Bronyquest Fundraiser: BALLOON PARTY

[Klecior]

Thanks dave!. I enjoyed it! It reminds me a bit of silencer in some bits. An inspiration?

[Dave!]

Thanks dave!. I enjoyed it! It reminds me a bit of silencer in some bits. An inspiration?

Haha never heard of the bloke sounds cool though

[ArtAttack]

Alright Mallard, not going to go into detail, but a vowel bass does not mean modern talking and a popular sound does not mean presets, friend. Every synth sound in Break It is custom. Good point about the mixing intros though, i should make an extended mix, and I'll go back and look for that compression that you mention. Thanks for liking the dregs remix, though that has infinitely more mixing issues and no mixing intro, seems like you didn't notice that though 0_0
Oh
Art pls go.
Oh ok
/me leaves

[Whitetail]

Okay seriously Mallard, before you go out and make an ass of yourself in public you should make you know what you're talking about, I was honestly surprised at the extreme levels of "I can't believe he just said that is he even listening?" that exhumed from your post.

First off:
Every dubstep song doesn't sound like Scary Monsters and Nice Sprites.
Just no, look if you don't know anything about the genre, or at least it's modern equivelant, just say it - it's fine, but you seemed to judge every song with formant filter bass as it's equivelant.

Second off:
All songs were judged anonymously and objectively
As in not in relation to the artist's other songs.
Yes Tombstone does do the same thing over and over again and his sound is extremely tired but alone the song meets the minimum requirements to get on the album.
The songs ARE judged anonymously without the artist name displayed so the only way any could be recognized was if you had already heard the teaser or if you recognized the sound.
Yes it's quite obviously his sound
No on it's own it's not unable to meet the requirements for the album - the main focus of most judging was on mixing and while the song may be nothing special there (the drums lack punch a bit) it wasn't enough detractions to not be able to make it into the album.

Third:
Your main complaint about me and Mike's song is that it's a different genre than what you want it to be. I'll just leave that on it's own, I think it speaks for itself.


Look there is some rather useful feedback intermixed in your post, but the general tone of the entire thing strikes me as biased and looking for reasons to complain.

[Lavender_Harmony]

I can't tell if I'm being complimented or criticised. Three things, One: Cookie Cutter? Drum and Bass has a very specific drum pattern :S Two: Plastic? Three: It's meant to evolve. I've never been good at versechorus music so I stuck to what I do best.

[PrincessAddictia]

5) Princess Attic - Balefingers

Is good song, it starts like DnB but troughout the whole thing you can kinda feel that it’s not DnB, but more Drum and Bass.

Spry.
I fucking love you man

[Mallard]

I can't tell if I'm being complimented or criticised. Three things, One: Cookie Cutter? Drum and Bass has a very specific drum pattern :S Two: Plastic? Three: It's meant to evolve. I've never been good at versechorus music so I stuck to what I do best.

Oh no, I loved your tune! It was fab, it's just that as an oldskool jungle fan, I'm in general somewhat dismayed about how the whole DnB scene has fallen onto this one pattern. It makes my rhythmic senses sad. I think the problem here is that the whole thing was very stream of conciousness, that's my style~!

Your tune was awesome, but there were a few things I thought could be better~!

Sorry if the whole tone comes along a bit harsh, I really did think it was great and would definately have that one in my library

Okay seriously Mallard, before you go out and make an ass of yourself in public you should make you know what you're talking about, I was honestly surprised at the extreme levels of "I can't believe he just said that is he even listening?" that exhumed from your post.

First off:
Every dubstep song doesn't sound like Scary Monsters and Nice Sprites.
Just no, look if you don't know anything about the genre, or at least it's modern equivelant, just say it - it's fine, but you seemed to judge every song with formant filter bass as it's equivelant.

Second off:
All songs were judged anonymously and objectively
As in not in relation to the artist's other songs.
Yes Tombstone does do the same thing over and over again and his sound is extremely tired but alone the song meets the minimum requirements to get on the album.
The songs ARE judged anonymously without the artist name displayed so the only way any could be recognized was if you had already heard the teaser or if you recognized the sound.
Yes it's quite obviously his sound
No on it's own it's not unable to meet the requirements for the album - the main focus of most judging was on mixing and while the song may be nothing special there (the drums lack punch a bit) it wasn't enough detractions to not be able to make it into the album.

