A comprehensive analysis of JJ Lin's album and his dialogue ***3***?

Comments on the album "soliloquy";

Overture: Welcome to the scene.

Someone's monologue.

Comments on the alb

A comprehensive analysis of JJ Lin's album and his dialogue ***3***?

Comments on the album "soliloquy";

Overture: Welcome to the scene.

Someone's monologue.

Comments on the album "soliloquy";

Too bad

1. I think it's a pity that this song and the following two livehouses "have you heard it?" Why? Because the live Live House performance goes through the microphone, the mixer, the speakers of the left and right channels, and then to the dummy's head. Therefore, the heads of these two live house dummies were not recorded by musical instruments and JJ Lin's direct sound, but by the traditional mixing method, the sound of musical instruments and human voices were released through the left and right speakers. It is equivalent to recording a pair of speakers with a fake head lol. . Of course, the gap between live sound reinforcement and studio mixing is not small, as well as the 3D reflected sound of the environment. The reverberation characteristics of most livehouses are carefully adjusted. However, there is no doubt that the loudest work is a dual-channel 2D. Therefore, after listening to it, I feel that there are not many so-called 3D sounds in these two livehouses. Except for reverberation and the last applause, the rest are basically 2D. * * * Officially, dummy heads are placed in the audience. ***

Unfortunately, this step of tuning is inevitable, unless you use the track recording method of "singing for no one". Otherwise, you have to take one and put the dummy's head in the middle of the untreated drum set, guitar and synthesizer, and the sounds will all stick together: because it is pop music. If you have friends who play or sing in a band, you may have heard of super loud drum sets, sometimes strong and sometimes weak and very unstable vocals, and inaudible acoustic guitars. Even if such things need to be recorded together at the same time, it is necessary to set up multiple microphones for different instruments when recording, which is convenient for later mixing. If it's just a head. . It's impossible to just put a dummy in the middle. . .

Some people ask why classical music and symphony can be listened to live without a mixer, and there is no need to put dozens of microphones when recording, and they will not be pasted together. It's simple: classical musical instruments. You can arrange instruments around a point and control the volume only by distance. But pop music can't. Guitar is not used much in classical music because the sound is very low. It was not until the invention of electricity that people could invent a microphone to control the volume that the status of guitar came up. In other words, JJ Lin's idea is very good, but if Live House has a holiday, it is almost certain to record a pair of speakers. Personally, I think it's wasteful.

If anyone knows that the recording scene is not dual channel, please hit me in the face.

2.0: 19 guitar noise. It's nothing. Just random observation. I think the noise here is actually a bit loud, which affects appreciation and bad reviews. But live house, though not perfect, is more live. . .

Although I am not a professional lyricist, I think the lyrics of this song are good. . Ah, ah, ah, so JJ Lin wrote it himself. . When did he become so literary? Ah ah ah ah ah ah.

4. 1:00, the melody of Waiting for Fate returned to 0:40 "It backfired", and then the melody and rhythm of Who's Around and the title song were repeated. It's a pity that a good motivation here didn't develop further, and the little energy boost brought by the first sentence of the chorus was immediately hit back. However, the development after 1: 17 seconds is not bad.

5. JJ Lin sings very well. JJ Lin can hear many obscure "out of tune" * * * in JJ Lin while keeping the pitch, and he can't find a better word * * *. The mixer can't fix the pitch because of one shot. On the contrary, it is a good thing to make the voice more moving.

JJ Lin has done a lot of work to deal with the rhythm in many places of this song. For example, the rhythm of the second chorus "Too Bad" is slightly delayed, which makes the song rich and varied and more appealing. The cry in the last chorus is also very inflammatory, QAQ.

6. Personally, I prefer the last chorus "Two Hearts Can't Be Together". Here is a variation, which turns this melody into a rising scale and enhances the appeal. Then the following sentence and a half are also the melody of the ascending scale. It is worth noting that "You are getting farther and farther away" has a four-degree progression, which breaks the melody of the first three approximate scales and is strongly different from the melody of the previous chorus, emphasizing "getting farther and farther away". At the same time, "far" is also the highest note of the song, which enhances the effect of * * * and is very cleverly designed.

Comments on the album "soliloquy" x;

Do you, do you have a -livehouse version?

1. I don't believe it even if I see the copy saying that this song uses Motown style. Because Motown is a brand, not a musical style, it has a great influence on many styles. Besides, if you listen to it, you will know that none of Motown's most famous songs have done this style. * * * A song can't represent Motown, but I recommend that you love me * * * Since I can dance * * * ... because I have to laugh every time I listen. . It is highly recommended to watch MV. . * * * Besides, every time JJ Lin tried to play style, he failed several times. Funk in Wave Zone and Jazz in The Last straw are both tragic proofs. * * * * Cinderella is good. * * * Not that it's ugly, but it's not that style. There are strange things in it, which are ambiguous. China's pop music has no style. Learning from other people's styles is superficial, and you can't learn history and deep things. Pop singers, except Wang Liji and Tao Zhe, hardly hear anything pure in style, and then desperately add "this artist's style, that style" when writing a copy, which is actually not, and it has no meaning to the development of this style.

But this is the advantage and limitation of Wang Leehom's view: no matter how many Chinese musical instruments and Kunqu opera are added to the melody, the essence of arrangement is still western style and extremely pure. You can't say that he is superficial, because China's music has some essences-even sometimes essences-that others haven't captured. Whether this is a good thing or a bad thing is a matter of opinion.

