most people can pick out whats good in their songs. But if your going to develop as a songwriter you need critisism. A review that tells you how to fix all your problems(not including production) isn't really helpful because you are progressing according to someone elses concept of what your music is. its better if someone says i dont like the way you do "this" and you find a way to make that work. instead of going off what someone else said.
But on the other hand if you never recieve any praise then you will never "want" to progress at all. So there needs to be a balance. I always try to be mostly critical but still say at least something upbuilding.
i think what i just said might cancel itself out. so that would make my post useless. i hope im wrong, which isnt hard to imagine.
Tips for Reviewing Fights
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Mogosagatai
- Mixtral
- Posts: 717
- Joined: Sat Sep 25, 2004 3:09 pm
Well, it <i>is</i> nice for reviewers to offer alternatives to unlikable aspects of reviewed songs. Many musicians just need a little friendly advice. It's not like they <i>have</i> to follow it, but the option is there, whereas before they might not have realized that.
And besides, some musicians <i>should</i> follow in the footsteps of others. Doing one's own thing does not work for everybody.
(see: religion)
If those words seem inciting, you're reading them wrong.
And besides, some musicians <i>should</i> follow in the footsteps of others. Doing one's own thing does not work for everybody.
(see: religion)
If those words seem inciting, you're reading them wrong.
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Spud
- Stable Diffusion
- Posts: 4775
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- Instruments: Bass, Keyboards, eHorn
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We already know that some people don't like our music. It is useless to just say that. We aren't making a list (we already have one). Specific suggestions are always good. We can take them or leave them. Our first constructive review was from Frankie Big Face, who said "hey guys, buy a three-prong adaptor". Now, we didn't follow his exact advice, but we did catch a clue that there was too much noise in our stuff, and we worked on getting rid of it.
Recently, in Nur Ein, it was suggested that the bass might come in earlier in "El Balazo". I struggled with that during the original mix, and went the other way. When the reviewer mentioned it, it confirmed my initial suspicions, that the flute went on unaccompanied for too long. I have since remixed, and that is the way it will appear on our CD, as well as an adjustment to the backing vocals that was suggested by the same reviewer.
In "Like A Villain", it was suggested that the drums sounded like an afterthought. I went back and listened, and sure enough, they were much softer than I had intended them to be. Since I started with drums, they were loud enough when I put them down, but had vanished by the time I had everything else in there. I learned a lesson about trying to listen to the final mix with a fresh ear.
It has been pointed out that this site is not about reviews, it is about a competition. While technically true, I am still pleased that so many people take the time to give us the benefit of their feedback, especially since they are under no obligation to do so. Thanks, all.
SPUD
Recently, in Nur Ein, it was suggested that the bass might come in earlier in "El Balazo". I struggled with that during the original mix, and went the other way. When the reviewer mentioned it, it confirmed my initial suspicions, that the flute went on unaccompanied for too long. I have since remixed, and that is the way it will appear on our CD, as well as an adjustment to the backing vocals that was suggested by the same reviewer.
In "Like A Villain", it was suggested that the drums sounded like an afterthought. I went back and listened, and sure enough, they were much softer than I had intended them to be. Since I started with drums, they were loud enough when I put them down, but had vanished by the time I had everything else in there. I learned a lesson about trying to listen to the final mix with a fresh ear.
It has been pointed out that this site is not about reviews, it is about a competition. While technically true, I am still pleased that so many people take the time to give us the benefit of their feedback, especially since they are under no obligation to do so. Thanks, all.
SPUD
well i think what i meant to say, but what didnt really come across, is that its hard to be unbiased in your opinion. we all base our opinions on something.
i think it would be better to take some form of crit and then compare it to your musical tastes and influences and see how you can improve.
it's all opinion really, and rather useless. everyone just review the way you want to be reviewed and everyone will be happy or get over it.
this was just my opinion.
i think it would be better to take some form of crit and then compare it to your musical tastes and influences and see how you can improve.
it's all opinion really, and rather useless. everyone just review the way you want to be reviewed and everyone will be happy or get over it.
this was just my opinion.
