Hammerman (Some heavy technical genre, GP5 GP4 MIDI) C4C C4C (Long titles stand out)


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bloodshed344
07-22-2008, 12:08 PM
My newest song, I can see my loyal fans rejoice!

Well anyway I wrote it in the style of BTBAM because I had no inspiration from myself, so I think it's obvious. Only solo is a short bass, I think it's better than my other works, mainly just because it flows so well and just feels natural. It's heavy, and might seem somewhat bland (depending on how you look at it) if you don't picture vocals in with it. Also I don't like the intro too much but it works. The way the outro is I could have lead into another song or just end there, not sure what I'm gonna do.

C4C

C4C

C4C

C4C

C4C

C4C

C4C

kylendm
07-22-2008, 12:45 PM
song?

bloodshed344
07-22-2008, 01:30 PM
Oh Shi-

EDIT: Ok it's uploaded

Sepuloren
07-23-2008, 03:20 AM
I like it as it is but its missing something, it needs something to really stand out.

bloodshed344
07-23-2008, 10:04 AM
That's what I was thinking....
I'll probably update it if I get an idea.

ch715dallat
07-23-2008, 12:05 PM
sounded great, but it didnt really have a the distinct catchy sections that BTBAM has that make yu really remember the songs. the outro was the best part in my opinion, with the parts in 9/8 great stuff.

icronic
07-23-2008, 12:37 PM
I hate BTBAM with a passion, more so since I was forced do endure an hour of them during the whole Dreamtheater/Opeth/Three tour.

With that out of the way, this was actually quite tolerable.

The beginning riff was rather cool, and the tension of the D#/A had a great effect. It would have been nice had it been resolved though.

Bars 19-34 are rather cool as well, I like your use of the time signature.

35-42 seem kind of weak. I think if you were to make it a little more technical it would do a lot more to improve it. Throw in some 16th notes or triplets or something.

56-63 Doesn't even resemble music to me :)

The Main Riff 2 part is good, and I especially like the tech section. It's not all that technical, but it's still cool.

The breakdown also doesn't really have any musical quality to my ears. It doesn't really seem to have any effect or relevance. It doesn't build, it doesn't release, it's just a lot of noise for the sake of noise almost.

Love the clean and bass solo parts. Really great stuff.

136-156 are okay, but it feels like it's missing something. Maybe you could bring a lead guitar, or harmonized part or chords or just something in at some point in that section.

I don't really like anything from 157-196, it just seems like wankery for the sake of wankery.

The tension to the end of the song are great, I think it's actually the best part of the song.

Objectively I can't say if the parts that I find bad, are actually bad, or if it's simply because I'm not a fan of the style.

I can say for sure that it does feel like it's missing something. It needs something that will jump out catch you and stick in your brain.

ch715dallat
07-23-2008, 01:09 PM
dude are you serious? btbam had the shortest set which was an outrage seeing as they completely demolish three in every shape and form.

icronic
07-23-2008, 02:41 PM
dude are you serious? btbam had the shortest set which was an outrage seeing as they completely demolish three in every shape and form.

I'm totally serious. Not to mention at least half of the audience left and waited in the lobby and the balcony too. I stayed for about 25 minutes before I went out there too. I overheard a great many people talking about them too, not a whole lot of love for them.

I appreciate the insane technical nature of what they do. Their skill with their instruments is incredible, but their songs aren't so much songs as they are demonstrations of technical prowess. I just can't get into something so scattered and random with no apparent direction, theme or idea.

Three had the shortest set here in Vancouver, they were up for 30 minutes I think, BTBAM had almost an hour. I didn't actually mind Three, the 5 minute acoustic solo was rather cool.

