I know Pannacotta already posted some reviews in the previous round thread (thanks for that!), but I thought I'd make one for future searching purposes.
SpinTunes 25 Round 3 Challenge
There's a Song in My Song: Write and record a song about or prominently mentioning a song (or other piece of music). The mentioned song could be a real song (pre-existing), a fictional song (that doesn't yet exist), or even your song itself (self-referencing).
Remember that, if you mention an existing song, your song must be newly composed, substantially original, and not run afoul of any copyright laws.
Preface: Not a lyrics listener. My comments can be safely ignored.
This Big Old Endless Sky: Amazing guitars. I feel like I often try for this sound, but I suck at picking an individual guitar tone that will end up stacking well with multiple layers. Mix might skew a bit bright. Getting the kick to come through tight and focused might fix everything in one go. Love this energy.
Hot Pink Halo: Drums are super cool and vibey. The faintest hint of reverb to put everything into the same room as the drums would really help glue this all together. Whatever that percussive mallet instrument is, it's wonderful and not overdone. Big vocal stacks are great.
The Pannacotta Army: Is this why the kids are all saying 6 7? Kudos for preserving the meter through the whole tune rather than switching to 4/4 for the verses like a coward (like I would probably do). Hammond tip: If you have it, Izotope Trash has some great saturation+reverb presets that will dirty up your organ sound in a natural, authentic way. Love to hear a classic funk sound, and this is well-executed.
David Taro: Authentically throwback Jackson Brown kind of sound. Crunchy guitar in the left could come down by a couple db in the verses; fits fine in the chorus. As a hammond player I'm desperate to hear some rotor speed flips. Great sound all around, love the way the chorus hits with that wall of sound.
SEE/MAN/SKI: I would probably complain about the loose timing if it were anyone else, but you have an impeccable sense of feel that I've always been jealous of. Would love to hear a different piano sound; either a different patch altogether, or you could try the trick I've been employing recently: however you capture your piano, go back in and reduce the velocity by like, a lot. Like 70%. Then we need some room reverb to push these instruments a bit back behind your (amazing) vocal. Great work as always.
Jealous Brother: More super-fun throwback sound. I'm hesitant to comment on the mix, because you're nailing a sound here. Maybe spread those "bop bops" and the handclaps, and generally give me more of a stereo picture. Maybe. Again, you may have absolutely nailed the mix you're referencing here. Super fun, love the drum work.
Bob Voyg: Love the confidence in every part of this. Guitars are awesome, vocal is perfect, bass sits exactly where it ought to. Could use a little more 50hz bump out of the kick - if it's not in your sample, then duplicating the kick track with another sample lo-passed to just give you that punch. Love the distressed organ. That is one hell of a fadeout. Give me a vocal-only repeat and let it hang. Boom, ending sorted. Excellent work.
Huge Shark: Lovely, lush track. Drums feel a bit separated from everything else - bus compression and reverb might be able to put everything in the same room. I feel like you're holding back a bit on your vocal - would love to hear something between where you are and Shirley Bassey. Super interesting chord changes here, very fun to play along with. Great work!
Good Guy Sôjàbé: I was hoping for a Tribute tribute! Someone cover this for the bonus round so we can have a Tribute tribute tribute. I won't give mix notes for a goof, but I will suggest RX Breath Control or something similar, as the exhales at the end of lines can be pretty harsh. Fun!
The Alleviators: This tasty, very reminiscent of mid-career Ben Gibbard. Would love to hear you lean into the discopop elements of the chorus, with straight quarter kicks, etc. The bass is doing awesome things, with well-considered rests that add a lot by subtraction. So many cool, well-executed ideas here.
Governing Dynamics: Big, beautiful sound. Carve a little eq or sidechain compression pocket in that bass so the kick can punch through. The III-IV-iv turn is a nice change of pace. Drop the band even more at ~4:40, so the big line that follows is that much more impactful. Great stuff as always.
