Sports, politics, movies, videogames, questionable hobbies, photos from your family vacation, etc. Talk about stuff that isn't ponies or music. But do try to stay on topic and respectful of alternate opinions.
Navron wrote:I'm pretty original. I'm also fairly decent with mixing and song structure.
You guys just don't like my music and/or question how pony it is, despite the fact I write detailed descriptions about the song's inspiration, and go to conventions, and have been here over a year, and actually don't submit non-pony songs, and annotate whether or not it's pony related.
Yet somehow you guys love to accept music at a much lower quality, leaving me to believe, you just don't like my music.
I still need to listen to your stuff, I haven't heard most of it. Actually, I need to listen to a lot of people's stuff. It's hard enjoying as wide a range of music as I do.
itroitnyah wrote:Some may say that 400 brony producers who make pony music seems a bit high, but I say it sounds about right.
This actually sounds pretty accurate to me.
My goal is to be capable of making any kind of music that strikes my fancy, and do it well. Twitter @SonarchMusic Soundcloud Tumblr
Navron wrote:I'm pretty original. I'm also fairly decent with mixing and song structure.
You guys just don't like my music and/or question how pony it is, despite the fact I write detailed descriptions about the song's inspiration, and go to conventions, and have been here over a year, and actually don't submit non-pony songs, and annotate whether or not it's pony related.
Yet somehow you guys love to accept music at a much lower quality, leaving me to believe, you just don't like my music.
I still need to listen to your stuff, I haven't heard most of it. Actually, I need to listen to a lot of people's stuff. It's hard enjoying as wide a range of music as I do.
itroitnyah wrote:Some may say that 400 brony producers who make pony music seems a bit high, but I say it sounds about right.
Does that include producers who are bronies but don't produce brony music, such as myself? This actually sounds pretty accurate to me.
We had about 300 previous artists (ie the past) who we know we don't have entries and may or may not still be making music currently.
Every month i get about 20-30 "new" people who made EQD highlights for that month that i reach out to get profiles. There's likely also equal or greater amount of brand new people who may have gotten just started that enter mlr but haven't done any tracks yet. Or that have music only on EQBeats and not soundcloud or vice versa.
Likely some people have left the community and are not producing music but at a far smaller level then the amount coming into the scene i would say. I think we are clearly still continuing to grow in people involved. EQD has seemed to echo this is happening.
We have over 2,000 people registered accounts on MLR but many of these may have not produced a single track or even necessarily be musicians. Likewise many brony musicians may have never registered here and would not be a part of that.
So it really depends on your definition of musician based on their output and then if they're visible or not. So that could easily be hundreds currently or maybe thousand(s) over these 2 years I would say.
We had about 300 previous artists (ie the past) who we know we don't have entries and may or may not still be making music currently.
Every month i get about 20-30 "new" people who made EQD highlights for that month that i reach out to get profiles. There's likely also equal or greater amount of brand new people who may have gotten just started that enter mlr but haven't done any tracks yet. Or that have music only on EQBeats and not soundcloud or vice versa.
Likely some people have left the community and are not producing music but at a far smaller level then the amount coming into the scene i would say. I think we are clearly still continuing to grow in people involved. EQD has seemed to echo this is happening.
We have over 2,000 people registered accounts on MLR but many of these may have not produced a single track or even necessarily be musicians. Likewise many brony musicians may have never registered here and would not be a part of that.
So it really depends on your definition of musician based on their output and then if they're visible or not. So that could easily be hundreds currently or maybe thousand(s) over these 2 years I would say.
Freewave wrote:We have over 2,000 people registered accounts on MLR but many of these may have not produced a single track or even necessarily be musicians.
I can attest to this, as I have yet to release any music. Yet.
My goal is to be capable of making any kind of music that strikes my fancy, and do it well. Twitter @SonarchMusic Soundcloud Tumblr
Freewave wrote:We have over 2,000 people registered accounts on MLR but many of these may have not produced a single track or even necessarily be musicians.
I can attest to this, as I have yet to release any music. Yet.
Applejinx wrote:I'll trade ya- I've thrown stuff with elaborate arrangements and stereo doubletracked guitars and all fancy production trickery, I've thrown quirky acidy stuff that Toastbeard loved, and I get a form letter saying 'looks like you are rejected! sorry!'. You want the rejection letter rather than nothing, and I'm getting tired of seeing it
I think after submitting six tracks that I put a lot of effort into, and getting absolutely no response, I would definitely prefer a form rejection to at least let me know my stuff was listened to and rejected on its merits. It just gets demoralizing, to be honest.
There's also the fact that everything I've produced since my first track that got featured on EqD has been unequivocally better, and that's the only one that's gotten so much as a response. I can totally understand the sentiment that the quality of accepted submissions isn't consistent at all.
