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Nothing's Changedyou say nothing's changed, it's all the same
but the same day will never come again
it's been and gone
so there's no going back for us
it's the same way
we no longer seem to get along
i see the river burning bright
just another sign our world's on fire
it seems no way to set it right and too late to turn around
the net is gone, we're dancing on a wire
it's a hard ground, let's not go tumbling down
our house of cards, like london bridge, is falling down
it's a game that takes two to play
but only one to walk away
little children play, calling names, pointing fingers
but never taking blame when things go wrong
and we act just the same
who's to blame?
it's the same game
we know who's the one to blame it on
maybe it's easier to fight, turn away, and close our eyes
if we both try to set it right before it all comes down
will we lose anything except a little pride?
[repeat chorus]
you say nothing's changed
it's the same
it's the same
well, maybe that's the thing that's going wrongInstrumentsSynthV (Arama) SynthV (Felicia 2, Sheena 2) 1842:Synth Pad, PopModernGrooveA-B Ev16 075 3150:Mandola, Background AmericanaFolk16thsAndy ev16 060 ~2503:Piano, Acoustic, HeldChords 085 ~~487:Piano, Acoustic, Rhythm Jazz Ballad Sw 085 2509:Cello, Background PopEven Ev 120 (1TrackStringQuartet) 2511:Violin, Background PopEvenHigh Ev 120 (1TrackStringQuartet) 2510:Viola, Background PopEven Ev 120 (1TrackStringQuartet) Bass: Ibanez Gio (me playing) RealDrums: PopPinkCandyElec^3-a:Snare , b:HardSnareClap Drum Overlay: UJAM Hot EffectsMain Buss: Curves AQ (Mix), Lurssen Mastering Console (EDM Warmer), HoRNet Tape (Swiss 15 IPS) Lead Vocal: UAD LA02A (Ballad Vocal), Greg Wells VoiceCentric (Collar Grab Vocal), Capital Chambers (Vocal Main) Lead Vocal FX: JS Delay With Tempo (Ping Pong) Backing Vocal: Greg Wells VoiceCentric (Background), Capital Chambers (Chorus Vox Wide) Bass: Ghz Vulf Compressor, EZMix 3 (Classic 8x10 Bass Amp) Guitar: No FX Piano: No FX Piano 2: ReaEQ (High Pass), Finisher Micro (Flanger), Finisher Flux (Autopan Heaven) Drum: Curves AQ Drum FX: Finisher Dynamo (Backbeater) Drum Overlay: No FX (using drum's built-in reverb) Overlay Drum FX: Finisher Dynamo (Backbeater) Mandola: Sound City Studios (Acoustic Guitar Ambience) Mandola FX: UFX Delay (Doubling), Raum (Airy) Synth Pad: Finsher Flux (Stringasm), Valhalla Vintage Verb (Concert Hall) String Trio: Tape Mello-Fi (Subtle Width), Sound City (Ensemble - Strings) The StoryFeel free to skip this bit. All comments welcome!  This was one of those songs that I didn't think would ever get finished. I'm still rewriting lyrics, and I may change the title as well. But I'm getting ahead of myself. As usual, I looked through the style demos until I found something that I liked. CLIMB caught my ear - it had a fairly modern drum sound, and very cool mandola. It was also in a minor key, which was something I haven't used much. I changed up the chords quite a bit. I avoided major 7th chords (although there are a few) and did a couple temporary modulations to try to keep things interesting. There are some neat inversions, and the chorus is in major to contrast with the minor verses. Well, the mostly minor key verses. The first verse is in A minor, but the second (or maybe it's the prechorus) shifts to A major just because. I then rendered out a backing track and imported into SynthV to work out a melody. I had purchased a new voice called "Amara", and decided I'd like to feature it on a song, so I used that. She's got a R&B sort of voice, but that's not really in my wheelhouse, or where the song went. But why let that stop me? I did my typical "outline the chord tones" when working out the melody. But that's a problem with a lot of my melodies - they have lots of skips. So I went back and simplified the melody so there were a lot more repeated notes, which is more typical in pop music. I went through a lot of ideas for lyrics, but none of them seemed right for this song. The problem with writing the lyrics last for me is that it's a process of trying to figure out who the narrator is, and what they would be talking about. So it's mostly a matter of listening again and again, trying to figure out what words match the mood of the music. After about a week or more, I finally decided to just power through and write something, no matter how terrible it seemed. That got me the opening lyrics, but they lacked the sort of thing that songwriting instruction text tell you they should have, like images that set the time and place, or something compelling that grabs the interest of the listener. But at least I had a POV and tone of voice, so yay, progress! I figured that I'd eventually replace those lyrics, but of course I didn't. However, I'm still re-writing them, even as I type this. The only non-cliche line in the song is probably: I see a river burning bright And that is a reference to the Cuyahoga River catching fire years ago. Because yeah, that makes sense in a song like this, right?  