~SW~ Thurm ins_wa_


Author Comments

An experiment. I forgot the inspiration, but there are hints to a primary inspiration in both descriptions of the piece. I doubt anyone will get it, though - it's one of my super-obscure puzzles that aren't really practical to figure out, nor do they have any decent reward for doing so.

In any case, two actual challenges.
1. What time signature is this in?
2. Where are the 4/4 bars?

More interesting things about this: Finished in around 22 and a half hours. Again.
Nothing sequentially generated. The arpeggios you hear at the end are what repeat constantly to give the little synth bits coming in first at around 0:09, and they're entirely manually sequenced. <3 Ever managed to randomly generate 13 32nd notes in a row in a way that actually works?
There are precisely 8 instrument channels, all of which (aside from three) perform multiple functions in this.
There are no one-shots to speak of.
There are only three percussive instruments in total.
I used precisely three non-FL Native plugins: Omnisphere for pitched instruments (which are basically all straight sines and similar), 3rd bass for bass amping, and oZone for mastering. That's it. That's all, folks.

This piece was insane and amazing to make.

Downloads officially closed with the release of Reflection! Go check that out. :)


Oh yes, I nearly forgot - LISTEN TO THIS ON HEADPHONES OR STEREO SPEAKERS. It's still fairly clear on mono, but you will miss out on a *huge* amount of atmosphere. I went totally bananas on the panning and stereo effects in this one.


__--=***NGADM Review***=--__

I found the track pretty interesting, the intro was unusual (I haven't heard that kind of sound for a while, reminded me of BlueManGroup) and the percussion lead in well (for some reason reminded me of Worms… O.o). The blend of acoustic-y instruments with the deep bass and synths worked brilliantly and you mixed it beautifully. Smooth, deep, impactful where needed. The eb and flow of the lead synth really leant itself to the piece as a whole too. Excellent production choices.

Honestly I really loved this piece and don't have much to say against it. I think the melodies were a bit awkward at times (for example around 1:20) which detracted from my enjoyment of the piece. Minor details though - stellar work.


SkyeWint responds:

Heyo, MetalRenard! I'm glad you liked it! I can understand the awkwardness of the melody sometimes, yeah. It's hard to make good melodies in 7/8 lol

=== This is an NGADM Round 2 Review ===

Alright, so I basically explained exactly what I think about your song over Skype, but, according to Step when I asked him "a Skype conversation doesn't count as a review you slacker get back to work slave *whip crack*"


So first off, this track is awesome. I grinned almost immediately when I heard it, because it sounds SO UNLIKE anything else in this round. The heavy emphasis on bizarre atmospheric touches, the weird panning noises, the 7/4, the drums... the DRUMS***... IN A WORLD WHERE ORCHESTRAL DOMINATES THE SOUNDSCAPE, ONE MAN... With this track and your last track I feel like you are really carving out a niche in the edm-scape, and that is pretty awesome. (Not that the "d" in edm really applies here, but who cares?)

My favorite part is around :50 when the bass comes in. Congrats, you actually managed to make a bass actually have sub content for once. </troll> The bass gets into this really natural 7/4 groove, and I was really surprised, because, uh, 7/4 and "natural" are not normally words (well, 7/4 isn't so much of a word as it is a fraction) that go together.

Then the melody comes in, and it just sounds really weird. The rhythm sounds really unnatural because of 7/4... obviously. However, 7/4 melodies don't *have* to sound really unnatural. Just look at Money by Pink Floyd, Solsbury Hill by Peter Gabriel, or - perhaps the best example, because it's an insane jam with a bunch of awesome synth work, just like your piece - the latter couple of minutes of The Cinema Show by Genesis. (Hey, Peter Gabriel was in Genesis too! That guy really liked 7/4.) Admittedly, this is a pretty high standard to hold yourself to. I think it's pretty important that these songs have a couple of silent gaps in the melody.

(And don't you tell me that the melody is supposed to sound unnatural. You're doing that thing that midi was talking about when he posted that thread about music reviews and criticism*. Go listen to Dael by Autechre. Actually, listen to it either way, because it's a great song, and it is kind of in the similar vein of your track. It's one heck of an unnatural song, wouldn't you agree? Sounds like it's made by robots or something, just like yours? But do their melodies sound rhythmically unnatural? No, that would be a cop out. You might find it interesting that I even like this song, because the melody is actually pretty boring. That's alright though, the melody isn't the focus. The focus would be the awesome beat. Now I'm getting way afield, though.)