But it all comes down to personal taste right?

ch715dallat
07-23-2008, 03:34 PM
well obviously because theyre either close minded dream theatre fans that cant hack harsh vocals or opeth fanboys that think nothing is better than opeth

icronic
07-23-2008, 04:33 PM
well obviously because theyre either close minded dream theatre fans that cant hack harsh vocals or opeth fanboys that think nothing is better than opeth

I wasn't going to carry the conversation on, because it's not really the place, but I cannot resist asking if the above statement was sarcasm or not? Either way, I'm amused, but if you're serious, then the irony of the statement is absolutely delicious. :)

bloodshed344
07-23-2008, 05:54 PM
Well at least the large amount of replys makes it look like I posted an amazing song.

ch715dallat
07-23-2008, 09:14 PM
I wasn't going to carry the conversation on, because it's not really the place, but I cannot resist asking if the above statement was sarcasm or not? Either way, I'm amused, but if you're serious, then the irony of the statement is absolutely delicious. :)

please explain the irony because im anything but closeminded about music you numpty. i love opeth to bits but most of their fans think there is no band that matches them. and if youre talking aboutmy distaste for 3 well thats purely because theyre guff. anyhoo back to the job at hand people.

Mudhippy2011
07-23-2008, 11:01 PM
... back to the song, the chords in the intro were a bit to dissonent for me, but I love the riff that starts out at bar 35. Thats when the song really started to pick up for me. Good work. It really did remind me of BTBAM (which I'm a big fan of.).

bloodshed344
07-25-2008, 03:53 PM
Just put up a new version, a bunch of changes. If you already listened to it once you probably wanna listen to the whole thing again, it's alot different. Also, don't worry, I haven't forgotten your crits.

icronic
07-25-2008, 04:16 PM
Just put up a new version, a bunch of changes. If you already listened to it once you probably wanna listen to the whole thing again, it's alot different. Also, don't worry, I haven't forgotten your crits.

Not going to go into detail, but overall it's a huge improvement.

But, did you change the clean section? It could be my imagination, but it's different than I remember, I'm not totally sure, but I think I liked the old way better.

bloodshed344
07-25-2008, 04:36 PM
No it's the same, don't worry I thought that it sounded different too. I think it just doesn't sound as good the second time you hear it... oh well. Also, critted your song.

ealtdharkon
07-26-2008, 11:55 PM
Right, it's 04:13 as I begin this crit... and it's gonna be another bar by bar special, as I DO like this piece, and want to do it some justice. (I also uploaded another song, so hey - you might feel all warm and fuzzy, and go crit...)

I have work in 40 minutes, fvck this shiz...

So, bar 1... completely unecessary. You're a damned fool - I mock your opening bar.
It is a fairy in a hat.

Bar two however, is an awesome riff - superb use of a 7/4. Also, it's a 7, but not too jerky, as many are. Instead, this gives the piece a real sense of pace.
Obviously, epic tritones for the win, and also huzzah for the minor 6ths in that riff too. (At least I think they're 6ths, my musical terms are weak this night.)
The mini-run at the end of bar 3 is also most win my friend. I love the second half of bar 5 too, a great variation on the rest of the riff.
The drums in bar 6 are slightly different, and personally I would rather they had stayed the same.

Dropping to that low C# powerchord in bar 10 really made an eerie impact in that context, and the guitar and drums in bar 11 lead into the next section well.

Nice chords, and small salutes to opening riff.
The harmonies in bar 19 make the transition to the next part perfect, well done.

The 7/8 here again gives a sense of urgency, which I very much like. This is probably your most expressive piece yet. Excluding, of course, Bubbletoad - in which we could all feel your pain. If Shakespeare was a composer, he would have written Bubbletoad.

I digress...

The use of 11/8 in bar 27 to sneak those four extra notes in, works so well.
Many bands remove all the instruments except for one guitar from a song, for four/eight bars, to get the effect you have in 4 mere notes. Feel proud.

The 7/8 from bar 28 onwards I would hate in any other context, but here it works, if a little jerky for my tastes. But seeing as how it follows on from the last section, it does work.

34/35... oh yeahhh... that's some tasty metal. That's a seamless flow! That's not a transition, no... that is musical ideas coexisting, merging, and then parting ways, into... a nice 'n' solid groove. Bringing in that ride SCREAMS Pantera...
...not such a fan of the way you repeat the version of the groove riff that pops up in bar 40.