I went to RhymeZone looking for something that would rhyme with "fire", and ended up with "high wire". Yeah, it's been used many, many times. The Alan Parsons Project song immediately sprang to mind. But by this point I was ready to to embrace cliches, so after a bit of wordsmithing, the first verse was mostly complete. It was time to start working on the chorus. But as usual, the melody I'd written didn't sound much like a chorus at all. So I went back to BiaB and changed some chords to make them a bit more pedestrian, and then listened to to songs to get an idea of what a real chorus sounded like. As I start putting phrases into the chorus, I found I was using nursery rhyme elements - something I've done before. But while I was treading over old ground here, I was also getting desperate to finally get this song done, so I took what I could get. The idea of that and children taunting each other on the playground seemed material enough to fill the second verse. I finally got to the core of the song when I came up with this lyric while I was - of all things - doing the dishes: it's a game / it takes two to play
but only one / to walk awayWith the core idea in place, it was pretty much a matter of just rewriting the first verses into the second verses. Fortunately for me, while getting ideas is painfully slow, rewriting is relatively easy. At this point I considered: Is there a need for another verse? Structurally, it's rather short. But I'm not sure I've got anything left to say. I toyed around with the idea of putting in a bridge, but laziness struck hard. Instead, I decided to use an modified version of the first verse. I thought about putting in a short instrumental, and then repeating chorus, before the final tag. I haven't ruled it out. With the song lyrically complete, I'm faced with a problem: there's no obvious title for the song. That's a big red flag that I should go back and rewrite things. But I'm going to punt on it and maybe revisit it later. Time for the fun part - harmonies! Staggered counterlines don't really make much sense, so I just duplicated the melody and then dragged the notes to chord tones, adding passing tones where it made sense. Then I did it again and added a top line. Nothing very fancy, so I added some counter lines. Next, it's time to render out the vocals from SynthV and BiaB, and start mixing in the DAW. I hadn't rendered the mandola to the backing track for SynthV, because I wanted to make sure the vocals would stand by themselves. The mandola sounds really cool, so I'm pretty sure I won't need much on the track. But the next morning, I decided that the tempo feels a bit rushed, and decide to change it from 90 BPM to 87 BPM. All the tracks are re-rendered in BiaB and SynthV, and I add a bunch more guitars, basses and pianos so I have more to choose from. The guitars are a bit too busy with some of the passing chords, so I removed the passing chords in BiaB and rendered the simplified guitars. I threw Curves AQ on most of the tracks and let the AI offer up some EQs. Is it better than using a preset? I can't really tell, but I paid money for the plugin, I'm using it. The ping-pong effect is from Reaper, but I used a bunch of UJAM Finisher effects because I'd just bought them. The ending effect comes from playing with UFX Delay and the Raum reverb. I wanted to start with a simpler drum part, but couldn't edit the hi-hat out, and a low-pass filter didn't do the trick. The simplest solution was to just automate the drum volume. My daughter suggested that the harmonies were a bit loud, so I dialed them down lower than I usually do. It made me sad, but she's probably right. There are a relatively small number of tracks on this song. The string trio is buried behind the synth strings, so it's not even clear it needs to be there at all. The second piano is just to add a bit of shimmer and interest, and sits behind the main piano. I'll probably go back and re-do the bass, possibly putting in a MIDI bass or just playing it myself. Like my prior song, I put this one out before it's before it's 100% polished, so there's a good chance I'll be updating the track as time goes on. Hopefully other people's songwriting processes are faster than this.  Thanks for getting this far! Again, all comments are appreciated. Edit 1: I replaced the line "Now I'm looking back at us" with "So there's no going back for us" because it was the same line The Indigo Girls used in "Closer to Fine". That's what I get for making a last-minute change to a lyric late at night just before posting the song.  Edit 2: I changed the bass and added a drum overlay on the verses. So I guess the song title is no longer accurate. I'll should eventually clean up some places where the bass is too busy. Credit to floyd jane for pointing out this needed work! Edit 3: The mandola is now duplicated up an octave with some FX added to it to give is sparkle. The main piano has a high pass filter on it, and is run through some FX to give it sparkle, too. The guitar was muddying up the mix in the chorus, so I chopped some chords out of it and removed the FX on it. Credit again to floyd jane if it sounds better, otherwise blame me. (These aren't as drastic changes as the prior ones)
Last edited by dcuny; 09/05/25 01:14 PM. Reason: Updated the mandola and piano tracks.