Third:
Your main complaint about me and Mike's song is that it's a different genre than what you want it to be. I'll just leave that on it's own, I think it speaks for itself.


Look there is some rather useful feedback intermixed in your post, but the general tone of the entire thing strikes me as biased and looking for reasons to complain.

Hello!

First: wasn't saying that they do, but let's be honest here and admit that Skrillex has had a rediculously disproportional effect on a genre I hold very dear - dubtsep. I actually listen to a great deal of dubstep, it's my biggest tag on last.fm right now!

But I feel ever since Skrillex dropped onto the scene, the attention has been diverted away from everything that made dubstep great. Dubstep isn't meant to be about being loud and being hard, it was originally an experiment in mixing dub elements with 2-step garage. The earliest of dubstep really shows this influence, but over time it evolved into a more minimal form of itself, with the focus being squarely on the rhythm of the drums, and the low growl of the bass - like dub reggae did before it. The sort of atmosphere dubstep should have is dark and eerie, it's music that uses the power of subtlety, tapping into the lowest of grumbles and echoing percussion... using it to create tension!

That's dubstep to me, but I appreciate the kind of thing Skrillex does too - it's just not dubstep, it's a new -admitedly- quite inovative form of his own concoction, and as such I prefer to refer to it as complextro. But I feel he's spawned far far too many immitations, and it gets rather tedious, don't you think?

Secondly - I will agree with you for the majority of this, obviously you know more about the judging process than I do, but I can't help but feel that TLT's track was recognized immediately as one of his own (largely due to the copy pasted drumbeat) and chosen to appear as more people would get it if his tune was on there. I feel that some of your fellow judges may well have recognized and picked it for this reason. I'm sorry that's just how I feel on this one. :T I know you need to make money, so it's no big deal. It's just really not a very good tune at all.

Thirdly - Ah, see, my feeling here is that this contained all the elements of a hardstyle song, it was really wanting to be hardstyle, but it lacked that one key ingrediant - the bigass kick. I explained this in my review. I think it was an interesting experiment, but one that didn't quite pan out right.

Alright Mallard, not going to go into detail, but a vowel bass does not mean modern talking and a popular sound does not mean presets, friend. Every synth sound in Break It is custom. Good point about the mixing intros though, i should make an extended mix, and I'll go back and look for that compression that you mention. Thanks for liking the dregs remix, though that has infinitely more mixing issues and no mixing intro, seems like you didn't notice that though 0_0
Oh
Art pls go.
Oh ok
/me leaves

Hahah, sorry mate. I really was far too harsh on your tunes and I feel bad now, I think it was the massive headache I had. And yeah, I felt like the dregs remix served a different purpose, it felt more like an album orientated tune, and I wasn't going to labour that point again with risk of sounding like a broken record. Perhaps I had a lot of ear fatigue at this point, but I felt like this one hit the mark in mixing terms by my standards. I don't know, I'm weird!

I have to thank you massively for being such a good sport about me kind of laying into you something heavy. I think it was mixed partly with my resentment of the general direction of dance music today - I don't like it!

~Mallard

[ArtAttack]

Yeah, something people are going to have to accept is that music changes. Now, if that's for the better or worse, who knows, but personally, I'm going to ride this fast, hard, noisey wave as far as it comes. But thank you for not being a complete dink, haha.

[guitarskills]

I have no idea what you're talking about, Mallard, Booring was one of the best songs on the album.

The main problem I have with half of the album is the inability to be anything but hard.
Even "Break It" was rather messed up from its teaser by this philosophy(sorry Art I still love you).

Instead of having calm, serene intros, overly powerful synths were added, and even a beat with some dubstep instruments were placed in the beginning. I feel Booring! had a great tension builder compared to a lot of the songs. as Mallard said, a lot of songs were also mastered to have a common volume level. You have to know quiet before you can know loud

EDIT: reading through some of your post again, Mallard... wow, you aren't very nice, are you? :c

[Mallard]

I have no idea what you're talking about, Mallard, Booring was one of the best songs on the album.

