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neuroron

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10 Good

About neuroron

  • Rank
    A meandering Muse
  • Birthday 22/08/1951

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  • Website URL
    http://www.soundclick.com/bands/pageartist.cfm?bandID=385038

Profile Information

  • Gender
    Male
  • Location
    Houston, TX
  • Interests
    All aspects of music and sound - from the poetic to the scientific. Neurology/neuroscience.

Previous Fields

  • Lyricist, Composer or Both?
    Both
  • Musical Influences?
    Sting; Donald Fagen; Paul Simon; Mark Knopfler

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41,541 profile views
  1. neuroron

    What makes this song great?

    I've watched maybe 30 out of the 40 so far and have learned a tremendous amount. Sometimes he has the multi-tracks, sometimes the stems and rarely just the stereo mix - like in the Larry Carlton/Steely Dan "Take me alive." What is really great to me is the way you can see/hear all these individual components - especially how a lot of the time you can see the notated music and lyrics/chords. Also it is very helpful that a lot of the time he is playing the parts. in some ways like listening to a piece (primarily orchestral) while looking at the score. Digging in deeper, he has a YouTube Channel with a lot more than this series: Rick Beato YouTube Channel It may put some people off a bit that he gets so into music theory: "He is certified to teach grades K-12 and holds a bachelor’s in music from Ithaca College and a master’s in jazz studies from the New England Conservatory of Music." But I really appreciate it. He has great "ears" and can figure things out very quickly and play and explain the salient features. Watching him while he listens and analyzes is in itself interesting. He now has a live stream where he review people's songs - again just fascinating to watch the process. Again Murphster, I am eternally grateful for turning me onto this - I am getting a tremendous amount. It has notable influenced already a track I am in th eprocess of finishing.
  2. neuroron

    What makes this song great?

    So can Accusonus Regroover - but these tracks are full spectrum, they are the multitracks not EQ separated. Plus he has tracks that didn't make it to the final mix. For example in "Every Breath You Take" there is the guide LV track with a lot of filler lyrics
  3. neuroron

    What makes this song great?

    I've watched about a dozen of these now - I thing they are incredibly insightful as well as enlightening and provocative - at least to me. probably. This series should probably have been called "What makes this a great track?" though - Many songs, especially in the grunge and metal songs, that I am only superficially familiar with and so even more helpful. Thanks for putting this up.
  4. neuroron

    Sell my songs

    Unrelated but similar question, if anyone has a good answer: How can I win the multi-billion $$ lottery without buying a ticket?
  5. neuroron

    Collaboration Challenge: Emotional Impact

    Actually the Wikipedia article I cited referenced several different emotion categorizations - the point being that there was no universal classification. I too had a bit of a negative take on the list that was finally used, but in the end finally decided it was fine. My feelings are that (as Alistair alluded to) we write a song that wouldn't have otherwise existed that has a strong emotional response in the listener, however they happen to label it. It's of course a nice warm feeling in the belly when you score well in these contests, but that's not something to invest any emotion in
  6. If you go to talkbass.com you will find tons of discussions on this type of thing. Typically in Country Music, especially more traditional - the bass is more "thump" than ringing tones. Earlier in the history of Country (and Rock) upright acoustic basses were used and when recorded especially sounded like that. The typical set up is a P Bass (equivalent) with flat-wound strings. Round-wound strings have more high overtones/harmonics and "ring" more. As round-wound strings get old (and dirty) you lose those high harmonics and they sound more like round-wounds. There are also half-wound or ground-wound strings that are round-wound that have the edges ground away and have an in-between sound. Tape-wound strings are another "in-betweener" that have their own attributes. You need to try different types and see what sounds and feel best to you. Once you do, you will probably rarely (if ever) change them as Neal says. I've got several basses with different set-ups (just because I get off on these sorts of things). Among them, with their own distinct sound that I use: A Hofner "Beatle bass" with LaBella Flats; a Fender Geddy Lee Jazz bass with D'Addario rounds; a Breedlove acoustic fretless with metal flats. One argument for round-wounds - and the vast majority of Rock bass players use rounds - is that you can always EQ away the high harmonics. Flat-wounds are a little easier on the fingers than round-wounds and also give less extraneous finger noise. Probably more than you wanted to know.
  7. neuroron