Flintsteel: If only each of us could execute our respective genres with half the mastery that you deliver every single track. So much work in the arrangement and performance, jesus. Another hour or two of focused mix/automation work would help, but this is a fucking blast as is.
Sober: Not sure if I should swap the first and second stanzas of verse 1. I recorded a pedal steel track, but didn't get it to Micah in time, and I'm ok with that. Also trying to be ok with more natural performance captures. Fewer takes, less surgical comping and rhythm correction. God I love the way my upright bass sounds. Fun to break out the pipes and whistles (PVC low D in the last verse, then standard tin D). Probably the biggest track sound of anything I've submitted to songfight/spintunes, and only the organ is VST
Wendy Wiseman Fisher: Appropriately Disney/musical theatre sound. Great work exploring lydian and other modalities. Would love to hear this fully produced with big epic orchestral percussion.
▷: Microtonal fun! That lead patch is super tasty, makes me think of my favorite chiptune soundtrack. Fun, strange journey - grateful you're here.
gammammannn: Hell yes. Lean into the silly guy. Lmao hearing the smashing on what I assume is a Yamaha PSR-170.
gammammannn: I didn't realize we were getting an opera. Kinda nice to hear these back to back, like getting a reprise, complete with leitmotif.
bucket: Takes me back to my 20s. I'm 5 PBR's deep in an underground pub watching this live. My buddy just pulled up, and I know he has a bigass flask of crown royal that he'll share with me, so I can stop buying beers. There are lots of girls with purple hair here. Life is good.
Siebass: The above night has gotten out of control. I gasp awake in the back of an '89 Mazda 626 that I do not recognize. It's still dark out. I'm lucid for exactly 2m16s, and pass out again.
Nathan Joe Long: Very fun way to close out the group. Lovely jangly guitars, fun drum arrangement. Great work.
Last edited by Sober on Sat Oct 18, 2025 1:03 am, edited 1 time in total.
Some skewed thoughts on Round 3 entries. Sorry Shadowers, maybe I'll have a go with you later if I get time.
TBOES – What’s not to like about a bastardised list of XTC song titles? Well, I could possibly imagine a stricter judge might be on your case for tenuously complying with the theme, i.e. is it "about" or does it "prominently make reference to a song"? That aside, the vocals are very in your face. I like a loud raucous song as much as the next middle-aged (old) bloke but that angry wasp in a jar during the chorus needs letting out. The down section is my favourite bit or favorite bit depending on which continent you’re on.
Hot Pink Halo – Is my antenna picking up an early Prefab Sprout vibe? (Jeez, have you seen what Paddy McAloon looks like these days?). The simple slightly meandering arrangement is nice, though maybe there could’ve been a bit more instrumental contrast between verses and choruses. It’s a strong chorus though and your voice sounds very good. I occasionally get a sense in your songs that you struggle with finding a natural transition from chorus back to verse and that’s a little bit the case here.
David Taro – I’m sure some naysayers might whine about this being somewhat poppy, but for me the theme and storytelling in the lyrics is strong and it’s a great idea. Despite your own doubts, I think this hits the brief perfectly. Maybe I’ve heard catchier choruses from you but it’s still very good nevertheless, as are the verses, though I feel you could’ve pushed yourself to be a little more inventive with the middle eight. As usual, your vocals, instrumentation and production are all stella.
See/Man/Ski – The connection to the theme is possibly a bit thin for me. If I wasn’t already aware of what it is, I’m not sure I would necessarily cotton on from the lyrics. The vocals are excellent and kudos for harmonising all through. I can't help thinking the tempo is a touch too slow. If it had been upped slightly, that maybe could have helped with some of my perceived reservations – slightly plodding feel, the odd bit of loose timing, borderline plonky piano. Some more variation in the arrangement might’ve given a bit more spark. Melton Mowbray was my top song from last round and was surprised it didn’t place higher, so sorry if I’m a bit down on this.