The main problem I have with half of the album is the inability to be anything but hard.
Even "Break It" was rather messed up from its teaser by this philosophy(sorry Art I still love you).

Instead of having calm, serene intros, overly powerful synths were added, and even a beat with some dubstep instruments were placed in the beginning. I feel Booring! had a great tension builder compared to a lot of the songs. as Mallard said, a lot of songs were also mastered to have a common volume level. You have to know quiet before you can know loud

EDIT: reading through some of your post again, Mallard... wow, you aren't very nice, are you? :c

I am quite nice, just rather passionate about music and admitedly somewhat strongly opionated at times. This review was done very stream of conciousness, it was just my ranting as I went along, really! I didn't want to hold any punches here, just say what I acutally think on the tunes.

Yeah I really really didn't like that one, just not my thing at all, sorry. :C I just found it utterly forgettable and chock full of cliche, something I'd had enough of already by that point. Might have fared better if it had come earlier in the album, but by that point I was like ohgodnotmoremoderntalking

[Navron]

Can i just make a point that i really dont mind my track not getting in for those reasons. I admit i pushed the envelope a bit too much and i think i may of accidently sent it.

I wouldn't mind at all in your situation. I'd take it as a compliment. Your song was "too hard."

[guitarskills]

I still haven't hard any of these "modern talking" you speak of. ModernTalking is a specific waveform in Massive, and its very easily noticable.

[Mallard]

I still haven't hard any f these "modern talking" you speak of. ModernTalking is a specific waveform in Massive, and its very clearly noticable.

Oh? I dont use massive much, but I have a big collection of presets used in brostep, I thought it was more of an umbrella term for formant basses, anything that sounds like harsh sawtooths squeezed through talkboxes.

[Navron]

Mallard admits he was a bit over-judgmental in regards to formant filtered basses that give it that, "talking," sort of sound. His complaint was not related to using the modern talking waveform, but rather the voweled bass sounds found in a lot of dubstep/brostep/complextro/whatever the hell it's called nowadays, is overused.

On some degree I can agree, but I think a lot of the butthurt related to the whole dubstep/brostep argument comes from the fact nobody can give the genre that Skrillex made popular a proper name. You can't really call it dubstep, which typically has a more relaxing sound to it. You can't call it brostep, because that's more of a play on words and a derogatory name. You can't really call it complextro, because complextro typically involves more glitch and technical feats.

What that genre needs is it's own name, and regardless of whatever that name may eventually be, people need to realize that the gritty, warped basses are as essential to that genre as much as distortion is essential to metal.

[Mallard]

Mallard admits he was a bit over-judgmental in regards to formant filtered basses that give it that, "talking," sort of sound. His complaint was not related to using the modern talking waveform, but rather the voweled bass sounds found in a lot of dubstep/brostep/complextro/whatever the hell it's called nowadays, is overused.

On some degree I can agree, but I think a lot of the butthurt related to the whole dubstep/brostep argument comes from the fact nobody can give the genre that Skrillex made popular a proper name. You can't really call it dubstep, which typically has a more relaxing sound to it. You can't call it brostep, because that's more of a play on words and a derogatory name. You can't really call it complextro, because complextro typically involves more glitch and technical feats.

What that genre needs is it's own name, and regardless of whatever that name may eventually be, people need to realize that the gritty, warped basses are as essential to that genre as much as distortion is essential to metal.

I tend to stick with complextro myself, I feel it's the least condescending and the furthest thing away from the dubstep it's not. I don't think formant bass is nesacerily a bad thing, although it is overused, but I do think that it's being applied with careless abandon by artists who don't really understand how to use it effectively, and it's become this sort of catch-all gimmick to make your track "epic".

I've heard the term moombahcore being thrown about too for this kinda thing, but I've no idea what that stems from or what it's meant to encompass. Fill me in, somepony!

[guitarskills]

I always mix moombah core and moombahton up, so I may have the wrong definition.
Moombah core is pretty much skrillex music around 110 BPM with a house beat.
Moombahton is Break It, also at 110,, but having a "latin" beat, with the snares placed off beat of the second and fourth kick (usually a 16th before the 2nd and fourth, and an 8th after the two).