There's probably (at any given time) a number of musicians who:
- Pirate a DAW and Massive. - Make dubstep with modern talking and a pirated drum loop creator. - Add in Rainbow Dash yelling, "LOUDER!" with no blending and bits of the next scene still in the sample. - Send it to EqD. - Get mad it was rejected. - Realize music production is hard. - Quit
Copypasta from my "review" for this Music of the Day:
[quote=GheldedKultz]"Try something different" "Try something different" "Try something different" "Try something different" This guy knows what he is talking about. With so much music coming in so few genres one of the best ways to set yourself apart is to be different. Be the guy, or girl, that makes a noise rock song about Derpy, just because you can. Fight the cliches. Make something not because it will make you loved but because you can. Where is the pony Dream-Pop? Acid-House? EBM/Industrial? Mathcore? There are so many more styles of music beyond dubstep, progressive/electro house, orchestral, DnB and other commonly done genres. So what if you fail at making a song in an unfamiliar genre? Who cares if it's hated? At least you were brave enough to try. At least you said to yourself, "I don't care what made other people popular. I'm gonna make something new". Remix a song in a way you haven't heard before. We don't need another house/dubstep/trance remix of Babs Seed. Try a synthpunk cover. Where's the acid house remixes of rainbow factory? They'd work great together. [/quote]
Still my opinion. There is more to being original than good synth design, unique song structures and new drum loops. There is definitely a point when someone who listens to a lot of music, especially for an important purpose, like a pre-listener, gets bored of a genre/style (even one they love) for a while; when all the songs start blending together. Then having these unique elements will only help you so much. No, actually trying something new, no matter how bad you are at it. Even if it doesn't make it in, even if it is terrible, at least it broke up the monotony.
Be an adventurer. Bushwhack your way through the jungle of genres and be the first (at least in the fandom) to try something. Maybe one day the trail you forged will be seen. A lone traveler, lost in the world and looking for some thing new will follow it. They will find beauty in what you uncovered and want to share it with others. They will expand the trail, cut back the overgrowth, place stones marking the path better than you ever did. More people will follow this trail and add their own touches. Cobblestones, railroad-tie retaining walls, lamps, outhouses. Soon pavement comes in and with it the masses. The jungle has receded. Maybe you see this, maybe you are long gone. Maybe you hated the popularity, maybe you loved it. It doesn't matter. At least you did something new and made a difference. Be that person. Make a difference. (That analogy made more sense in my head, but I spent to much time to delete it).
TL;DR- Try something new. Not just new synths and drums. New genres, new styles, new everything. Sure you might fall on you face, but at least you were brave enough to risk it.
"Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating." - John Cage
Applejinx wrote:I'll trade ya- I've thrown stuff with elaborate arrangements and stereo doubletracked guitars and all fancy production trickery, I've thrown quirky acidy stuff that Toastbeard loved, and I get a form letter saying 'looks like you are rejected! sorry!'. You want the rejection letter rather than nothing, and I'm getting tired of seeing it
I think after submitting six tracks that I put a lot of effort into, and getting absolutely no response, I would definitely prefer a form rejection to at least let me know my stuff was listened to and rejected on its merits. It just gets demoralizing, to be honest.
There's also the fact that everything I've produced since my first track that got featured on EqD has been unequivocally better, and that's the only one that's gotten so much as a response. I can totally understand the sentiment that the quality of accepted submissions isn't consistent at all.
Yep i feel you man, i had about 5 lack or responses after 2 highlights and that was very demoralizing as well. That said you have the best chance NOW of getting onto the site through tracks of the month then EVER before. I know we pitched the idea of a rejection letter HARD when Seth descended from Cloudsdale to MLR to ask for feedback on their processes but i have absolutely no idea if that was ever caried out. Somehow when people ask for a process that respects the submitters and asks for improvements from EQD its seen as "whining" and "thread derails" instead of ways for them improve what is needed and make people happier with them. Alas.
I don't think they can give rejections that help folks improve what they did wrong, because I don't think the listeners are anywhere near good enough as critics to do that. They're all looking for 'find something cool that the readership will like', and I think they all have the power to reject as they dig through all the submissions. The luck element is huge. It's not at all about 'give people instructions to make stuff EqD will like', that can't be done.
Well are people really still having a massive problem getting featured on the Music of the Day still? That's been going for about 35-40 days. They SAY that only non-pony or poorly produced tracks aren't making it. I have to think that quality tracks are HOPEFULLY making it on there now. Again I have to give them the benefit of the doubt and look at EQD differently before and after that policy as there's a been big shift there. Then again the tracks they are picking for actual spotlight could be produced well but unimaginative.
Applejinx wrote:I don't think they can give rejections that help folks improve what they did wrong, because I don't think the listeners are anywhere near good enough as critics to do that. They're all looking for 'find something cool that the readership will like', and I think they all have the power to reject as they dig through all the submissions. The luck element is huge. It's not at all about 'give people instructions to make stuff EqD will like', that can't be done.
The prelisteners are capable of giving good feedback, but they won't. It's less because of their capability to do so, and more to do with how many submissions they have to review and the incredibly large amount of time it would take to critique each submission.
