reacting to a criticism of the time machine

"this sounds like it was done in fruity loops."

lol. those are live guitars. also, the drum machine work is highly geeky. while a passive observer might hear a warp records influence, it's actually very influenced by phil collins. it was scored out linearly in classical drum notation...

i haven't worked much with fruity loops, but i think it would have difficulty producing a detailed, scored piece like this. the time signatures are shifting all over the place.

fwiw, the first part was written in noteworthy composer (which is an ancient scorewriter, sort of like finale) and sent to vst in cubase. the second and third parts were constructed in a wave editor out of heavily cut and processed samples from the first part.

sigh

http://www.youtube.com/watch?v=xuJ0sP57ywU

i keep saying this is almost done, and it keeps not getting done.

i've got a temporary mix uploading to the scratchpad. it's close, but still a ways away - i really just have to convince myself of some levels, and mix in the orchestrated jazz guitars that transition the track. well, it's not going to be guitars, it's going to be cut up strings and horns. there's no guitars in this mix, but i'll be using aspects of it in the final mix (which has lots of guitars).

i'm uploading it now because there's a possibility that my appointment today may not end well and i think i should get up what i've got done.

as always: comments or suggestions are encouraged, but expect me to ignore you.

it just takes a long time to mix, like, oboes and flutes and stuff. instruments come up and out of the mix. i mean, it's a hundred fucking pieces, here, i'm not slacking it's just that thick....

i'm sorry, but the reality is that your 80s metal guitar gods were really mostly second rate players and musical hacks that couldn't pass a first-year theory test - and you should have realized that a long time ago, unless you're equally clueless. the best of the bunch was john petrucci.