On the one hand, I really dig your intro and the first half is solid, but on the other, I think that the second half is where it really... kicks into gear.
When I first thought of that metaphor, I did not realise it was a pun. But now I am terribly aware but there is no other way to describe that change.
Like, I recognise your style on the first half, and while it's functional and has some cool stuff going on, I don't think it quite measures up to your other recent work, which has been truly exceptional. However, if the rest of your work on this collaboration, hell, even half of it has that mojo working like you do on your recent stuff, I will probably really, really enjoy this.
That makes sense. Something sparser would let things breathe better. But I do have a bias in that I really like situations where you have an MC riding on a really dense beat but everything's mixed so that each complements the other nicely. I mean, my entrée into rap was Public Enemy and Dälek were a huge influence on me, so.
Yeah, I felt like the atmospherics were a little restrained and the high end a little to strongly emphasised, but then this makes sense given the beat change-up where all of a sudden you get BASS.
Or rather, so far the tracks seem to range from "pretty solid" to "pretty exceptional." I think your beats really steal the show, though; you do atmosphere really well.
see, maybe it's cuz I made the beats (mostly, check the credits for exceptions), but I think that it's way more his album than mine, the interlude aside.
Trivia: that sample on the interlude is RamEllZee, one of the first truly "weird" rappers. "Beat Bop" by Him, K-Rob, and with a beat by yes that Basquiat is a classic.
Trivia: that sample on the interlude is RamEllZee, one of the first truly "weird" rappers. "Beat Bop" by Him, K-Rob, and with a beat by yes that Basquiat is a classic.
like it's perfectly acceptable to start in the middle. Some people actually plan out the entire structure of their pieces first before actually creating the sounds, I don't have the patience to do that, but it's an option.
if you notice something cool happens when you do something that FL doesn't normally record, such as hitting the "stop" button and hearing a sound fade out in a cool way, you can record that by opening an instance of Edison on the mixing board in the Master Track tab.
in fl generally i start with a little motif or drum bit or something in one pattern, then i start building other patterns that interact with it, kinda moving patterns around to see how they can click together, and then i structure things
it helps that i've decided that innerpartysystem is how I want my stuff to sound one day. which means I have a style to rip off of instead of working off vague ideas of what I want
it's part of why I chose the tempo and rhythm for that beat
Comments
TAKYOOOOOON
Any details on when Carousel drops yet?
But now you know what it's like to experience.
When I first thought of that metaphor, I did not realise it was a pun. But now I am terribly aware but there is no other way to describe that change.
Or rather, so far the tracks seem to range from "pretty solid" to "pretty exceptional." I think your beats really steal the show, though; you do atmosphere really well.
(The other Jane)
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead