.

[SYNTHESIA]

 

Edited June 10, 2016 by SYNTHESIA

[Tony D.]

Starts out good, but doesn't go anywhere. It's too repetitious for a 6 minute song!

[Matt5]

nice track but good point Tony!! 

[Tony D.]

nice track but good point Tony!! 

Thanks, Matt5........maybe if it had words, it would be more interesting.

[Vicefan7777]

Ok here is my opinion.  First I did enjoy the overall beat.  However this is not Miami Vice music.  I see two different songs here.  The first half sounds like it should be in a John Carpenter horror film.  The second half could be used in a Rocky film, specifically a training sequence.  Just my two cents worth.  

[Jerry B.]

I don't want to sound rude (I know sometimes I do) but I think that the truth has to be told.

And the truth is that this kind of music - call it new-retro, or 80s-synth-revival or whatever you want - just grabs the shallower, easiest, exterior part of the music it's supposed to imitate.

Throwing in a couple of "analog" sounds over a repeated single-note sequence does not make a song. I know that's not even the goal, and that's where the problem lies.

As far as I can see, the goal of this music is to tickle the ears with something different from what you hear on the radio. The longer the repetition, the longer the pleasure. Call it "eargasm" if you want, that's the goal of most of today's music. Once it's finished you can listen to it a couple of more times, then you become used to and need to move to another tickling sound.

Just compare this to any song written more than 25 years ago, Jan tracks included. I mean songs that you all keep listening after 5, 10, 20 ,30 years. You got the picture.

Did anybody listen to the above track more than one time?

Though I'm in the music business since over 30 years, I discovered this genre recently here on this board, and I found out how the 80s music is still popular among the younger generations but - at the same time - how much this revival wave doesn't capture its essence at all.

What Jan Hammer did with MV was revolution, not imitation, but most of all it was MUSIC, not "sound".

I've been a great fan of him back in the days, and tried to capture the essence of its writing. I carefully studied his scores and - remember, we didn't have the Internet nor downloadable instruments to have any kind of sound at your fingertips. All I had was a VCR, so no easy task. By studying and analyzing his work you realize that beyond the easy appeal of his cues there's a big talent and musicianship. Nothing you can retrieve in this revival scene.

In the end, I have nothing against the retro wave, but please - don't call that Eighties, nor Miami Vice.

JB

(If someone is interested, I can publish some deeper observations about the work Jan Hammer did for Miami Vice, from a musician's perspective)
 

Edited May 30, 2015 by Jerry Beck

[Touch of Class]

I'm sorry to jump on the bandwagon, but this track does, to an extent, illustrate a problem that I often encounter in the synthwave genre -- that the mixes become very crowded and loud. Such tracks mostly offer some good fun (see Retro Promenade's Coastal Keys, although many songs there exhibit the same problem), but they seem to me mostly a parody of a kind of action/sports-style soundtrack.

 

I think it's problematic to say that that the '80s had an essential sound, however it seems that most synthpop from that era that survived to be popular today, is relatively refined and its elements kept in balance and counterpoint -- analog, digital and sampled waveforms quickly become tiring otherwise.

 

And yes, Jerry, I think many would be interested in your perspective on Jan Hammer.

[James]

Needs more cowbell.

 

 

 

 

 

 

In all seriousness - I'm a big Synthwave fan, but I agree with what's being said in this thread. It's repetitive, I got bored of it after about a minute. It's not a bad song, I just think you could add on to it, build it up to something, add a synth guitar solo or something interesting. You have to keep the listener engaged.  

It ain't exactly Mitch Murder, Powerglove, Miami Nights 1984 level. but still a million times better than anything I attempted to make though.

What programs and VST's are you using? If you don't mind me asking, and if you ever return to this forum and aren't just a one-post-wonder advertising his music. (Probably will never return)

[Tony D.]

I don't want to sound rude (I know sometimes I do) but I think that the truth has to be told.

And the truth is that this kind of music - call it new-retro, or 80s-synth-revival or whatever you want - just grabs the shallower, easiest, exterior part of the music it's supposed to imitate.

Throwing in a couple of "analog" sounds over a repeated single-note sequence does not make a song. I know that's not even the goal, and that's where the problem lies.

As far as I can see, the goal of this music is to tickle the ears with something different from what you hear on the radio. The longer the repetition, the longer the pleasure. Call it "eargasm" if you want, that's the goal of most of today's music. Once it's finished you can listen to it a couple of more times, then you become used to and need to move to another tickling sound.

Just compare this to any song written more than 25 years ago, Jan tracks included. I mean songs that you all keep listening after 5, 10, 20 ,30 years. You got the picture.

Did anybody listen to the above track more than one time?

Though I'm in the music business since over 30 years, I discovered this genre recently here on this board, and I found out how the 80s music is still popular among the younger generations but - at the same time - how much this revival wave doesn't capture its essence at all.

What Jan Hammer did with MV was revolution, not imitation, but most of all it was MUSIC, not "sound".