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Expert
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David - I can barely get my head around how you (& BDT f. ex.) manage to come up with such elaborate productions & songs,
excellent lyrics and mega use of synth voices (all beyond me). Love the subtle use of the mandola and other BB files - the overall
arrangement is really excellent, great chord structure too!
You did a FAB job on this track - super well done,
Carl
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David,
Great song. Love the voices and the selection of tracks. Those drums sound excellent.
You put an immense amount of work into this and it clearly shows. Awesome mix.
As always, I enjoy all of your work. Excellent stuff!
Bob
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Journeyman
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Hi David,
I love the mandola, the progression of the chorus and especially the lyrics of it with the nursery rhyme bits. Really suits. You seem to have showed more restraint with the vocals than in your last couple of tunes and its all easier for this ear to follow. I think your daughter made a good call too. I get it that it's a work in progress, how fed up with a song one can get, and that urge just wanting to get it out there. It's actually really helpful to hear songs in various different stages and also really interesting to read about your whole thought process, so thanks for including that bit too.
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Journeyman
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Hi David! I read your narrative before listening and glad I did. Cool to hear the journey you’ve been on with this one. Glad I’m not the only one that ‘just want to get this thing done’.
The chord progression and melody is instantly pleasing to listen to, but intricate enough that I’m gonna have to listen to that again to fully absorb it. I’m not a strong lyrics man so have nothing to offer in that regard.
I’m going off to listen again before I continue writing. [goes off to listen again] …
**** Likes, and adds to Playlist ****
[comes back again]
Yep, that minor to major is beautiful, and love those mandola fills, and I love that fade out at the end as well.
Andrew
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David,
Outstanding production work here . . . clean, creative and engaging. Very smart write . . . love the use of internal rhymes throughout. Catchy chorus. And, no surprise, killer use of the vocaloids. Brilliant!!
Deej
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This sounds really cool, David. That mandola IS quite nice and your new vocalist is sweetly non-theatrical, a huge plus from my perspective. That late shift to a major key chorus is very cool, too. Your narrative led me to expect something a little rough around the edges, but this is quite smooth and shiny, and sounds GREAT. You've squeezed a lot of musical excitement in 2:46!
DC Ron
BiaB Audiophile
Presonus Studio One
ASUS I9-12900K DAW, 32 GB RAM
Presonus Faderport 16
Too many guitars (is that a thing?)
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It's interesting to hear all the key changes; they add a lot to the song. I'll have to try that myself sometime. Good, clean arrangement with a good choice of instruments (I even like the Mandola) in a transparent mix. Arama (who I didn't know) sounds good to me, and I really like the harmonies in the chorus (that's Felicia, right?). I'm not entirely convinced by the snare sound; I think something more organic would suit it better. But I really like your song, and thanks for all the details about your songwriting process - I LOVE reading that stuff
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David, I liked everything about this song. Super groove and chord progression. Outstanding work with those synth voices. Great backing band and mix.
Loved it.
The fitness trainer asked me, "What kind of a squat are you accustomed to doing?" I said, "Diddly."
64 bit Win 11 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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HA! Just as I was reading how you didn't use Maj7th chords I heard one. Yeah, I felt free to skip The Story, but knew I'd enjoy it. It also had me play this cool song 3 times while reading. Man, David, we could talk for hours and hours about all this. We not only have the RhymeZone in common, but most everything you write about.