"I'd give my right arm to be ambidexterous." - Smalltown Mike
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Tex Beaumont
- Alpaca
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comparative analysis, critical listening, and technical suggestions are very useful.slowRodeo wrote:and rather useless
Last edited by blue on Mon Apr 10, 2006 6:46 pm, edited 1 time in total.
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a bebop a rebop
- DeepMind
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a bebop a rebop
- DeepMind
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rone rivendale
- Odie
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(what i said before was)
outside of forming or reinforcing social networks, reviews lacking concrete examples of critical or technical analysis are not particularly useful - altho finding other people who like your brand of music is useful in a different way - the way in which, instead of trying to improve your craft, you settle instead for being satisfied that enough people like you already.
if you happen to be familiar with someone's tastes and they give you a "really like it / really hate it" review, then you have something to go by, but, to me, it really means something when you actually get inside a song and show that you care enough about songfight to listen hard - that you've internalized the song to the point where you can turn it off and still review it.
and that is extremely rare.
i've said it before about skipping reviews: often i have nothing at all good to say about a song that might be technically correct but artistically void. i understand why it's annoying to not get a review, but i'd hope that everyone can take the long view and realize that they're much less pissed than they'd be if i scragged a well-recorded pleasant-on-the-ears song because it's so much recycled tripe. i will always review your song if you send me a PM and ask me to - and sometimes i've even found stuff that i liked later.
i am very quick to skip skits, fucking weeoooweeoooweeoo noise intros, songs with lyrics about sex with teenagers, songfight, and relationships, and almost anything that sounds like it might be on clearchannel radio. let's face it folks, these days, radio is where music goes to die.
i guess the short of it would be to treat as art those songs that deserve such treatment, and fuck the rest. ask yourself if you understand where it's coming from, where it's going, and if not, is it at least compelling in places? if not, is it because of the production? is it a problem you've had yourself and can suggest a solution to? are there good parts and band parts? are there parts you wanted to hear more of, or less of, or instruments, or melodies, or whatever, that are over or underrepresented?
letting people know those kinds of things will help them quickly move to a place where they're making music that at least you enjoy more - or ignore you entirely, which is also OK.
outside of forming or reinforcing social networks, reviews lacking concrete examples of critical or technical analysis are not particularly useful - altho finding other people who like your brand of music is useful in a different way - the way in which, instead of trying to improve your craft, you settle instead for being satisfied that enough people like you already.
if you happen to be familiar with someone's tastes and they give you a "really like it / really hate it" review, then you have something to go by, but, to me, it really means something when you actually get inside a song and show that you care enough about songfight to listen hard - that you've internalized the song to the point where you can turn it off and still review it.
and that is extremely rare.
i've said it before about skipping reviews: often i have nothing at all good to say about a song that might be technically correct but artistically void. i understand why it's annoying to not get a review, but i'd hope that everyone can take the long view and realize that they're much less pissed than they'd be if i scragged a well-recorded pleasant-on-the-ears song because it's so much recycled tripe. i will always review your song if you send me a PM and ask me to - and sometimes i've even found stuff that i liked later.
i am very quick to skip skits, fucking weeoooweeoooweeoo noise intros, songs with lyrics about sex with teenagers, songfight, and relationships, and almost anything that sounds like it might be on clearchannel radio. let's face it folks, these days, radio is where music goes to die.
i guess the short of it would be to treat as art those songs that deserve such treatment, and fuck the rest. ask yourself if you understand where it's coming from, where it's going, and if not, is it at least compelling in places? if not, is it because of the production? is it a problem you've had yourself and can suggest a solution to? are there good parts and band parts? are there parts you wanted to hear more of, or less of, or instruments, or melodies, or whatever, that are over or underrepresented?
letting people know those kinds of things will help them quickly move to a place where they're making music that at least you enjoy more - or ignore you entirely, which is also OK.