At least vary it? Personally I'd play bars 38/39 once more, before repeating that variation.

Bar 44 is mint though.

45 is not so much a jerk as a !slam! and 46 counters it well, making some sense of all this, and setting up for bar 47, which in turn makes way for bar 48 (which uses a similar idea to bar 27.)

Is bar 48's bass in key?

This next section is just... odd, but I do like it. It's a flow of music, rather than riffs.
And somewhat the calm before the storm.

The bar 57 and onwards section is a superb use of timings, and goes well into bar 65, which in turns blends beautifully into bar 66/main riff 2, a nice varition on the earlier riff.
I loved bar 70, I shall make it my child - it didn't seem to jarr the timing at all. Superb.

Bar 75, I thought... THIS bar again? THEN it went somewhere new, so I forgave it, and grew to like it again. Simple open hi-hat drums, lead well into next section.

The tech bit is nice, if somewhat generic... but the marker leads me to believe this was intentional. Rather nicely done though, if not amazing. But it works as a break from the madness. I'd lose bar 80 though. It makes things drag.
Bar 81... ha... again, generic... but I guess every band has to have at least one of those bars in their career. You've used yours up =P
Second time round, missing out that first 8th note (82) has much more impact.

87 - 89 ... that's what I was talking about! Not so long winded now.
Bar 92... ha ha ha... okay yeah - that section was a genericore moment, but the second half of it wasn't actually that bad. Overdone doesn't always mean no good.
I wouldn't say take it out of the song, at all, it does go well.

I like the return to the main riff 1.

Bar 100 spoke to me... of impending evil... bar 101 delivered, then dropped me.
I was taken by surprise at what happened next, so you really caught my attention there.

I like this slowpaced section here... and the return to that riff.

Bars 111 - 112... hmm, cool take on previous fill/bridge... but bar 112 should be a 9/8 bar, the leap to the next riff is waaay too sudden.

I do love main riff 2.

Clean section came in nice and abruptly.
I was expecting drums to kick in at 126, but the different chord in 129 made up for that, and made me realise why the drums come back in later.

The bass solo is not really a solo, more of just a really really nice bassline. And it is nice.
I shall learn it later, for fun.
All the instruments in this section are perfect, by the way, and bar 138 was really well done.
First tab I have ever seen to do that. Prepare to be plagarised.

Bar 140 = bassy sense of foreboding...
...141, you and your tritone chords... pah! I likey velly much.
The stop in 144 is cool, coulda used a drum to accentuate it a bit though, maybe?
Cool ride cymbals next.
Bar 149 has a nice fill, and 150 introduces a real snazzy lead part. Simple, but I really like it.
I like the introduction of tritones in 154.

The next section leads VERY well into bar 163...
...which is immense, and just what I was waiting for!!!
DUGGA DUN!

First fret bends are a ****.

It's 04:55 - I gotta get ready for work.

I O U half a crit!


Rob

Carl6661
07-27-2008, 09:17 AM
Overall, pretty solid song! :)

I haven't got any real problems with it, the drums were especially awesome!

My guitar pro is playing up at the moment so I can't go into too much detail i'm afraid, it keeps jumping and around and missing bars and such.

From what it did let me hear, good use of time signatures! And you've kept it tech-y and heavy without it being boring!

Awesome job, 10/10!

bloodshed344
07-31-2008, 11:44 PM
New version, slightly changed bass solo, fixed various things, made it better overall (I can't even remember) changed the intro.

Slaytanic1993
08-01-2008, 12:42 AM
Alright, I will say I ****ing loved all the dissonant stuff going on. The intro reminded me of Opeth's song "Deliverance" a little bit, which is not bad. The following bits were nothing short of kickass. Bar 53 was excellent, and a very groovey beat, as well. And, I really, really like how you let the bass lead the song.

Oh, and the tech song, whilst sounding a bit too forced, was amazing. Nice job all the way through. 10/10.