Good Guy Sojabe - I like the acoustic riff that’s the main theme of the verses. The arrangement and production are on the whole good and the lyrical content complies to the brief well. I think it’s a perfectly decent song but I can't say it's one that really grabs my attention. You’re also hamming it up with the vocals a bit too much for my taste in the verses. I confess I'm not particularly a Jack Black fan so I'm somewhat oblivious of the whole Tenacious D thing.
Jealous Bros – Apart from the intro, the production/sound reminds me of The Rembrandts’ “I’ll Be There For You”. I'm no avoider of jangly guitar-pop, very well produced and played, so I should be all over this. However, although I very much like the idea and narrative (it’s an excellent and very compliant take on the theme), the lyrics somehow feel a bit forced and busy when sung to this arrangement and melody. Good solid stuff but lacks something unique or original to make it stand out.
Bob Voyg - Once again, very loud up-front vocals. I would want to dial those back a bit, but anyway, I like the punchy first two verses and I also like the next mellower section. I would’ve perhaps gone back for another verse but instead it remains at the slower pace treading water with a few instrumental bars before going into the closing section and long fade out. It feels a bit like the earlier energy and momentum are never regained. Pedant's corner - seeds are sown, clothes are sewn.
Huge Shark - Beautiful vocals. I confess it’s not a style of song that’s particularly up my alley, but I can appreciate that of its genre, you've done a good job. However, I don’t think the backing does the song justice. The drums don’t really work for me. It’s probably a good thing they’re too quiet and they sound rather straight out-of-the-box manufactured. The piano has a nice tone and the arrangement works nicely for the song. The woodwind parts are okay too. I’d say there’s too much low-end drone in the strings. I’d have prefer it if that was taken/EQed out and replaced with a bass guitar instead.
The Allevators - I'm probably being thick, but I'm not sure I get the connection to the theme here. I find the bass overly phat/invasive, it’s swamping out the low end of the mix. Other than that though, the rest of the arrangement is excellent. Catchy chorus. Beka’s vocals are terrific and so versatile in this song - some terrific harmonies. It sounds like there are a lot of vocal tracks. Great blend of guitar parts also. Maybe the drums could be cleaner/snappier? Impressive stuff apart from that bass which I want fixed or changed.
Governing Dynamics - Nice dark grungy/shoe-gazey type vibe. It’s an atmospheric and dense reverby arrangement, especially when the organ is in the house. The vocals cut through okay as do some of the drier guitars but other stuff is getting a bit swallowed up. I like the song though. The vocals are very good; your voice works really well. Pretty long at 6+ minutes. I didn’t find myself wanting it to end but I think you could’ve edited it down without spoiling anything. Theme-wise it's similar to TBOES (see above) in that it’s basically referencing a bunch of other songs.
Flintsteel - This seems to be about a book rather than a piece of music or song. I admit I basically have a complete blind spot when it comes to this genre. I've played this a few times now trying to come up with something meaningful to say. Of course it's all very well produced and played blah-di-blah... but every time I listen, the image of East European Eurovision entries staged with explosions, jets of fire and writhing tattooed dancers semi-clad in leather comes into my head.
Sober - I very glad you opted for a much slower and different vibe. This is totally charming which is perhaps a slightly odd thing to say about a song considering its subject matter. It’s also absolutely beautifully performed, as expected. Exquisite vocals. I love the spaces you’ve left and everything else that is so perfectly judged. It’s an expert arrangement. and I’m not going to mention anything about the production because of course there’s no need. Is that instrumental melody right at the start meant to be a variation on Danny Boy?
- david ivdaivdiavia ivdi david davida vdaivdai DAVID. david. please stop being such a great songwriter, make your songs worse!!!!!! MAKE THEM WORSE SO I CAN COMPETE- (joke)
- i love how creative this is, the false-lyric "oh my, oh my love" genuinely feels like a one-hit-wonder lyric, almost too accurately. i especially love how at 2:14 you have this effect on your vocal like its coming from a radio or something, such a small piece of worldbuilding is incredible.