Okay, the 4th listen was not distracted by The Story... Man, there is some great changes going on in there. What an incredible job, first in picking the band, and even more amazing was in the mix. So much going on, but nothting goes on unnoticed.
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I enjoyed reading your thoughts concerning the write. I like that you think long and hard about your choices. Lovely vocals and harmonies. I really like the piano and mandola. The drums choice is interesting. (Interesting is an interesting word, don;t you think?) I ALWAYS enjoy your songs/productions/musings... I think I've listened 5 times now... fj
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David,
Wow, what a detailed song summary!
Super chord progression here. Good balance between acoustic / electronic instruments. Clear mix and listens well. Two points:
I believe you might want to consider d-esser on main vocals. Maybe second harmony vocals slightly lower. Thank you for sharing.
Misha.
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Hi, Carl. David - I can barely get my head around how you (& BDT f. ex.) manage to come up with such elaborate productions & songs, excellent lyrics and mega use of synth voices (all beyond me). Love the subtle use of the mandola and other BB files - the overall arrangement is really excellent, great chord structure too! Thanks! The answer to "how to you do it" is mostly... It's the only way I know how. I suspect I'd save a lot of time if I'd just start with the lyrics, but too many times I've been stuck trying to set them to a backing track that I wasn't happy with at all. So I approach it as if I were trying to discover a song inside of the BiaB tracks. The advantage there is that I can be lazy and let the tracks guide the melody, so BiaB does a lot of heavy lifting for me. You did a FAB job on this track - super well done Thanks again!
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Hi, Bob. Great song. Love the voices and the selection of tracks. Those drums sound excellent. Thanks! That's one of the things that attracted me to the style. However... I'm getting suggestions from those who are more familiar with the style that perhaps a different sort of snare is called for here. So I'm going to do some experimenting with that. You put an immense amount of work into this and it clearly shows. Awesome mix. I'm starting to think they key to a good mix is use less tracks, but there's so much cool stuff in BiaB it's really hard not to go overboard. Hopefully I'll keep this in mind in future tracks. Thanks again for your kind words! I really appreciate it.
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Hi, Beth. I love the mandola, the progression of the chorus and especially the lyrics of it with the nursery rhyme bits. Really suits. I'm glad to hear it! You seem to have showed more restraint with the vocals than in your last couple of tunes and its all easier for this ear to follow. I think your daughter made a good call too. Point taken! It's fun to have a big, bombastic song, so I went a bit (or maybe way) overboard the last time. I'll try to keep my exuberant tendencies reined in. I get it that it's a work in progress, how fed up with a song one can get, and that urge just wanting to get it out there. It's actually really helpful to hear songs in various different stages and also really interesting to read about your whole thought process, so thanks for including that bit too. You're welcome. I think frustration is a normal part of any creative process, because we're being forced to go outside our normal thought process. Songwriting is an interesting combination - a bit of storytelling, a bit of puzzle solving, and often just hard work. Thanks for listening and commenting!
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Hi, Andrew. Hi David! I read your narrative before listening and glad I did. Cool to hear the journey you’ve been on with this one. Glad I’m not the only one that ‘just want to get this thing done’. I suspect that many of us go on similar paths when writing songs. When things are easy, it's fun and sort of magical. When it's not, well... it's a bit of a grind. The chord progression and melody is instantly pleasing to listen to, but intricate enough that I’m gonna have to listen to that again to fully absorb it. The chorus is pretty straight forward, but the verse is: A- | G/D / C/D D-7 | A- / / G/A | A- Cmaj7
A- | G/D / / D-| A- / / E– | A- / A-/F A-/G
A| G/D / A/C# A-/C| Bbmaj7 / Asus D- | E- E7/G#
A- / / C/G | G/D / A Fmaj7 | G-7/F / Eb Ebmaj7 | Asus Fmaj7This bit was an attempt to walk the bass down to lead into the A major chord: ... A- / A-/F A-/G| A ...Once there, I shift out of A major and use the bass to emphasize the change: ... A | G/D / A/C# A-/C ... The bass descent continues, with the shift from the Emin to E clarified by the bass movement: ... Bbmaj7 / Asus D- | E- E7/G# | A- / / C/G ...I repeat the A Fmaj7 move twice here. The Asus is a (mostly ineffective) way to give it a bit more motion. I'd originally been playing with diminished chords, but they didn't work as well as I'd liked: ... A Fmaj7 | G-7/F / Eb Ebmaj7 | Asus Fmaj7 ...Hopefully that explains the logic of the progression. Thanks for listening and commenting!
