This file has expired and is no longer available here. The owner of the topic can re-upload the file, or post a link to an off-site file. <BR><BR><a name="planetz-tag"></a>Genre: TRIP-HOP<BR> <a name="planetz-tag"></a>Uses: Pulsar Effects,Pulsar Mixers,Pulsar Synths<BR> copyright © 2004 Thalamus<BR> _____________________________________<BR><BR> Hi All,
Working lately with a new version of the Thalamus song "Coming Home", which many people like in the old version, but me and the singer like it to be defferend.
The old version is here: http://www.planetz.com/Pulsar/files/mus ... 20Home.mp3
The new version is above at the song link.
My need for advise is... is the change for the better? or is it a distaction of the song?
Personally I never liked the old version, I though it was too "heavy and slow", like it was going to fall a sleep all the time. I think the new one is making that up.
I beleave you ears...
Advise needed...
-
Harold Nobles
- Posts: 2
- Joined: Sat Apr 06, 2002 4:00 pm
- Location: Florida
Hi Noah,
I agree that the old version is too heavy (minor key, melancholy). The subject matter of the song pertains to a wonderful phenomenon, so it is contradictory for the music to sound sad.
It is my opinion that the new version is much better. If it pleases you, I can mention a few specific new elements I like, and even make a few suggestions.
I like the new intro much better. Basically, allow the voice to carry the tonality, and support it with primarily rhythmic elements. Perhaps you've already tried this, but I would seek to eliminate or reduce the root E note that proceeds from the beginning. Perhaps use a sound which is atonal, or at least remove the fundamental harmonic from the note you've got. It seems to me that the main objective of the remix is to reduce or eliminate the perception that the song is in E minor, although it really is...
I would therefore also suggest experimentation with the use of relative major chords. eg. C major rather than E minor at the beginning of the verse, and G major rather than E minor at the beginning of the chorus. For the associated bass notes, you might try something like an A with the C major, etc. (I understand that the song should sound spacy, not major key.)
Of course, another standard trick is to use suspended chords rather than minor. (suspended 4, suspended 2, etc.) I hear a bit of this at 1:39 of the new version. Basically, I'm trying to encourage you to push even harder with regard to the elimination of the somber E minor key, and the attainment of a more transcendent, ethereal sound.
Thus, I particularly like what you've done from 1:12 to the end of the new version. (In fact, it's rather awesome.) okay, maybe ditch the e minor guitar chord at 1:40...
I hope I've made sense here. If not, then let it suffice to say that I prefer the new version.
Cheers,
Harold
I agree that the old version is too heavy (minor key, melancholy). The subject matter of the song pertains to a wonderful phenomenon, so it is contradictory for the music to sound sad.
It is my opinion that the new version is much better. If it pleases you, I can mention a few specific new elements I like, and even make a few suggestions.
I like the new intro much better. Basically, allow the voice to carry the tonality, and support it with primarily rhythmic elements. Perhaps you've already tried this, but I would seek to eliminate or reduce the root E note that proceeds from the beginning. Perhaps use a sound which is atonal, or at least remove the fundamental harmonic from the note you've got. It seems to me that the main objective of the remix is to reduce or eliminate the perception that the song is in E minor, although it really is...
I would therefore also suggest experimentation with the use of relative major chords. eg. C major rather than E minor at the beginning of the verse, and G major rather than E minor at the beginning of the chorus. For the associated bass notes, you might try something like an A with the C major, etc. (I understand that the song should sound spacy, not major key.)
Of course, another standard trick is to use suspended chords rather than minor. (suspended 4, suspended 2, etc.) I hear a bit of this at 1:39 of the new version. Basically, I'm trying to encourage you to push even harder with regard to the elimination of the somber E minor key, and the attainment of a more transcendent, ethereal sound.
Thus, I particularly like what you've done from 1:12 to the end of the new version. (In fact, it's rather awesome.) okay, maybe ditch the e minor guitar chord at 1:40...
I hope I've made sense here. If not, then let it suffice to say that I prefer the new version.
Cheers,
Harold