[colortwelve]

Mallard admits he was a bit over-judgmental in regards to formant filtered basses that give it that, "talking," sort of sound. His complaint was not related to using the modern talking waveform, but rather the voweled bass sounds found in a lot of dubstep/brostep/complextro/whatever the hell it's called nowadays, is overused.

On some degree I can agree, but I think a lot of the butthurt related to the whole dubstep/brostep argument comes from the fact nobody can give the genre that Skrillex made popular a proper name. You can't really call it dubstep, which typically has a more relaxing sound to it. You can't call it brostep, because that's more of a play on words and a derogatory name. You can't really call it complextro, because complextro typically involves more glitch and technical feats.

What that genre needs is it's own name, and regardless of whatever that name may eventually be, people need to realize that the gritty, warped basses are as essential to that genre as much as distortion is essential to metal.

I tend to stick with complextro myself, I feel it's the least condescending and the furthest thing away from the dubstep it's not. I don't think formant bass is nesacerily a bad thing, although it is overused, but I do think that it's being applied with careless abandon by artists who don't really understand how to use it effectively, and it's become this sort of catch-all gimmick to make your track "epic".

I've heard the term moombahcore being thrown about too for this kinda thing, but I've no idea what that stems from or what it's meant to encompass. Fill me in, somepony!

From what I understand (though I'm very strange with the way I classify genres ), moombahcore refers to tracks with a bpm of somewhere around 110, with a syncopated beat usually involving toms or something of the sort, and with the same sort of distorted bass which has come to denote whatever you want to call the genre of Excision, Datsik, Skrillex, et al, which I still refer to as dubstep. To me, all moombahcore really means is the fine line between dubstep and electro house - danceable, but not frantic or too fast-paced. Even with the distortion, it can be somewhat relaxing by sheer virtue of the sort of groove the percussion creates.

It's also how I classify Art Attack's 'Break It,' if that gives you any sort of reference

[K3WRO]

Yeah, something people are going to have to accept is that music changes.

This right here, I agree with

[Mallard]

Mallard admits he was a bit over-judgmental in regards to formant filtered basses that give it that, "talking," sort of sound. His complaint was not related to using the modern talking waveform, but rather the voweled bass sounds found in a lot of dubstep/brostep/complextro/whatever the hell it's called nowadays, is overused.

On some degree I can agree, but I think a lot of the butthurt related to the whole dubstep/brostep argument comes from the fact nobody can give the genre that Skrillex made popular a proper name. You can't really call it dubstep, which typically has a more relaxing sound to it. You can't call it brostep, because that's more of a play on words and a derogatory name. You can't really call it complextro, because complextro typically involves more glitch and technical feats.

What that genre needs is it's own name, and regardless of whatever that name may eventually be, people need to realize that the gritty, warped basses are as essential to that genre as much as distortion is essential to metal.

I tend to stick with complextro myself, I feel it's the least condescending and the furthest thing away from the dubstep it's not. I don't think formant bass is nesacerily a bad thing, although it is overused, but I do think that it's being applied with careless abandon by artists who don't really understand how to use it effectively, and it's become this sort of catch-all gimmick to make your track "epic".

I've heard the term moombahcore being thrown about too for this kinda thing, but I've no idea what that stems from or what it's meant to encompass. Fill me in, somepony!

From what I understand (though I'm very strange with the way I classify genres ), moombahcore refers to tracks with a bpm of somewhere around 110, with a syncopated beat usually involving toms or something of the sort, and with the same sort of distorted bass which has come to denote whatever you want to call the genre of Excision, Datsik, Skrillex, et al, which I still refer to as dubstep. To me, all moombahcore really means is the fine line between dubstep and electro house - danceable, but not frantic or too fast-paced. Even with the distortion, it can be somewhat relaxing by sheer virtue of the sort of groove the percussion creates.

It's also how I classify Art Attack's 'Break It,' if that gives you any sort of reference

TY man, thanks for the detailed breakdown <3

ArtAttack wrote:
Yeah, something people are going to have to accept is that music changes.

