It seems like I can can never get satisfied or happy with my lead melody or the timbre/sound of the synth/instrument.
So...
1. Which should you work on first...??? Melody/Composition Or Sound Design...???
Some things I have noticed...
The timbre of the synth/sound/instrument...Kind of determines what melody the instrument 'naturally' wants to 'move' to.
Because...Obviously, you will get a different timbre/sound, depending on which octave you choose to work in...
Higher scale (C3 and above) = Higher pitched/frequency timbre/sound. E.G. Leads.
I.E. Wants to naturally be shorter/pluckier. Shorter and pluckier sounds like to move fast and with more variation across the scale/notes.
Lower scale (C2 and lower) = Lower pitched/frequency timbre/sound. E.G. Basses.
I.E. Wants to naturally be longer/drawn out. Longer and more drawn out sounds like to move a lot slower across the scale/notes and don't like a lot of variation between notes. They like to 'stick close to each other'.
Therefore...More importantly...
2. How do these 2 concepts of sound design and composition work with each other in a good way (for you)...???
3. Can it be said that they can also work in a bad way (against each other) and ultimately...against you...???
4. How do you know when you finally have the "perfect marriage" of BOTH, melody and Timbre/Sound...???
Because...I will literally go 'BACK AND FORTH' between sound design/synth tweaking and melody work/music composition many times...until almost an hour has passed and what I end up with in the end...Is now totally different from what I had originally or a few 'tweaks ago', where I thought I might of had something good/worthy. After an hour and lots of tweaks...it just seems to get worse no matter what I do.
Sorry for the long winded thread.
So...
1. Which should you work on first...??? Melody/Composition Or Sound Design...???
Some things I have noticed...
The timbre of the synth/sound/instrument...Kind of determines what melody the instrument 'naturally' wants to 'move' to.
Because...Obviously, you will get a different timbre/sound, depending on which octave you choose to work in...
Higher scale (C3 and above) = Higher pitched/frequency timbre/sound. E.G. Leads.
I.E. Wants to naturally be shorter/pluckier. Shorter and pluckier sounds like to move fast and with more variation across the scale/notes.
Lower scale (C2 and lower) = Lower pitched/frequency timbre/sound. E.G. Basses.
I.E. Wants to naturally be longer/drawn out. Longer and more drawn out sounds like to move a lot slower across the scale/notes and don't like a lot of variation between notes. They like to 'stick close to each other'.
Therefore...More importantly...
2. How do these 2 concepts of sound design and composition work with each other in a good way (for you)...???
3. Can it be said that they can also work in a bad way (against each other) and ultimately...against you...???
4. How do you know when you finally have the "perfect marriage" of BOTH, melody and Timbre/Sound...???
Because...I will literally go 'BACK AND FORTH' between sound design/synth tweaking and melody work/music composition many times...until almost an hour has passed and what I end up with in the end...Is now totally different from what I had originally or a few 'tweaks ago', where I thought I might of had something good/worthy. After an hour and lots of tweaks...it just seems to get worse no matter what I do.
Sorry for the long winded thread.
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