*Goes and starts learning the song*

bloodshed344
08-01-2008, 12:47 AM
The tech part was mainly just to cool down from the part before, just so all the people critting this know, and I liked how it fit in there.

ealtdharkon
08-05-2008, 10:05 AM
LO - triumphantly I return. See I was gonna tidy my room, but then stuff came up...
(I say stuff, I wrote a song... hey, maybe you could crit it when I upload? =P)

Anyway, the first part of this song is still immensely heavy, and that is one insane groove.

Bar 49... different stuff? You bring in some serious heavy at 53 man. So far I like these changes!!!

Main riff 2 comes in beautifully, as always...
...the tech section is here earlier than last time? Damn I love that section, it really does give the listener some space to breathe, and it comes in at a great time in this update.

Main riff 1 - YAY
Bar 100, YAYAY!

This next part, I've heard already, right?

Bar 111 - 112 is superimmense. And I LOVE MAIN RIFF 2!!!

Clean section... heard it...

..."heard this, heard that, not heard..." I feel like a kid looking at Pokemon cards...

Got.
Got.
Got.
Had.
Swapped.
Got.
OOH I NEED THAT ONE!!!

Back the crit...
...heavy again!!! You know my thoughts on this.

Tritones... I WUV tritones!

Bar 162... that drum fill is new, right?

Ah man, bar 163... it's a beatdown, but it's hheeaavvyy sshhiitt!!
I love the way you got the last note alternating from a g# to a d. And of course powerchords are heavy sshhiitt also.

171 - 173 lead up to that next riff perfectly. And the next riff is truly a goodun, jolly well done!

Track 2 in bar 179 leads to 180 very well indeed. New riff again?

YAY BASS SLIDE INTO RECOGNISABLE RIFF!!!!!!!!!!!!!!!!!

I felt a bit more variation coulda been used in the tension/outro section... but everything from bar 205 was brilliant.

That last bar? Yuck. I hated it, and I have a feeling I was supposed to...

I O U no crit,

Rob

bloodshed344
08-05-2008, 05:29 PM
Actually you owe me a crit for World of Dust.... (sorry) Check out Garret? Garret rocks anyway.

huevos
11-02-2008, 01:13 PM
I wasn't going to carry the conversation on, because it's not really the place, but I cannot resist asking if the above statement was sarcasm or not? Either way, I'm amused, but if you're serious, then the irony of the statement is absolutely delicious. :)

Hell, at least you guys got to see that show.
I like 3 and Opeth, but I feel that Dream Theater is on the same level of Necrophagist; the rest of the band is just there, while the guitarists (Pectrucci and Mummhand) are the real draw (for people who like highly technical music).
So, you can tell that I don't like either of them.

I'll crit once I get back from work. Heard it once, so I'll go through it again for deeper analysis/probing.
In the meantime, please crit my Metalpasta.

huevos
11-03-2008, 09:45 PM
Now. Hmm. I like this song, but it doesn't impact me like Walking the Plank. I don't know what it is, but the intro riff doesn't do it for me.
It's not bad actually.
I listened to this song 3 times and on the last time I just had it running as background music. The intro/main riff didn't really make a mark.

The tempo change at 12 wasn't all to noticeable (8 bpm more really doesn't change much), but I do like this section in itself.
The low end riff at 36/38 was pretty cool. It reminded me quite a bit of Gorguts.
Afterwards, nothing made an impact until bar 53. This semi-breakdown is nice. I like the groove of the bass and drums in that part.
Which leads to the funkyness of 66. That was pretty cool too.

It all repeats until 122, so I'll just apply the what I said in the above paragraph.
The bass licks/solo was good.

Everything is ok up too 180, but it finally picks up again here, at the 9/8's riff.
And that funky jam.

The outro is fine, but it lacks that ooomph. I guess since it leads to another song, that would make sense.

7/10. This was one of my least favorite of your collection. The funk was cool, but it wasn't as powerful as Walking the Plank, which is probably my favorite of your songs.
I don't think that WTP should be before this song, as it's really overpowering in comparison to this song.