I've been a great fan of him back in the days, and tried to capture the essence of its writing. I carefully studied his scores and - remember, we didn't have the Internet nor downloadable instruments to have any kind of sound at your fingertips. All I had was a VCR, so no easy task. By studying and analyzing his work you realize that beyond the easy appeal of his cues there's a big talent and musicianship. Nothing you can retrieve in this revival scene.

In the end, I have nothing against the retro wave, but please - don't call that Eighties, nor Miami Vice.

JB

(If someone is interested, I can publish some deeper observations about the work Jan Hammer did for Miami Vice, from a musician's perspective)

 

 Wow Jerry, I didn't know you were a musician ! 

 

You said everything I wanted to say but didn't know how,  & didn't want to offend. But you are right.....I was able to last one minute, then I just skimmed through the rest & didn't see any real change.

 

I loved your "eargasm" description.   

Songs like "Crockett's Theme" were somewhat repetitive....but it was played sparingly, to let you know this was his scene. It was done tastefully.

 

I really enjoyed your post, Jerry! 

[Matt5]

Informative post Tony!!

[Jerry B.]

Thanks Tony D., glad you liked it ;-)

 

Yes, "eargasm" is what most of the present music is about. Sound has become the subsitute for music. It's a complex, controversial matter and that's not the place where to start such a topic. We're here to talk about Miami Vice, I'm always aware of that.

 

As far as Crockett's Theme, yes is a simple track, with a simple, almost obvious, pentatonic melody (It's not a coincidence it's the most covered Hammer track). But it incredibly works (I mean the original), and that's because of many factors, including that everytime each section is repeated, it's never done the same way. Sometimes is a major change, other times is more subtle, one time is layering and building up, another is subtracting and lightening. In any case - be you aware of how or not - it keeps you engaged. That's one of the tools used in music production, but actually there's more. Jan cues should be evaluated keeping in mind they were intended as a bg for the scenes, so not real "songs" but part of a soundtrack. Not to mention he had to watch the episode, create, play, mixdown and send the music in the round of 4 days. Of course there are tricks used in the business, but is a hard task anyway. That said, is amazing to see how many of  those tracks not only gained a life on their own, but are fully enjoyed after 30 years.

 

What? Enjoyed by a bunch of weird maniacs? Yeah, I know, but that's another story.

Edited June 1, 2015 by Jerry Beck

[bluepearl]

Well - I haven't any deeper knowledge about music.
I 'use' music with my ears - my rating comes by my belly - I am not able to play any instrument.

I started to listen to this song, shortly after hitting start button my glance wandered over to the name of the composer (performer):

SYNTHESIA

 

Honestly I got a giggle because that was the token to what I felt : snythetic.

 

There are only less songs to me in general who still have soul (not meant as genre here) and release emotions.

I did end listen to with min. 0:43.

I am sorry and I feel not well I have to say...

It is not music which touches me.

 

[damrod]

Doesnt seem to have that beat like JH does.

[Detective_Crockett]

I'm sorry, I don't want to sound like a total ass but it carries on far too long for 6 minutes and it has a repetitive beat, nothing too exciting..but nice try, you tried to make an effort, but nothing can compare to Jan Hammer's scores.

 

As I say, nice attempt, but I did stop listening around the 50 seconds mark.

[Jerry B.]

I'm sorry, I don't want to sound like a total ass but it carries on far too long for 6 minutes and it has a repetitive beat, nothing too exciting..but nice try, you tried to make an effort, but nothing can compare to Jan Hammer's scores.

 

As I say, nice attempt, but I did stop listening around the 50 seconds mark.

 

Yes guys, that's what happens with most of today's music. Repetition and alienation seems to be the main goal. Don't call me rude if I also say that Jan Hammer is a Musician first.

His music experience has been a journey thru all the possible musical expressions. Ha played with giants such as John McLaughlin or Billy Cobham, has been recording and touring with guitar aces like Jeff Beck, Al di Meola, Neal Schon or David Gilmour and, in the 80s he redefined the TV movie soundtrack. He did something NEW. Not a bland copy of something others did 30 years ago

 

People who makes that kind of "music" are teenagers with no musical training who play around with samples and sounds. That's why you get bored after the first listening if not earlier.

 

Ask yourself how many times you heard Crockett's Theme (or any cue of your chioce ;-) after 30+ years. And you keep on doing that. WHY?

 

Because that music has been done by a musician, a talented guy with an incredible musicianship, who studied at Berklee school in Boston and refined his music mind managing jazz, rock, fusion, latin music, pushing the technology of his time to the limit and much more.

 

That's it.

[James]

Crockett's Theme builds up to something, gradually adds more sounds, then an epic synth-guitar, it keeps the listener interested.

Are we mean? He makes this song, probably worked hard on it, is proud of his work, makes an account here to help get his name out there, and we basically said his song is shit. xD

[Detective_Crockett]

Crockett's Theme builds up to something, gradually adds more sounds, then an epic synth-guitar, it keeps the listener interested.

Are we mean? He makes this song, probably worked hard on it, is proud of his work, makes an account here to help get his name out there, and we basically said his song is shit. xD

We can't help our own opinions, but like most musical artists this guy should take our words as constructive criticism and move on and make something more Vice sounding.

 

Where would most musicians be today if they didn't have any criticism at all?