    New Collaboration Contest: Emotional Impact

    I agree with Justin (Oswlek), the arousal of (some type of) emotion is almost the defining feature of any type of art. So in some ways this is a redundant “challenge” however I am always all in on any collab contests – I love the process. Also, at least we concur is not only “sadness” we are going for (i.e. tear jerker) I also think it is irrelevant “what” emotion is labeled as aroused, but “how much” it is aroused – if it were feasible, IMHO that measurement would be physiologic (HR, BP, GSR) https://www.ncbi.nlm.nih.gov/books/NBK10829/ or the measurement of facial expression: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4734883/ Alas, not in this contest The categorization of emotions has been an ongoing (and continually-refined) subject of study for at least a century, e.g.: https://en.wikipedia.org/wiki/Contrasting_and_categorization_of_emotions I would suggest as an additional challenge: you never “tell” the emotion in the lyric, ( I'm so happy, sad, mad, etc) but just “show” – clenched jaw, mile-wide smile, kicked in the gut, drowning in a sea of tears, etc. As for this being primarily dependent on the skill of the vocalist, the study of “emotion in music” is a well established scientific field. https://en.wikipedia.org/wiki/Music_and_emotionhas This is undertaken primarily with instrumental music, so as not to confound the effects of the words and music https://www.theodysseyonline.com/13-incredibly-moving-pieces-for-instrumental-music-geek Although, I agree the interpretive skill of the musician is always critical, it makes a big difference to the musician if the material is such that it inspires emotion.
  8. neuroron

    2am

    As others have said if you already have music, etc, ignore this. My comments are as some one that is always looking for lyric collaborators so there are verbal experiences and POV other than my own. Thus I actually look at all the lyrics on this forum and when something grabs me, I play with it musically. I spent a good while with your lyric seeing what I could do with it musically. There is a lot of “shown” detail and emotion in it. But I had a difficult time. To me the core (and probably the CH) of your song is in the end of your present CH [I have slightly reworded]: Everything you felt I felt the same But everything disappeared at 2 AM I think your current V1 is good as far as what is there: Scene in bed, she feels safe with him IMHO most of the CH actually constitutes a V2: Details of her memories of things they did and how she felt. Of course, for the CH above to work you have to get to the 02:00 dump before the CH. Perhaps a Pre-Chorus something to the effect of: I gasped when I read your text that said we’re over The text that you sent at 2 AM The material in your “Taking one day at a time…” makes a good V3 and the “Second chance…” section is good material for a Bridge with an ultimate structure of: V1 – V2 – PC – CH – V3 – (PC) – CH – BR – CH To my (probably very conventional) mind the core material needs to be parsed so that you get the most from the fewest words – the definition of eloquence really IMO – but there is a very fine core of a song here. I apologize if it feels like I have trashed your lyric, but I really enjoyed it and working with. Very best of luck bringing it forward and creating the fully realized song and track. Excellent work! Ron
  9. neuroron

    New Collaboration Contest: Emotional Impact

    always in for a collaboration (musician)
  10. neuroron

    The Miner's Lullaby

    This is quite good John. Agree about the CH overused (especially given its length). Also, although it is your title, I don't think that last CH line makes sense as there is really nothing about what the lullaby is and as such I would drop it until right before BRIDGE (see below). The last verse however is different than the rest and could be a Miners' Lullaby or Prayer or something and maybe turn into BRIDGE - My suggestions (keep or sweep): The Miner's Lullaby Digging for gold in Mother's deep womb All is sold for another to take and consume All I am left with is my broken hands And weary, weary eyes nobody understands Banished from the light of the day It is a hell of a fight to earn my pay But I have hopes for my children dear So I toil and labor brave in my fear I am a worker a miner that is my trade Misery and trouble are the wages paid I would rather fly in heaven's blue sky But it is hell below until the day I die In a moment the tunnel turns to grave Trapped a mile below never to save It is always in the back of our mind The mines are bitter the mines unkind I am a worker a miner that is my trade Misery and trouble are the wages paid I would rather fly in heaven's blue sky But it is hell below until the day I die And so I sing the miner's lullaby BRIDGE: May my son live to a gentler life May he marry and have a pleasant wife May he never step his foot a mile below May his daddy's ways he never know I am a worker a miner that is my trade Misery and trouble are the wages paid I would rather fly in heaven's blue sky But it is hell below until the day I die Nice work - Ron
  11. neuroron

    July song competition

    THE UNDERGROUND Words & Music ©2018 by Ron Tintner, ASCAP We’re in The Underground, a New York busker band We play at subway stops from 42nd Street to Amsterdam No day jobs, we’re not waiters, we don't wash floors We make our money makin' music all day, can't ask for more On good days, our best days, we get cases filled with cash But even bad days, our worst days, we're still havin’ a freakin’ blast CHORUS: Life ain’t quite the way we planned But we're makin’ our living in a rock and roll band We’ve got our songs and we've got our sound We're doing what we want… In The Underground We don't pay to play, pretending that'll make us big And all those bands that do, finally figure out they're worthless gigs Sweatin' day jobs… just to cover food and rent Gettin’ so burned-out, they wonder where the music went On good days, their best days, they’re almost feeling fine And on bad days, their worst days, they're headin’ for the exit sign CHORUS BRIDGE: We’ve still got our dreams Of getting to the top But even if they don't come true We’ll never stop CHORUS Tag: In The Underground…  
  12. neuroron