- the rhythm in this song is unarguably 4/4, but i love how you seem to cut your measures short in the verses. your verse are essentially operating under a 3-bar-per-measure structure, and in such a seamless way i didnt even notice until i put it in FL studio to double check. i especially love the way it makes the chorus feel so much more impactful; the way i've been dropped into silence and then hit with a chorus an entire bar earlier than expected is incredibly well done. this song is full of weird rhythmic quirks like this that make it so fun to listen to. it also speeds things up a bit, im not left hanging for that extra bar that's been dropped, which i love.
- at this point i dont really have any critiques for you, what i do want is some experimentation. you've proven to me and several other people that you can absolutely write incredible music... now i just wanna know what happens if i give you 9/4, do you think you could write a banger in 5's? perhaps something in septuplets? maybe something in additive rhythm (3 + 3 + 2 + 3 + 2, etc), you could probably write something ridiculous with your skills in mind
NITPICKVILLE!!!
- in the last verse, you sing dancING, the stress is in the wrong place, not an issue but it bothers me slightly.
THE ALLEVIATORS - SONG OF THE RAVAGED
- freakinge~ love the chorus of this, its really energetic and positive, and the song FEELS energetic and positive during it. i especially love the lyrics that emphasise that "joy is our weapon, our song to resist", its this kind of infectious positivity that keeps me thinking about this tune. i think the only thing thats properly missing is actual crowd vocals, like get- a whole group of people together and get them to sing the chorus.
- that second verse is one of my favourite things, im a sucker for these kinds of rhythmic things- with the vocals doing some stupid shit, it actually makes me curious if you would be capable of writing something in additive rhythm, like PROPER additive rhythm, i think you totally could.
NITPICKVILLE!!!
- hidden is pronounced weird, and doesnt really work with the rhyme scheme that you set up. its important to mention that the rhyme scheme being set up is why it doesnt work for me, if anything i wouldnt mind if you obfuscated the language a bit and just kept it at "hid", it might not be perfect english but it'd *sound* more coherent to me.
THIS BIG OLD ENDLESS SKY - AM I THE BALL AND CHAIN?
- this songs production makes me go feral, your vocals are insanely powerful and thats a good thing in my opinion.
- shoutouts to the lyric "with their senses blowing gauges", and the rhyme between major and gauges, that is only a rhyme that works if you're australian, and i love how you included it.
- at around 1:33 i think one of your vocals hits the wrong note, to my ears atleast. im not exactly sure why though, it could be that my brain is interpreting the song in the wrong key, as my brain interprets B Minor as the root of the song for whatever reason- especially in the bridge where it feels like B Phrygian. update; this might actually be the case, i think im literally just hearing either the wrong key, or the "wrong note" is actually just a right note and it only sounds wrong to me.
HUGE SHARK - WINGS
- some kind of call and response in the chorus could do you wonders, i feel like theres periods where im left hanging on just a chord and drums and not much else, the piano thing sounds like its playing some rhythm, perhaps some kind of melodic element can follow this rhythm.
- i love the chords being played, i love the notes, the notes are good. i love how the vocals towards the end of the verse drift out of key to visit the new chords home, it feels so buttery smooth it works perfectly.
NITPICKVILLE!!!
- this next criticism is much more of a personal problem, the vocals in many points feel like they have a lot of... i wouldnt say low end because your voice isnt low, the lowest frequencies of your voice feel slightly overbearing to me, i would eq that low-to-midrange just a tad quieter, but thats basically the only problem i have with it. WOW thats a lot of words to describe a slight nitpick
GOVERNING DYNAMICS - KEEP DRIVING (I-70)
- i love how this song feels lonely, the start feels almost exactly like a night-time car ride that never ends, which is weird cuz i havent actually experienced that yet.
