy to be "different". It's good that we all have slightly different approaches to how we rate the music. Some focusing on mixing, some sound design, some composition, some innovation, some genre honing, some just "feel". By the end of 40 voters - it should all average out. There is no right or wrong in music, even in mixing. It's all subjective.

I personally get most excited about the innovators like Liqih, El Vincente, Maltone, Emikaela & Bowman...
I will give 5s to tracks with great ideas - even if a technical element is lacking. That's my approach.
I also am inspired by the amazing sounding pro level productions of a string of others (inc the guys above in this thread).
People should vote by whatever they feel is important to them. As long as their votes correlate with their own measure of merit - then all is good.

[Negoba]

People can vote however they want.

How much one weighs the technicality is up to them. I'm sure the more experienced producers are going to hear nuances the newbies or relative newbies like myself don't even notice. Makes sense to rate accordingly.

I would hope no one is voting in a genre specific way other than what connects with that person. If danceability moves you, then vote accordingly. It does feel odd to have it as a criteria in and of itself. It would be like judging solely on the kick quality when some tracks don't even have a kick or use low pulses in a non traditional way.

Creativity grabs my attention and tends to move me. I'll vote accordingly. Sometimes it weighs more than technical aspects for me.

I still appreciate a really good groove, and I've certainly come to appreciate a lot of EDM I didn't a year ago doing this.

[Taron]

Thing is, consider for whose benefit you rate. You don't rate for yourself. When you give a rating, you automatically "give advice" to that musician, because your rating results in an information.
I try to be conscious of that, knowing that my rate will have an influence. And I'd want this influence to be useful in some way other than something as useless as learning I would like or dislike their taste.

[The Sound Of Merlin]

......Happy to be "different". It's good that we all have slightly different approaches to how we rate the music. Some focusing on mixing, some sound design, some composition, some innovation, some genre honing, some just "feel". By the end of 40 voters - it should all average out. There is no right or wrong in music, even in mixing. It's all subjective.....

I fully agree and there is one thing I would like to add here. Wanting to be original and different is the cradle of musical innovation and also personal development. Repeating yourself again and again using fictitious laws can be very important at a time when you are studying production techniques and music making in general. I see the former as a goal and the latter as a well-chosen path to achieve that goal. Whether you are just starting out or have been a professional for 20+ years. You may always want to keep pushing your goals and therefore learning, studying but also making mistakes will never stop.

[MasahoYuma]

Santa Monica Sunset Drive '87

https://soundcloud.com/yuma-403920796/m ... t-drive-87

After finding out my boyfriend cheated on me, I take my silver Testarossa Spider for a late afternoon ride on Pacific Coast Hwy to clear my mind. Time to move on.

Here is the updated version of the track formerly known as "Miami Sunset Drive (ca. '85)".
Thanks @seap for the backstory adjustments and @IV for your feedback on SoundCloud!

FL Studio 24
13* instances of SixTraq

Plugins
Analog Obsession: Britpressor, FetCB, dbComp, TRAX, CITE, LOADES, FETish.
FL Studio: Luxeverb, Low Lifter, Transient Processor, EQUO, Fruity Delay 2 & 3, Fruity Fast Dist, Fruity Multiband Compressor, Fruity Stereo Enhancer, Fruity Blood Overdrive, Fruity Soft Clipper, Fruity Parametric EQ 2, Fruity Reeverb 2.
MeldaProduction Audio: MSaturator, MAutopan.
W.A. Production: KSHMR Essentials Kick
Valhalla Supermassive

[bzz]

I decided to end the self-torture with the buggy synth, so here is my submission. I'm not happy with the result, but to quote Juergen, I'm not afraid of ending up in the last place

Made in Cakewalk. Single instance of Six-Traq. epicVerb, LFX-1310, OTT and W1 Limiter as the external FX.

https://soundcloud.com/petr-n-mec/bzz-t ... end-of-the

[Taron]

I decided to end the self-torture with the buggy synth, so here is my submission. I'm not happy with the result, but to quote Juergen, I'm not afraid of ending up in the last place

Made in Cakewalk. Single instance of Six-Traq. epicVerb, LFX-1310, OTT and W1 Limiter as the external FX.

https://soundcloud.com/petr-n-mec/bzz-t ... end-of-the

This is pretty neat for the challenges you've had! All you really need for this is one proper bass sound, because that's the only real vacancy in it. After that I think it could totally pass as a complete piece.

[bzz]

Thanks for the encouragement, Taron! But for the peace of my mind I'm not re-opening the project with the bloody synth anymore and move on

[Taron]

...still good!

[The Sound Of Merlin]

Thanks for the encouragement, Taron! But for the peace of my mind I'm not re-opening the project with the bloody synth anymore and move on

I totally agree with Taron. It's a very fresh and enjoyable piece and the only thing it seems to lack is a proper bass. I am sorry to hear that the software itself is withholding you from finishing the track. If you would only use one voice/preset per instance of SixTraq you would probably have no problems at all. That's what I did for 90% of my track. I only encountered some problems with SixTraq on the first day I used it and then decided to ignore the multi-timbrality and just enjoyed it's wonderful sound qualities. Only thing in your case would be then that it's not a one instance track anymore. Your musical ideas might deserve more instances but that's up to you of course. Ah man.... come on, it's a happy track!