Try out Malkeet if you would. It's a lot different than my other songs.
You'll see.

Graveworm
11-03-2008, 10:58 PM
bar 20 - 27 was my favorite part....****ing crazy.. it was sex to my ears.



Anyways, I thought the song was very technical but I wish that it was heavier. Overall, I thought that the song was good.

Primate-Primus
11-03-2008, 11:02 PM
hey man this song is cool, I think you really captured the essence of BTBAM songwriting. I especially liked the into riff, it flowed really well through the changing time signatures which I think is awesome. the whole song was awesome, i really can't think of anything to add to it, but then again, I don't really think in the BTBAM mindset. nice work!

bloodshed344
11-13-2008, 08:20 AM
Right, it's 04:13 as I begin this crit... and it's gonna be another bar by bar special, as I DO like this piece, and want to do it some justice. (I also uploaded another song, so hey - you might feel all warm and fuzzy, and go crit...)

I have work in 40 minutes, fvck this shiz...

So, bar 1... completely unecessary. You're a damned fool - I mock your opening bar.
It is a fairy in a hat.

Bar two however, is an awesome riff - superb use of a 7/4. Also, it's a 7, but not too jerky, as many are. Instead, this gives the piece a real sense of pace.
Obviously, epic tritones for the win, and also huzzah for the minor 6ths in that riff too. (At least I think they're 6ths, my musical terms are weak this night.)
The mini-run at the end of bar 3 is also most win my friend. I love the second half of bar 5 too, a great variation on the rest of the riff.
The drums in bar 6 are slightly different, and personally I would rather they had stayed the same.

Dropping to that low C# powerchord in bar 10 really made an eerie impact in that context, and the guitar and drums in bar 11 lead into the next section well.

Nice chords, and small salutes to opening riff.
The harmonies in bar 19 make the transition to the next part perfect, well done.

The 7/8 here again gives a sense of urgency, which I very much like. This is probably your most expressive piece yet. Excluding, of course, Bubbletoad - in which we could all feel your pain. If Shakespeare was a composer, he would have written Bubbletoad.

I digress...

The use of 11/8 in bar 27 to sneak those four extra notes in, works so well.
Many bands remove all the instruments except for one guitar from a song, for four/eight bars, to get the effect you have in 4 mere notes. Feel proud.

The 7/8 from bar 28 onwards I would hate in any other context, but here it works, if a little jerky for my tastes. But seeing as how it follows on from the last section, it does work.

34/35... oh yeahhh... that's some tasty metal. That's a seamless flow! That's not a transition, no... that is musical ideas coexisting, merging, and then parting ways, into... a nice 'n' solid groove. Bringing in that ride SCREAMS Pantera...
...not such a fan of the way you repeat the version of the groove riff that pops up in bar 40.

At least vary it? Personally I'd play bars 38/39 once more, before repeating that variation.

Bar 44 is mint though.

45 is not so much a jerk as a !slam! and 46 counters it well, making some sense of all this, and setting up for bar 47, which in turn makes way for bar 48 (which uses a similar idea to bar 27.)

Is bar 48's bass in key?

This next section is just... odd, but I do like it. It's a flow of music, rather than riffs.
And somewhat the calm before the storm.

The bar 57 and onwards section is a superb use of timings, and goes well into bar 65, which in turns blends beautifully into bar 66/main riff 2, a nice varition on the earlier riff.
I loved bar 70, I shall make it my child - it didn't seem to jarr the timing at all. Superb.

Bar 75, I thought... THIS bar again? THEN it went somewhere new, so I forgave it, and grew to like it again. Simple open hi-hat drums, lead well into next section.

The tech bit is nice, if somewhat generic... but the marker leads me to believe this was intentional. Rather nicely done though, if not amazing. But it works as a break from the madness. I'd lose bar 80 though. It makes things drag.
Bar 81... ha... again, generic... but I guess every band has to have at least one of those bars in their career. You've used yours up =P
Second time round, missing out that first 8th note (82) has much more impact.