- some people might complain about the length but i really feel like this is a case where i think its length is to its benifit, its about a very very long drive, it would be absurd to make this 3 minutes to long. you said in the discord during round 3 that a 6 minute guitar jam is basically the same as throwing the round and- sure maybe in some universe thats true but i refuse to believe thats this one.
- one of my favourite details about this song- whether you did it intentionally or not- is the fact that the song gets more and more chaotic as it goes on, while also shoving more and more references into the same space. i love to interpret this as trying to wash away the anxious thoughts of whether or not this drive was a good idea with more and more music. if i could make one bizarre suggestion from my autistic brain hole its that i think you could have possibly leaned into this more, maybe even drifting in and out of the key towards the end; now THATS throwing the round!
NITPICKVILLE!!!
- some of the lyrics in the first chorus definitely feel like takes stitched together, this is fine but i'd prefer it to sound coherent.
HOT PINK HALO - RALLIED BY AN EVENING PRAYER
- okay right off the bat i just wanna point out how awesome the chorus lyric is; "and everyone changes as time makes them more", that is so absurdly poetic i genuinely cant believe it even exists, thats an awesome line.
- i like how detailed your song bio is, i havent known you for long enough to know that you used to sing with an american accent, this makes me feel like almost all musicians go through a phase where they sing outside their accent at first.
- this songs message is so beautifully done by the way, you are a really excellent songwriter, it makes me jealous that you've written less songs than me and can pull together something so full and lush that i cant find anything wrong with it. i spose im at a disadvantage because i didnt lyric until 2 years ago and havent received proper criticism until... also 2 years ago, but still, thats absurd to me. i dont think i could ever forget about you.
THE PANNACOTTA ARMY - DONT BE A SQUARE
- you mentioned on the discord before the deadline that i would like the odd time signature aspect of your song... i think i like a little bit more than that, this song is incredible and i love it and everything about it, i think i've listened to this song a little too much
- the use of 13/8 is really well done, it feels fairly clean to my ear, 7 + 6 is always fun. it also doesnt sound too forced, all the instruments sound like they land where they should in this rhythmic soup. theres nothing that i can hear that is blatantly out of place. the choruses and solo section being in 12/8 also works really well, it can be really tempting to keep the whole song in a really bizarre time signature but a bit of regularity in places helps, and you clearly understand this, or you dont and you just felt it man. JUST FEEL IT MAN!! JUST FEEL.!11 IT!
- the chorus of this track has become a stim, i was playing overwatch a couple days ago and i couldnt stop repeating to myself-- "dont be a square get up out of your chair throw some moves", its so infectious in a way that just works.
- i also really love this song for being self-refering, and in a super clean way as well. the songs entire purpose is lined out in a way that would be impossible to miss- i mean the chorus literally tells you, and that to me is really cool to see. some people apparently found this simplicity to be bad thing, but i personally dont think this song needs to be much else, it doesnt need a narrative; the song just *is*, and thats enough for me.
- there are so many things i could get into with this track, my autism has gobbled this up and it wont stop.
BOB VOYG - SO FAR, SO HARD
- hey, bob
- i wish the fadeout was longer. some people might disagree, but for a song about feeling like you're in outer space- it only makes sense to have this song have some kind of loooong dissociating fade out that makes you question everything, the kinda thing that gets you sitting there for another 30 seconds after the song's finished and gets you thinking... "god damn...", perhaps you could have left the vocals out of the fade out so that at the end you're just left with your voice.
- i love the lyrics about "sending signals but they're slipping in and out of phase", for someone who struggled with secondary dominants you are surprisingly knowledgeable on the technical side of audio, and i think this is something to celebrate. maybe im over-celebrating this but regardless of what you say i will disagree with you. you are really cool and good and awesome and all of the above.