Last edited by dcuny; 09/04/25 10:14 AM.
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Hi, Deej. Outstanding production work here . . . clean, creative and engaging. Very smart write . . . love the use of internal rhymes throughout. Catchy chorus. And, no surprise, killer use of the vocaloids. Brilliant!! Thanks! I appreciate the positive feedback!
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Hi, Ron. This sounds really cool, David. That mandola IS quite nice and your new vocalist is sweetly non-theatrical, a huge plus from my perspective. OK, I clearly went overboard with the last song. But thanks! The mandola is super-cool, and it was fun working with a new vocalist and trying to figure what would work with her. That late shift to a major key chorus is very cool, too. Your narrative led me to expect something a little rough around the edges, but this is quite smooth and shiny, and sounds GREAT. You've squeezed a lot of musical excitement in 2:46! Heh. It looks like I need to revisit the bass and drums, and I haven't ruled out adding an instrumental section, although no one's suggested it's needed. I'm glad you enjoyed it!
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Hi, B.D. It's interesting to hear all the key changes; they add a lot to the song.
I'll have to try that myself sometime. Looking into writings about The Beatles songwriting got me into this. I'm not trying to emulate The Beatles, I'm just trying to force myself to try something different. Where they are most effective is where most people don't hear them, but I haven't got that level of skill yet. Good, clean arrangement with a good choice of instruments (I even like the Mandola) in a transparent mix. I'll have to give credit to whoever made the style I based the song on for that. Love the mandola, and it was hard not to put it everywhere. Arama (who I didn't know) sounds good to me, and I really like the harmonies in the chorus (that's Felicia, right?). Arama is a new voice that came out last month. It's got a nice tone and expressiveness. Less vocal modes than most SynthV voices, but I didn't feel anything was missing. The backing vocals are Felicia and Sheena. I'm not entirely convinced by the snare sound; I think something more organic would suit it better. Ha! I figured it would be safe to use because it was part of the style, but I've gotten pushback on it from a number of people. I really like it, but I don't really have ears for contemporary music. I'll play around with other options. But I really like your song, and thanks for all the details about your songwriting process - I LOVE reading that stuff You're welcome! I suspect a lot of people can relate to it, because we're songwriters. Thanks for the feedback - I appreciate it!
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Hi, Mario. David, I liked everything about this song. Super groove and chord progression. Outstanding work with those synth voices. Great backing band and mix. Thanks! I appreciate you listening and commenting.
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Hi, Marty. HA! Just as I was reading how you didn't use Maj7th chords I heard one. I should have written "I tried to avoid Major 7th chords". Yeah, I felt free to skip The Story, but knew I'd enjoy it. It also had me play this cool song 3 times while reading. Man, David, we could talk for hours and hours about all this. We not only have the RhymeZone in common, but most everything you write about. It's funny - all of us are doing the same thing. Most of us are mostly invisible about it. Okay, the 4th listen was not distracted by The Story... Man, there is some great changes going on in there. Thanks! I posted an explanation of what I was trying to do with the changes a couple of posts back. What an incredible job, first in picking the band, and even more amazing was in the mix. So much going on, but nothing goes on unnoticed. I've got to confess - the BiaB style did most of the work here. That's the real magic. Thanks for listening and commenting!
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Hi, floyd jane. I enjoyed reading your thoughts concerning the write.
