#1
*Updated, slight changes, first of many playability fixes*
(The description is a joke. Sort of.)


Apophenia; Apophenia is the spontaneous perception of connections and meaningfulness of unrelated phenomena
Prodromal; In medicine, a prodrome is an early symptom (or set of symptoms) that might indicate the start of a disease before specific symptoms occur.

Prodromal apophenia is often used as a marker to determine onset/presence of bipolar/schizophrenic/schizoaffective disorders.


This one is influenced by a little foray I had reminiscing on the roots of modern Djent music, put together with many of my own personal influences. It wasn't really intentional as much as listening to a bunch of Sikth put me into a mindset for experimenting with this type of riffing and trying to put a different type of twist on a very rhythmic metal approach, using the roots of the genre and taking it in another direction instead of trying to elaborate on the natural evolution of modern djent.

It also tries to revisit several different theme, hooks and motifs in the song and morph them into another idea, turn them into another section, or use them to convey a different emotion, hence the title.

I hope you like it, and as always I'm open to all critique.

Do not use RSE *!*!*!$L@*##!>*# Importing into TuxGuitar will also ruin the instrument changes throughout the song.
Attachments:
Prodromal Apophenia.gp5
Last edited by JazzDeath at Dec 20, 2016,
#2
Sounds good. Agree about RSE and Tux lol. Fools don't understand GP5 default soundbank is the greatest of all. Also did u study jazz and if so where?
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#3
Haha, I'm not bashing TuxGuitar or people who use RSE, it's just that my songs weren't adjusted volume wise or track wise for them; TuxGuitar doesn't do the instrument changes, and since I do those all in the mix table it will ruin the song when there are let rings on sections that were supposed to switch from distorted to clean guitars (It sounds really gross). RSE has completely different tones and volumes also, when I messed around with it for a bit some of my instruments were way higher/lower volume wise to compensate.

Other than some random music courses I took in elementary/high school I never studied music at all.


I updated this song with some playability fixes, especially on chords that were meant to be split between both guitars, should look slightly less insane to play :P.
#4
I think this is my favorite song of yours, it flows really well, the rhythm and note choice is always surprising and interesting without going too overboard. Even though it's just midi the music already feels alive.

Do you know when guitar pro completely lags out and it just starts playing random noise? I always love it when that happens in the middle of your songs cause more often than not, it actually sounds quite awesome and fits right in.
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#5
I'm glad you like it Thorbor. It's always weird to try something new, it makes it a bit more difficult to gage how people will react to it, so it's nice to hear someone appreciates it at least.

I tend to put a lot more time recently into working accentuations, phrasings, vibratos and dynamics into my writing, so maybe that's part of what makes it feel more alive and less stale.

Do you have anything I could check out of yours?
#6
This sounds good. I don't get into this genre much anymore but it's got a lot of melody. Some of those string skipping parts look brutal to play. Bar 24 and Bar 165, I expected to not like these sections from looking at the tab but when it played it sounded really good. Not the brootdjent I imagined from my glimpse.
#8
Overall, I really enjoy the concept of morphing motifs throughout a piece. Gotta be honest though, this piece threw me for several loops. I've listened through this one probably about 8 times, and each time I have the same feelings about the same parts. Bars 1-24 are incredibly dense and intense--there's a lot to take in. If I'm being honest, I'm still not sure that I'm feeling this particular section. Even after multiple listens, for me, the section starts to come together at bars 21-25. I guess that was the eureka moment for me, so to speak. Bars 26-52 are easier to follow, as it's more about the rhythm and less about the harmony and implied melodies contained within it. Bar 54-77--goddammit. Your clean sections are always incredible. Love the brooding, contemplative mood. I also like distorted guitar fade-in/clean fade-out at bar 77 (I think I've stolen that idea from you at least once--it's a really cool effect lol). Bars 78-110--I was waiting for a section like this. You always manage to come through with some awesome grooves and this section did not disappoint. Bars 112-126 is where everything seems to come to a head. A lot of the elements previously presented are morphed just a little bit, but they end up meshing surprisingly well. Bar 127-142 is another noticeable shift of the themes that worked well. I'm not particularly fond of the transition at 143. Bars 144-163 are easy to follow because they're slightly changed incarnations of the riff in Section 1. The bass solo is pretty cool. And you already know how I feel from bar 165 to the end.

If you could, I'd appreciate it if you could take a look at my last revision of Eclipsed.
#9
i fucking love the first 20 bars. complex kinda jazzy harmonies that mesh really well. bar 11 has sick chromaticism.

riff at bar 78 is just... so damn good. looks kind of difficult to play, even if the fingering was optimized, but i don't think it's impossible. the chordal stuff is probably a lot tougher.

the repeated triplet motif at 119 is really good and i love the way it transitions into the next riff. my god. the triplet bends are awesome too.

OH MY FUCK THAT TRANSITION AT 143. I'm starting to appreciate how good you really are at this stuff hahah. It's technically impressive but still really cohesive as a whole. You definitely have developed your own signature style, although I wonder if on an album i'd get bored halfway through because of how... similar a lot of your stuff sounds? idk. all of it separately is solid, but i don't know if i'd be able to sit through it like i can with let's say... martyr's feeding the abscess :P: you had that as your avatar for a bit didn't you?

my favorite part of this has to be 111-142. it's just perfect, rhythmically and melodically. and the boldness of that 11/8 transition... str8 savage
Last edited by RedDeath9 at Feb 4, 2017,