- this songs message resonates with me like the perfectly tuned piano, and i mean that in a positive way. sometimes i love to daydream about future projects but then i realise how far away those projects actually are to being completed, and its so hard. its so far. but if theres one thing i can share its that the best way to get there is just to start. it only gets easier from there.
- a little bit of an autistic suggestion i have is that i'd love it if the last part of this song had more vocals overlapping each other, every part of it repeating "So Far" and "So Hard", at different times to kinda make it feel like you're being enveloped in this message. i do something similar in my cover of Sunshine / Abyss that you'll probably hear later. i also do a similar thing in my S25R3 shadow "just felt like That"
SOBER - ON SHENANDOAH
- i wanna start by saying- and i mean this 100% seriously, you push yourself down too hard, your music is genuinely some of the most well made stuff i've listened to, whether or not you like it is a different beast but you have genuine skill in the work you make. this song is genuinely beautiful, whether or not it follows the challenge doesnt change this.
- your vocals in the- chorus? whatever it is, they are incredible, they feel surrounding in a way that feels oddly like a blanket, and thats not easy to do! you managed to sing this in a way that feels comforting in relation to such a damp dark and sad topic, and that is something i dont think i even have the skill to do yet- being able to sing in such lockstep with yourself to the point that it vaguely sounds like a filter-sweep is such an insanely impressive thing to me that i feel like giving up on vocals because i can never be that good. of course i wont because i love singing but still!
- as for the challenge itself, while it definitely feels polarizing on whether or not you succeeded im willing to assume you did, i dont know much about folk but i have learned a thing or two about jazz, and i know a hell of a lot about vaporwave and sampling, and if theres one thing i can pass to you from my experience in- whatever genres my brain happens to like- its that your song is definitely its own thing. through all the copyright lawsuits i've witnessed being talked about on youtube it only makes sense to approach this as a unique and new performance of a past tune, which is new enough to me to count. once again though i must emphasise that meeting the challenge or not does not change how incredible this song is to listen to.
- production is solid to my ear, everything is so crystal clear i could look right through it. all the vocals are so listenable even to my autistic ears that often have trouble understanding speech and often need to say things like... "can you please repeat that" or "sorry what?" or............ "HUH", great work on that!
- i dont know what the words actually mean on first listen. this definitely seems like a song that would only appeal to those who know about the band in question- which is totally fair by the way, i write songs about my special interests too, it just comes at the unfortunate cost that some people dont feel like going through the effort of fully understanding what your song is about- this is most common when you dont write a song bio, i found that out the hard way with my song 48 submitted for spintunes 24 round 2, i didnt provide any useful information in that songs bio which resulted in several judges completely missing what it was about. i get the appeal of trying to write music that speaks for itself but sometimes i think its more important to write exactly what you want and just tell people what it means.
NITPICKVILLE!!!
- why is there a slight fadein on the guitar? theres an attack to it that shouldnt be there... right?
FLINTSTEEL - MASTER OF THE ART
- id like to start this one off by saying sorry for my genre bias, my dad has so much metal music in his playlist- and SEVERAL copies of multiple metalica songs in it- which has made this genre wear on my ears to hell and back, which is weird cuz hell's what metals usually about but ok
- your vocals are a tad quiet in places, especially the start, the timbre and quality of your voice is implying- to me atleast- a certain loudness that isnt present.
- i will say i love your harmonies, they are really well done to my ear. it makes me curious what'd happen if you explored other genres but at the same time, i dont know your taste, i only know mine.