This right here, I agree with

I am notoriously bad at doing this

[HMage]

20) HMage - What Stays What Goes

Ah, HMage. With HMage there are two things of which I can be assured. Zero technical errors, and saxaphone. With that, I hit play! And we have some delayed bass hiting my 'phones. A slightly anemic electro beat, but growling, sweeping bass to make up for it... I'm hoping that the real kick's about to drop in... OH YEAH THERE IT IS.

I dunno man. I think there's a bit too much grit in those basses, and although they're pounding into the sub section of my cans, it's kind of not leaving enough room for the percussion... OH THIS SWIRLY E-PIANO PAD AND.... gweh, that snare you're bringing in is awful dry sounding.

Once again when we drop into the main bit, it's awfully dry... as the gritty bass is eating up all the sonic space. Now HMage, I know you're one to be very careful with that, being the expert mixmaster you are, but I feel that this track is lacking in any real melody and that bass is somewhat... obnoxious. You're a master of sound, but like my good self, your compositional skills need some honing. This has all the right pieces, just not quite in the right order...

Thank you Mallard for your honest opinion. I very really appreciate it.

[Hat]

Hey, the zip with the FLAC of updated Disco Lights is down probably from traffic. Has the Bandcamp page (http://balloonparty.bandcamp.com/track/disco-lights) updated or would I be downloading the same one again?
Also, I haven't got past the first few songs on the album - I keep replaying them because they are so good and can't progress.

[Fimbulin]

To my knowledge, they updated the Bandcamp album, yes.

[ArtAttack]

Guys, lemme just clear something up

Dubstep = 140-145 beats per minute in half time. Examples: Benga - Night (oldschool, softer dub) and Skrillex - Scary Monsters and Nice Sprites (newer style, harsh dubstep)

Drumstep = 174-180 BPM in half time, similar to dubstep and can have more DnB/Neurofunk influences. Example: Skrillex - Kyoto

Complextro = 128 - 132 beats per minute, four on the floor electro house music, with an stress on technicality and rapid changing of synths. Example: Rabbit Killer - Imagionationland

Moombahton = Dutch house at 108 - 112 BPM with a latin rhythm. Example: Afrojack - Replica (Crowd Control Remix)

Moombahcore = A fusion of dubstep and moombahton at 108 - 112 BPM with a latin rhythm, though some newer moombahcore loses the latin feel altogether. Example - Artattack - Break It (;3)

Glitch Hop = A newer genre to get popular, found at 100 bpm and being called simply "EDM" by some people. Example = KOAN Sound - Meanwhile in the Future

[CommandSpry]

You can change music all you want, you're still never reaching the level of Classical music again, just sayin ^^

[Icky]

Guys, lemme just clear something up

Dubstep = 140-145 beats per minute in half time. Examples: Benga - Night (oldschool, softer dub) and Skrillex - Scary Monsters and Nice Sprites (newer style, harsh dubstep)

Drumstep = 174-180 BPM in half time, similar to dubstep and can have more DnB/Neurofunk influences. Example: Skrillex - Kyoto

Complextro = 128 - 132 beats per minute, four on the floor electro house music, with an stress on technicality and rapid changing of synths. Example: Rabbit Killer - Imagionationland

Moombahton = Dutch house at 108 - 112 BPM with a latin rhythm. Example: Afrojack - Replica (Crowd Control Remix)

Moombahcore = A fusion of dubstep and moombahton at 108 - 112 BPM with a latin rhythm, though some newer moombahcore loses the latin feel altogether. Example - Artattack - Break It (;3)

Glitch Hop = A newer genre to get popular, found at 100 bpm and being called simply "EDM" by some people. Example = KOAN Sound - Meanwhile in the Future

OBJECTION SAM

Rabbit Killer is not a good example of complextro at all, I'd say Rabbit Killer is Melodic Electro house. His music is even classified that way on his own Soundcloud. Better example would be Porter Robinson or most Knife Party songs.

Also Glitch Hop is really more than KOAN sound, lots of artists are doing their own thing with it. Also wouldn't call glitch hop that popular at the moment. Not compared to all the other genres you listed.

Oh, and only monstercat calls it "EDM" but they call everything EDM that isn't a major genre.

And finally, I've never heard a single neuro influence in any drumstep song, I'd love to hear some though. Link?


Other than that, good explanation on the genres.

genre debate, commence.