I like that you think long and hard about your choices. Probably a bit too long. Lovely vocals and harmonies. Thanks! I really liked how I was able to get Amara to phrase the vocals. I'd lay down the scratch track with nothing but "la"s to make sure it was a good register for her. But when the lyrics were added, I'd tweak it again, to make sure it sounded natural and the words were intelligible. If it were a different SynthV voice, the melody would have ended up different. I really like the piano and mandola. That's why I picked the style. No credit to me on that one. The drums choice is interesting. (Interesting is an interesting word, don;t you think?) Hehehe. Yes, it's an "interesting" word. I picked the drums because I figured the person who made the style was more "hip" to contemporary sound than me. It looks like my ears need to be schooled in the more "modern" sound, because you're not the first one who made the observation. There are also issues with the bass, but since people were kind enough not to mention the anemic sound of the bass, I thought perhaps I'd be able to let that slide as well.  I appreciate the honest criticism. I ALWAYS enjoy your songs/productions/musings...
I think I've listened 5 times now... Thanks! That's high praise.
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Hi, Misha. Wow, what a detailed song summary! Ha! I figured if I suffered while making this, then you should suffer while reading about it. Although this wasn't the longest it's taken me to come up with lyrics. I recall burning a backing track and listening to it in my car every day for about three weeks before something finally clicked. Super chord progression here. Good balance between acoustic / electronic instruments. Clear mix and listens well. Thanks! I believe you might want to consider d-esser on main vocals. I've considered that, but I thought it was part of her vocal style. It's a bit more /sh/ than /s/ in places. But I'll have a look at it. Normally, I'll just reduce the amplitude using automation instead of using a de-esser, as it gives more control over the result. Maybe second harmony vocals slightly lower. On the second verse? I'll have another listen, thanks! Thanks for listening, and all your helpful feedback!
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Well worth the read & listen.
Super work with the synth vox but the whole package is excellent.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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David,
I had to laugh ... 'Nothing's Changed (Updated)'. It clearly has!
I love the new bass and drums - and that mandola closing out with movement left and right. Really good. BTW - thanks for the chord progressions in your previous post.
Andrew
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I like the title Nice lyrics, bit sad, but the conclusion is set nicely in "if we both try..." Cool chord progression and intriguing melody, very original feel, like written by a very experienced guy who has been making hits for decades Nice sounding lead vocalist, but there's something in those backing vocals that feels bit annoying, Felicia's tone perhaps? Nice band, I liked the mandola intro and the effected outro. The drum sound fits well with the pop mood. Professional sounding mix, doesn't feel crowded and gives space to the singer. BTW. You have used name Amara, Arama and Amaya (SoundCloud) for the vocalist... On Dreamtonics page, there are Amara and Ayame, bit confusing Janne
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Hi,David,
Interesting changes and a good write.
I really enjoy your attention to detail! Both with the track and the vocals, so many subtle things going on. That combined with a good mix makes for a great headphone listen.
Listened a couple of times, good stuff!
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Excellent tune David. Boy you mastered the vocaloid. Makes the song such a cool listen. Well done
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Hi, Ray. Well worth the read & listen. Thanks! Super work with the synth vox but the whole package is excellent. I appreciate that. Amara was a fun voice to work with. I was just happy when it finally came together. There were times I had some serious doubts about it getting off the ground.
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Hi, Andrew. I had to laugh ... 'Nothing's Changed (Updated)'. It clearly has! Yep, and I kept making changes after that! I love the new bass and drums - and that mandola closing out with movement left and right. Really good. BTW - thanks for the chord progressions in your previous post. Thanks! I hope you find something useful in them. And thanks for stopping to listen and comment.
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Hi, Janne. I like the title Nice lyrics, bit sad, but the conclusion is set nicely in "if we both try..." Thanks - I'm glad that worked for you. Cool chord progression and intriguing melody, very original feel, like written by a very experienced guy who has been making hits for decades I wish! Nice sounding lead vocalist, but there's something in those backing vocals that feels bit annoying, Felicia's tone perhaps? It's likely the high harmony part that you find grating. Felicia is on the vocal, and it's a bit aggressive, and it's set high in her register. I should probably dial her back a bit at some point. Nice band, I liked the mandola intro and the effected outro. The drum sound fits well with the pop mood. Professional sounding mix, doesn't feel crowded and gives space to the singer. Thanks! BTW. You have used name Amara, Arama and Amaya (SoundCloud) for the vocalist... On Dreamtonics page, there are Amara and Ayame, bit confusing Yeah, names aren't my strong point. It should be Amara, thanks!