    Best Movies Related to Music

    So many good ones, of things not mentioned yet, a few of my favorites [admittedly, some a little cheesy ] : The Red Violin Music and Lyrics That Thing You Do Hi Fidelity Drumline The Fabulous Baker Boys A Hard Day's Night A pair of Richard Dreyfuss' that could almost be paired: "The Competition" and "Mr. Holland's Opus" And the relatively unknown: "In the Edges: The 'Grizzly Man' Session (2005)" Documentary about the making of the Soundtrack for the Movie - with Richard Thompson
  13. neuroron

    Collaboration Contest Results - April 2018

    I’m going to have to respectfully disagree with you. It’s all just opinion anyway. The use of imagery is not a relic of an earlier time where there was no accompanying music etc. There is also no relationship to having “a literal story where everyone understands what everything means, and it is all spelled out, etc.” The use of imagery makes all writing more effective – especially when it is transmitted in an oral, rather than written medium. “Flow of the words, sound of the words, rhyming, rhythm, sing-ability, intent/purpose of the song, topic of the song, genre, music style, vocal style, etc.” are important – not at the expense of imagery but in addition. Is trying to show, rather tell, a constraint? Of course, but constraints generally act to focus artistry. You can have a lyric (poem, story, etc.) that has highly concrete imagery but is conceptually abstract (or abstruse?) – look at something like “I am the Walrus.” The sound (and rhythm) of the words seem to be predominant but it is very vivid. I don’t think the lyric needs to be ALL show, but the more the better (all IMHO). I too “like a song where it is difficult to make out many of the words.” But, upon reflection, is not the song, so much as the track, or performance. I remember trying to work out the song “Long Cool Woman” to play in a band. Even playing the tape over and over I couldn’t get the second chorus line (after “Long cool woman in a black dress”)” “Just a five nine beautiful tall [as in 5’ 9”]. Would I have enjoyed the song less if the actual lyric was enunciated such that I could understand the words? No! (Again IMHO). There is constant debate in (American) Football: Do you need a great quarterback to win a Super Bowl? No, teams have done it, but a mediocre quarterback is an impediment, not an asset. So too, IMO, an “all tell” lyric weighs down a song, doesn’t help it move along. I think that the sound of the words, should be great in a lyric. They shouldn’t be sacrificed. If you have a very high imagery lyric that all those other features are bad, you have crap lyric, and you need to rewrite it. But if you have all that other stuff and it is “all tell” you also need to rewrite it – you can do better. And so, to me, the lyric of the song was not strong and so didn’t help its score. If I was doing the music in the collaboration, I would have the lyricist rewrite it, after a vigorous discussion I’m sure, because we could do better. Again, I am aware not everyone will agree with me, but this is just a fun (I hope) philosophical debate. Aloha - Ron
  14. neuroron

    Collaboration Contest Results - April 2018

    Hey Tom, sorry about that. When I was editing those initial comments, I must have highlighted something wrong and almost the whole thing got cut. I've been so busy with various aspects of life and illnesses in my family that I rushed through and didn't proof it. My bad. I don't think you've ever known me to give a critique like that (he said, begging for mercy). Here is what was supposed to be in there: Lost In A Thought - Team: IronAndy (Tom Tognaci & Andy LeFevre): Nice little opening riff. The way the background vocals have been timed and some of the instruments seem to be a little out of sync and makes it sound a bit of a mess. Lots of imagery in the lyrics. The last 2 lines of the chorus are really nice both in terms of lyric and melody.
  15. neuroron

    Collaboration Contest Results - April 2018

    Also to chime in on the subject of the emotional vibe of songs. I will tell you that most of my musical influences have a significant amount of humor in their work. Not going for gut busting laughs, but more subtle, tongue-in-cheek or at least with the goal being to elicit a smile. e.g.: Randy Newman, Paul Simon, Sting, the Beatles, Leon Redbone, Steely Dan, Leonard Cohen, Dan Wilson I guess as a possible outcome of that, virtually everything I write tends to be "up," at least (hopefully) subtly humorous and almost always with a positive/optimistic point of view. Given that, songs that are depressing, angry, alcohol or drug influenced or overtly try to get over a political or philosophical message start out many steps behind in the race. When I perform, the positive/humorous songs always go over the best - both originals and covers. And as a result, I don't knowingly do any "down" stuff live. One of my friends in the Houston Songwriters Association who gigs a lot, writes a lot, and has won numerous awards tells me that when he is out on gigs while people say they like his more "down" songs also, his funny songs are the ones that always get requested. Not saying any of this of course is right or wrong, good or bad, just my point of view.
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