At this point, you're probably like "OMG JOHN**, YOU'VE WRITTEN 50K WORDS ABOUT MY TRACK AND YOU HAVENT EVEN TALKED ABOUT THE 500 HOURS I SPENT ON SOUND DESIGN." You know what? You're right. The sound design is REALLY awesome here. I really like the pads (the chord choice is delightful btw), the freaking weird snares and hats (remind me of clicking insects gah), the noise that kicks in at :09 which gives such a creepy atmosphere, etc.

Uou know what else I didn't really mention? The production, obviously. Yeah, it's pretty dang top notch. For the category of "fitting the most stuff into a single song and still making it sound good", you might just take home the award. The bass is satisfyingly bassy, the melody sits on top satisfyingly, the drums are exactly as loud as they should be, and the track is never muddled.

I honestly didn't notice any problems at all..! Hax.

The arrangement is kinda by the numbers: build -> climax 1 -> break -> build -> climax 1 which is almost copied from climax 1 except that you varied the melody a little bit. That was a little problematic for me - I like to feel like the piece develops over time, ya know?

When I compare this to your competition, I'm at a bit of a loss. You guys have nearly perfectly complimentary styles - you absolutely nailed the production, sound design and had really interesting chord choice, but your melody was eh. His production and sound design were honestly pretty bad, but his melody was very solid.

And so it seems like I must have a huge bias towards melody over everything else if I gave you guys the same score, but honestly, I score based on how likely I am to keep coming back and listening to a song, and there are really only 2 things that will cause that to happen: a great melody, or a great beat. As awesome as the sound design or production quality is, it's not gonna get stuck in my head and or make me want to listen to the song again.

Multistage rant aside, this was an awesome song. Keep it up.

Score: 7.5

* You know I only harass you like this because I love you.
** I can't believe you still haven't figured out that john isn't my name.
*** Mostly the hats. SO MANY HATS

SkyeWint responds:

your name is Grant you butt.

also yeah I know your massive bias toward melody, I have a few ideas to do that better but it depends on the song.

sorry I don't have a huge response to this. Not much I can really respond to. :P

get fucked! this is really fantastic. rockin that 7/4 so hard

SkyeWint responds:

<3 7/4 dnb for the win, friend

Hey dude, this is quite a piece of work you've put together. Excellent, slick use of automation gives it a nice edgy feel. It sounds really high tech and you've done it seemlessly, great sound that takes quite a bit of effort! I'm jealous of you for having Omnisphere ;). It reminds me a little bit of the music for The Binding of Isaac and Super Meat Boy, just in a more futuristic setting.

5stars from me, I didn't really expect any less to be honest but you've been progressing quite a bit for a long time.

Keep it up.

SkyeWint responds:

Hey, spikel!

Interesting thing, there's actually barely any automation, almost *all* of this is automatic effects or raw note parameters.

Omnisphere is sweet. If you can, you should totally save for Omnisphere 2. It's worth it. Trust me. :D

I can't get over how much I love this track. SUPERB job on everything. The pitched high hats following the flow of the bass were a nice touch. The rotating cog sound was also awesome, hauntingly slide-like melodies that floated in and out so perfectly. Your mixing has gotten crazy good over the years, serious props Skye. It was built so well!

SkyeWint responds:

Hey, frootza! Awesome to see your review here!

The pitched high hats were a royal pain in the ass. There are actually some half-time pitch edits in the fine pitch parameter to make them match half-steps in the bass (because you know, imprecise pitches of the hats).
The "rotating cog sound" that you're talking about, is probably the pitched snare drums going around in the high pitches, I think. That was fun to do. :D

The melodies were probably the hardest to do. Melodies in alternative time sigs are HARD.

Mixing... Also a bit of a pain in this tbh, but I really appreciate the compliment there! I've worked hard and I want to do it as my actual primary job, so that's great to hear. :)

Good luck in your round!

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Credits & Info


4.43 / 5.00

Sep 8, 2015
2:50 AM EDT
Drum N Bass
File Info
8.1 MB
3 min 32 sec

Licensing Terms

Please contact me if you would like to use this in a project. We can discuss the details.