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Hi, Dave. Interesting changes and a good write. Thanks! I really enjoy your attention to detail! Both with the track and the vocals, so many subtle things going on. That combined with a good mix makes for a great headphone listen. I've got to give credit to floyd jane for pushing me to make this better. I thought I was done, and he gently suggested it needed some more work. Of course, he was right. Thanks for stopping and commenting, I appreciate it.
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I'm curious how you realized you had copied the indigo girls. No, on second thought, nope, I don't.
Your songs are quite an undertaking and I really enjoy your story as much as the music, which, incidentally, was good.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Hi, Scott. Excellent tune David. Boy you mastered the vocaloid. Makes the song such a cool listen. Well done Thanks! If there's a trick to using SynthV, I think it's to write songs to the strengths of the voices. It's a lot easier to have them sing songs they can sing, instead of trying to force them to sing something they can't. And if they can't... it's easy enough to change things. The nice thing is they don't complain when you decide - yet again - to make some minor change to the vocals. Thanks for listening and commenting!
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Hi, Herb. I'm curious how you realized you had copied the indigo girls. No, on second thought, nope, I don't. Ha! As I mentioned, I changed the lyric while doing the writeup for this thread. The prior line felt a little clunky, so I made the change, re-rendered the song, uploaded it, and changed the lyrics in the writeup. Later the next day, I was still trying to re-work the lyrics (which is easy when you've got an AI vocalist) when it struck me. Funnily enough, neither of my daughters noticed it. And The Indigo Girls get a lot of play in our house, so they should have caught it. Your songs are quite an undertaking and I really enjoy your story as much as the music, which, incidentally, was good. Thanks! I used to have a guitar book by Tommy Tedesco. He had a bunch of neat stories in it, because he figured most of the people wouldn't end up doing the guitar exercises, so he may as have amusing stories so they felt like they got their money's worth. Thanks for listening and commenting!
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Hi David.
What a fantastic song! I love what you've done. The lyrics and melody are great and the production is brilliant. Your use of Synth V is excellent. It seems to me that your creativity was most surely firing on all cylinders when you put this song and its production together.
I enjoyed my listen a lot.
--Noel
P.S. Thanks for the detailed insight into what you did and how it was achieved.
MY SONGS...Audiophile BIAB 2025
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David,
Great production! Very pleasant song.
As always, it's a very elaborate production and I was impressed.
The instrument selection is excellent and the effects are exquisite.
I imagine it must have taken a lot of time.
I would like to emulate that kind of effort.
Enjoyed my listen a lot.
Best regards.
Shigeki Adachi
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Hi david,
So, what's not to like about this one? Just one thing - I didn't write it. Dang!!!
I found the chord pattern to be very pleasing. You know, I'm pretty sure, that I play around a lot with chords and chord patterns. This was a delight in that regard and excellent in all regards.
I don't have an elaborate system. I hear something in my head and go straight to the chord input sheet. Chords come to me pretty quickly and easily. I then finish the song by filling out the melody I hear in my mind as the chord pattern plays. As I listen to the demo of the song that BIAB creates, I start imagining what instruments would fulfill what my mind is hearing. That's about it. Not fancy, but it seems to work - just like my recording process. Now lyrics don't come as quickly or as easily in most cases. Di was just the opposite - she wrote the entire lyrics to two songs in one 30-minute session using a tablet and a pen. We only changed three words - two in one song and one in the other. They were two of our very best songs!
Sorry, I got a little off-track with that diatribe. Your process is very intricate and well thought out. I'd probably go crazy trying that! I once told Di, "You're driving me crazy!" Her reply was, "Talk about a short drive!". Ha!
Your music always showcases the effort and skill you put into it. I always enjoy y\our work and your efforts. i really like the percussive elements of this one.
Nice stuff!
Alan
BIAB 2024 Ultra Plus-all StylePaks*Win11*32GB DDR5*Rhyzen 9745x*AT 2035 Mic*Peavey Nashville 112 Amp*Ibanez ART120* Acoustic/Electric/Washburn D200S Acoustic*Stromberg Monterey Jazz Guitar Loops: https://aldavidmusic.wixsite.com/bestmusicloops
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Hi David,
Well, I'm impressed with everything you did to create this song. What a story!