SEE/MAN/SKI - THE SONG I CANT WRITE
- i love this take on the challenge, you arent exactly singing about a song you're singing about a song that isnt, thats really clever to me
- there are many times in this tune where your vocals kinda disconnect from one-another in this weird way, but i kinda love it. specifically when you sing the same line at different points in the bar and overlap them, i think you should push this concept harder and make something unlistenable. sorry that was my autism speaking, but you should totally do that
- on the topic of vocals, i feel like your lead vocals are very phase-y, i cant tell if this was a conscious choice or not but im gonna bring it up; not to change this about your music but just to make you aware of it if you werent already. this kinda happens when you sing the same line twice and attempt to overlap them perfectly WITHOUT panning either voice. if both of those voices are panned the same, then the vocals phase with each other. this can be a desirable thing depending on the case and its ultimately mostly up to preference, i would have left this phasing out of the lead vocal for this song in particular. its also important to mention that the same phasing can occur whenever two vocal melodies overlap on the same note at any point, again only if they're panned the same.
- the bridge. i dont need to say any other words, its just really good
GOOD GUY SO JAR JAR BE - A SONG ABOUT A SONG
- first off i wish this song added another "about" at the end of its title so it could be the same phrase repeated twice, thats totally an autistic thing to notice and you are free to discard it. i just want the title to be "A Song About A Song About"
- i love the song this is referencing. now heres a problem with what i just said- you see this song suffers from the fact that its overshadowed by the thing its talking about. more specifically it just doesnt do anything interesting enough to make it stand on its own, the fact its being overshadowed isnt a matter of it being worse- if anything i think this song sounds really cool-, its just that it doesnt say anything the original song already said.
- i think a helpful comparison here is the concept of the "clip channel" on youtube. there are TONS of channels on youtube that just upload clips of movies or tv shows onto youtube. at most these kinds of channels just talk about what the source material is, and at least they just reupload the clip with minimal context. this is kind of what i get when i listen to this song, its a clip of Tribute with minimal context added. its not a perfect re-creation of Tribute of course, but its not much better than just describing a movie clip to someone.
- the way i think you should have written this song shoulda been more like- those channels that explain *IN DEPTH* the characters in the movies that they talk about. channels that deep-dive into why a certain character is amazing, or why they think a certain character sucks, i think this would have been the perfect kind of thing for you to try replicating for a song about Tribute; instead of just describing what Tribute is, you could have delved DEEP into the LOREEE of JACK BLACK, and how AWESOME he is, and how he sang PEACHES, and how AWESOME that is! or perhaps you could have delved into the SCARY THEORIES ABOUT THE DEVIL, where that devil may have come from and what he planned to do, and the evil and evil and evil things that he conjured up from the depths to attack humanity before being swiftly slayed by brutal tunes! something like that. something to turn this track from a movie clip to a movie analysis. i think i worded all of that correctly.
- aside from this, its not a bad song, i could see myself listening to this from time to time actually, its just that it could have been a lot better than it is.
BONUS ROUND: SUNBUCKET - DREAMMACHINE
- this song is genuinely so weirdly infectious in ways that i cant quite comprehend, i mean for one that solo in the middle is ridiculous, the way you use 41ed2 lights my brain on fire and i mean that positively.
- i will mention something here related to sunbucket as a whole that i've noticed- and thats the fact that i have a lot of trouble deciphering each part from one-another, for this track its the fact that the transition between verses and pre-chorus is really weird, its smooth in a way that makes it hard to tell when the pre-chorus... starts. for Shoot Me it was the bridge, it sounded exactly the same as the rest of the song except it was a bit longer, i wouldnt exactly call this a problem but its just something i keep noticing.
1: music is everywhere, everything is music
2: never stop experimenting
...being able to sing in such lockstep with yourself to the point that it vaguely sounds like a filter-sweep is such an insanely impressive thing ...
Vocalign does in seconds what used to take an hour or more with time-aligning big vocal stacks. It aligns to a guide vocal (usually the lead) rather than to the grid, so it still sounds natural.
bucket: Takes me back to my 20s. I'm 5 PBR's deep in an underground pub watching this live. My buddy just pulled up, and I know he has a bigass flask of crown royal that he'll share with me, so I can stop buying beers. There are lots of girls with purple hair here. Life is good.
