This is a classic from 1995 that I've wanted to cover for quite a while now. Really wanting to make my own "updated" version of this song
Thing is, I've had some issues with the covering the pads. I easily figured out all other notes from the track, except the ones of the pad. I have different versions of the track, but the pad is a different one and even lower / quieter in other versions, so even harder to figure out.
But I still have the feeling something's wrong. I played the notes on top of the track and it sounds fine, as soon as I stop the track something doesn't sound right, however.
Maybe someone notices something that I didn't in there
Do you mean the Lou Johson track? (make that 1964 BTW )
The one I'm trying to sample is the Tooley St. Mix of the version by Tin Tin Out (with Espiritu).
Here it is:
It's the pads at 5:04 that I'm having difficulties with.
My first try was to play the notes that you hear at 2:25 (in that synth) as chords. It's always 3 notes, 3 notes and 3 notes. And so I combined them into chords, but that's not it.
The sample I posted in my first post (of the pad that I'm playing) is only one note at a time, it's: A - G# - F# - A - H - F#
Basically I was just guessing it on top of the track playing in the background, but it's hard because the pads in the track aren't so loud and if I play mine on top of that, I don't hear the pads of the track anymore, if I lower my pads, then I only hear the pads of the track
What do you mean with I-V and IV etc.? I was never taught to read notes like that, I'm afraid :/
Bobcat: You look like a Coolcat, so please don't take this as a personal attack, but do you call this Music?!? A Classic from 1995?!? PLEASE....
I tried to listen but even my computer gave up at the 4:00 mark.
No Melody, Generic beats, Weak voice, etc, etc..
It gave me the beginnings of a headache!
Mozart would be rolling in his grave if he ever got to listen to this.
Thanks dude who hates his username, I'll try this out
I also think it's several instruments layered, I think that makes a difference too (well everything does).
Quote:
Originally Posted by Herr Weiss
Bobcat: You look like a Coolcat, so please don't take this as a personal attack, but do you call this Music?!? A Classic from 1995?!? PLEASE....
I tried to listen but even my computer gave up at the 4:00 mark.
No Melody, Generic beats, Weak voice, etc, etc..
It gave me the beginnings of a headache!
Mozart would be rolling in his grave if he ever got to listen to this.
There must be better stuff for you to learn from.
Sorry for my honest critique.
Herr Weiss
Oh come on, my variety in taste for music is so huge, trust me, I find something good in every genre, even in Eskimo music
Yes, Bobcat, i also think that i am very tolerant when it comes to music and love all kinds, BUT this one did not CLICK at all.
i know, music is very Subjective, guess you are a Better man. PEACE
The chords I wrote contain sustained notes as well, as they're crucial in getting the sound the OP wants.
Just to clarify.
It seems like it's harder to figure out these guitar chords than I thought, I researched a bit on what they mean but it sounded very different to what it should. Thought I'd easily find what those 'add11' and 'add9' are on the internet, but I failed to do so
My note reading is very limited, I only C - D - E - F - G etc.
Quote:
Originally Posted by pinkheadedbug
I'm hearing / F#m / C#m B / in the pad, played as
F#m - C# F# A
C#m - C# E G#
B - B D# F#
The second chord might be an E (B E G#)
Then there's a bunch of sustained notes in other instruments but you can hear those yourself.
I tried the first method and it was very close, I changed the second chord then like you said, and I think it's almost there.
I think something in the second or third chord isn't exactly this yet, but it's hard to distinguish actually, maybe it's other things such as other sustained notes like we said. For this I'd first have to figure what IHateMyUsername posted
Thanks so far!
Quote:
Originally Posted by Herr Weiss
Yes, Bobcat, i also think that i am very tolerant when it comes to music and love all kinds, BUT this one did not CLICK at all.
i know, music is very Subjective, guess you are a Better man. PEACE
I know what you mean, technically this track doesn't have the best production, and if I look at it objectively it's not the most beautiful thing either, but I see potential in there, it could be turned into something really good Also the version I fell in love with is a different one which is from 2004 I think, but I can't find it anywhere. But it's got all the same notes!
It seems like it's harder to figure out these guitar chords than I thought, I researched a bit on what they mean but it sounded very different to what it should. Thought I'd easily find what those 'add11' and 'add9' are on the internet, but I failed to do so
My note reading is very limited, I only C - D - E - F - G etc.
I tried the first method and it was very close, I changed the second chord then like you said, and I think it's almost there.
Guitar chords? However, The chords in your "synth" part is correct, you only have to add the sustained F#. In addition there's a very high C# under the highest F# as well. The F# is the black key between F and G, and the C# is the black key between C and D. "#" simply means "a half note higher than". The 7 in the first C#m chord (B) is actually taken from the voice of the singer. Of course, it's not really in the chord itself, but it has a place in the picture nonetheless.
Haha yes I know what the black keys are, I just wasn't sure what for example the '7add11' stands for. I googled it but only got results on guitars, thought it might be something exclusive to them, how to play them in a specific way or something. So what's the 'add11' and the 'add9' then?
And yes, I agree with you, every element counts here!
I'll add the F# and the very high C# and see what it gives
The high C# should by the way be wavering in and out of tune a bit if you want it exact. Add 11 means adding the 11th interval to the root note. In the case of C#m, that note is F#. Like in the lying note. Sorry for overexplaining. It was just that you said that you only was able to read C-D-E-F-G-A-B. Thought it was kind of odd, though!
I see! Alright, so I added an F#, not a sustained one (as if you'd use a sustain pedal) but it's a very long "background" note, and it sounds good, also added a C# and then on top of that an even higher F# which "simulates" the string, but I'll probably remove it and use a string instruments for that later. Well, I will change this synth pad either way.
Bobcat, hello again: There are a ton of books (websites) about music theory and it would take the whole day to mention all.
One great book that may help is Rikky Rooksby's THE SONG WRITER'S MANUAL.
The MANUAL is actually 2 books (the chord book + the tutor book) plus two CD's for guitar players and keyboardists!
Heck, he wrote many, many books (check out rikkyrooksby.com), but this one
is excellent and inexpensive; available at amazon.com, of course and full of
contemporary examples to make you a more knowledgeable arranger, composer, overall better musician
Rooksby covers all aspects; Get it and Enjoy it.
P.S.- Nice 2 see all the great help u got in this here thread by all the members.
I might just get it I learnt the piano with my grand parents, my grandma was pianist and my grandpa was violinist, they both played in an orchestra, from Vienna to Moscow, from there to Tokyo and back, they've been everywhere But you know what it's like in the family sometimes… I find it better to have something or someone "outstanding" for such a thing, so I will look into these books
Other than that I don't have issues writing melodies, it's more covering them, especially when it gets more complex. This song here was pretty simple-sounding, yet it's those little differences in a few notes that make such a huge difference.
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