And then I listened to your song four times. Not to even begin to appreciate your efforts, but because there's so much going on in the song, that I like.
The mandolin really stood out sonically!
The vocals were very good, although I agree with Janne (and others) that more differentiation in the vocals (lead and backing) could have been more exciting.
And since you're such a whiz at working with AI vocals, you could easily have tried that ;-)
And by the way, a nice rhyme for "Fire" could have been "Desire." Bob Dylan knows all about that...
Hans
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Hi, Noel. What a fantastic song! I love what you've done. The lyrics and melody are great and the production is brilliant. Your use of Synth V is excellent. It seems to me that your creativity was most surely firing on all cylinders when you put this song and its production together. Thanks! Although I should say that what "creativity most surely firing on all cylinders" often feels like panic and despair. It seems that despite typically coming out with something, I've got trouble trusting the process. I suspect that subliminally I'm wishing the song is going to turn out a different way, so I keep fighting it. When I finally stop being a whiny baby, sit down and do the hard work, something eventually happens. But once the lyrics are done, if the song feels coherent, it starts being fun again because I can put on my Producer hat and go through all the libraries I spent good money on and try to figure out how to justify the purchases by using them in the song. I appreciate your positive comments!
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Hi, Shigeki. Great production! Very pleasant song.
As always, it's a very elaborate production and I was impressed. . Thanks! The instrument selection is excellent and the effects are exquisite.
I imagine it must have taken a lot of time.
I would like to emulate that kind of effort. You're too kind! I appreciate the kind words.
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Hi, Alan. So, what's not to like about this one? Just one thing - I didn't write it. Dang!!! Ha! I found the chord pattern to be very pleasing. You know, I'm pretty sure, that I play around a lot with chords and chord patterns. This was a delight in that regard and excellent in all regards. Thanks, that's one of the things I've been working on in my writing. I don't have an elaborate system. I hear something in my head and go straight to the chord input sheet. Chords come to me pretty quickly and easily. I then finish the song by filling out the melody I hear in my mind as the chord pattern plays. As I listen to the demo of the song that BIAB creates, I start imagining what instruments would fulfill what my mind is hearing. That's about it. Not fancy, but it seems to work - just like my recording process. There's nothing the matter with that - your results are excellent. Now lyrics don't come as quickly or as easily in most cases. Di was just the opposite - she wrote the entire lyrics to two songs in one 30-minute session using a tablet and a pen. We only changed three words - two in one song and one in the other. They were two of our very best songs! I suspect that for most people, lyrics are the most difficult part of songwriting. But that's not always true - sometime everything just works, as you mention seemed to be the process with Di. That's occasionally happened with me as well. But unfortunately, it's not something that typically happens for us.[/quote] Sorry, I got a little off-track with that diatribe. Your process is very intricate and well thought out. I'd probably go crazy trying that! I once told Di, "You're driving me crazy!" Her reply was, "Talk about a short drive!". Ha! Ha! I love diatribes! Thanks for listening, commenting, and diatribing.
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Hi, Hans. Well, I'm impressed with everything you did to create this song. What a story! I suspect that the path for most people to get to a song is more crooked than not. We've just got different strengths and weaknesses. And then I listened to your song four times. Not to even begin to appreciate your efforts, but because there's so much going on in the song, that I like. I'm glad it (mostly) holds up to repeated listens. The mandolin really stood out sonically! Yeah, that mandola is something special. The demo caught my ear, and it makes the song. The vocals were very good, although I agree with Janne (and others) that more differentiation in the vocals (lead and backing) could have been more exciting. I've got the background vocals going through a different FX chain, and I toned them down vocally from where they were before. It's a delicate balance between to little and too much, and I guess I'm still trying to work it out. Oh, well. But I took one more more notch after reading your comments. And by the way, a nice rhyme for "Fire" could have been "Desire." Bob Dylan knows all about that... Heh. Don't forget quagmire! Speaking of Bob Dylan, someone on a different forum had mentioned they were had written a song about Suze Rotolo. That sparked some interesting ideas, and for a moment I was heading down that rabbit hole with this song. But it didn't pan out, which is just as well. Thanks for listening and commenting!
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New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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