87 - 89 ... that's what I was talking about! Not so long winded now.
Bar 92... ha ha ha... okay yeah - that section was a genericore moment, but the second half of it wasn't actually that bad. Overdone doesn't always mean no good.
I wouldn't say take it out of the song, at all, it does go well.

I like the return to the main riff 1.

Bar 100 spoke to me... of impending evil... bar 101 delivered, then dropped me.
I was taken by surprise at what happened next, so you really caught my attention there.

I like this slowpaced section here... and the return to that riff.

Bars 111 - 112... hmm, cool take on previous fill/bridge... but bar 112 should be a 9/8 bar, the leap to the next riff is waaay too sudden.

I do love main riff 2.

Clean section came in nice and abruptly.
I was expecting drums to kick in at 126, but the different chord in 129 made up for that, and made me realise why the drums come back in later.

The bass solo is not really a solo, more of just a really really nice bassline. And it is nice.
I shall learn it later, for fun.
All the instruments in this section are perfect, by the way, and bar 138 was really well done.
First tab I have ever seen to do that. Prepare to be plagarised.

Bar 140 = bassy sense of foreboding...
...141, you and your tritone chords... pah! I likey velly much.
The stop in 144 is cool, coulda used a drum to accentuate it a bit though, maybe?
Cool ride cymbals next.
Bar 149 has a nice fill, and 150 introduces a real snazzy lead part. Simple, but I really like it.
I like the introduction of tritones in 154.

The next section leads VERY well into bar 163...
...which is immense, and just what I was waiting for!!!
DUGGA DUN!

First fret bends are a ****.

It's 04:55 - I gotta get ready for work.

I O U half a crit!


Rob
Hey One Half

bloodshed344
11-13-2008, 08:21 AM
LO - triumphantly I return. See I was gonna tidy my room, but then stuff came up...
(I say stuff, I wrote a song... hey, maybe you could crit it when I upload? =P)

Anyway, the first part of this song is still immensely heavy, and that is one insane groove.

Bar 49... different stuff? You bring in some serious heavy at 53 man. So far I like these changes!!!

Main riff 2 comes in beautifully, as always...
...the tech section is here earlier than last time? Damn I love that section, it really does give the listener some space to breathe, and it comes in at a great time in this update.

Main riff 1 - YAY
Bar 100, YAYAY!

This next part, I've heard already, right?

Bar 111 - 112 is superimmense. And I LOVE MAIN RIFF 2!!!

Clean section... heard it...

..."heard this, heard that, not heard..." I feel like a kid looking at Pokemon cards...

Got.
Got.
Got.
Had.
Swapped.
Got.
OOH I NEED THAT ONE!!!

Back the crit...
...heavy again!!! You know my thoughts on this.

Tritones... I WUV tritones!

Bar 162... that drum fill is new, right?

Ah man, bar 163... it's a beatdown, but it's hheeaavvyy sshhiitt!!
I love the way you got the last note alternating from a g# to a d. And of course powerchords are heavy sshhiitt also.

171 - 173 lead up to that next riff perfectly. And the next riff is truly a goodun, jolly well done!

Track 2 in bar 179 leads to 180 very well indeed. New riff again?

YAY BASS SLIDE INTO RECOGNISABLE RIFF!!!!!!!!!!!!!!!!!

I felt a bit more variation coulda been used in the tension/outro section... but everything from bar 205 was brilliant.

That last bar? Yuck. I hated it, and I have a feeling I was supposed to...

I O U no crit,

Rob
Blue half

Ripping Corpse
11-13-2008, 12:50 PM
bit random and dissonant for me in places but still good and unpredictable. loved the bass and the guitar interplay. 8.5/10 :D

crit mine? http://www.ultimate-guitar.com/forum/showthread.php?p=17080204#post17080204

bloodshed344
11-13-2008, 03:16 PM
You seem like a cool guy but that's not a crit.

Also, a Necrophagist fan calling ME random and dissonant.