However, I digress. . Because I think the orchestration of this song is more stable. Style, should be China pop lyric rock +Funk. Forgive my ignorance, but if this integration has a specific name, please tell me. There is a funk guitar riff on the left of the prelude and chorus. But the rhythm of bottom drums and cymbals is closer to pop rock, and there are many wow electric guitars. Anyway, I don't believe it is the so-called "Motown".

Once upon a time, chorus to chorus * * * "harmonic progression worthy of * * * is the progress of III-I, and I personally don't like this. The functionality is very weak, which sounds particularly strange. Because the major triad in the third level in major is a strong dominant chord related to minor, and because it contains a strong leading sound such as V***vii***, it is necessary to solve VI ***i***. But such a chord with super obvious characteristics in minor turns to the main chord in major, and in this song, it is also inclined to the funk guitar part below. Although pop music actually ignores these harmony traditions to a great extent; Moreover, the chorus in Eason Chan's Ten Years is also like this; But I really feel bad about this progress: after all, there is still a guide you haven't solved! ! I don't care whether I like the part where I shed tears in Eason Chan's Ten Years. I think those two sentences don't sound strange at all.

2. Like Too Bad, I think the fake head is a bit wasteful in the recording of live house. In particular, this song is compared with the studio version with the same arrangement, and the latter is more "3D", which is a pity.

Comments on the album soliloquy;

Overture: 12 years ago

Six minutes and seven seconds. The Singlish in this song attracted lol's attention. . . In fact, neither of them has that strong Singaporean accent. . Not bad. . At the end of this overture, JJ Lin's friends sang while playing.

Analysis of soliloquy album 12;

She and I are now

After two livehouses, the 3D effect of this song is a little, but I don't think it is obvious enough: both of them are in the back seat of the private car, and there is no chance to spread their positions. I'm sorry.

Comments on the album soliloquy XIII;

Overture: the beginning of the seaside, waves, waves

Comments on the album soliloquy14;

Liar and Accuser

1. I really enjoy all kinds of sounds in the forest of this song.

This song has a very interesting place: we see too many big tunes in popular songs, and there are many similar examples in this album * * *. Many times I think JJ Lin is simply abusing IV-V-iii-vi ***. But some parts of this song can be said to be major and minor. When entering the chorus "They don't know me", the first chord borrows the main chord of the relative major as a color change. Because it is rarely heard, it may be a bit strange.

The melody rhythm of this song is monotonous, and the chorus of the main song has not changed, but it is still relatively rigid. Because this song is played and sung with guitar arpeggios, it slightly strengthens this monotonous and rigid feeling, which I don't like very much.

* * * Some people ask, such as Beyonce-if I am a boy or a melody repeats to the end, the chorus is only eight octaves high. Why not be rigid? Because people have changed their arrangement, lol. . If Lier and the plaintiff chorus with strings, or add a backup voice, or have similar changes in timbre, texture and rhythm, it will be very beautiful. . Imagine how beautiful this song would be if there was a string quartet in the forest. . JJ Lin isn't really broke, is it? 233333 ***

Comment on the album "soliloquy" XV;

separate

1. This is the most successful recording of this album. Before I heard this song, I had a feeling that songs with good 3D effect were all sung while playing, while songs with rich arrangement were all with poor 3D effect. It was not until I listened to this song that I felt that JJ Lin's experiment had a good result: this is the richest, most layered, most reasonable, balanced and moving music in this album except Live House and the last "fake 3D" of Dreams Not Difficult. For example, after playing so many guitars, bass appeared in the place of "spring, summer, autumn and winter" at 0: 50! ! I don't know how happy I am, lol.

The instruments in this song are not only in front of the head, but around the dummy head. There are many timbres behind your head. This position was rarely used in previous songs. Besides, the prosthetic head didn't move. There are many guitars in the arrangement, and there are two sweeping strings on the left and right. Every guitar has a different range and rhythm! And the spatial positioning of each one is very clear, clear to goose bumps.

JJ Lin's voice is in the middle! Very clear and balanced, no discomfort when moving. Then, at 1:53 seconds, after an episode, JJ Lin's voice ran very close to the right, and I got goose bumps again! In a way to make the best use of the advantages of false head recording, we can regain the attention of the audience and avoid the fatigue of listening to the same song for the second time.

In addition, at this time * *1:53 seconds later * * *, there are no other instruments on the right side of sound stage, the guitar is on the left side and the voice is on the right side, so it is very balanced.

Remember the beginning of the music? The right side of the sound field is also empty. Originally, it was to pave the way for the sound that entered two minutes later! !

Then the voice began to move to the middle of the "answer" side. After 2: 10 seconds, the chorus returned to the middle and regained the sense of balance of the voice. At this time, the guitar on the right began to ring again! !

At 2: 55, the sound moves to the left. While grasping my attention, I also said to obsessive-compulsive disorder: I have been to both sides. Finally * * * returned to the middle. You can hear that the voice movement of this song is very thoughtful! Unlike "playing and singing": "I can run wherever I want".

1:22 seconds clapping is also interesting! It should be the backup singer clapping his hands. Here is also the advantage of accurate positioning of head recording: clapping while singing is too intuitive and interesting.

In addition, there is a background male voice on the left side of the opening and middle paragraphs. It's too far. It feels like singing lol while covering your mouth. I think this distance has also been roughly calculated.

Then go through it all! !

This whole arrangement is many times higher than those live house songs. .

Actually, you can't say that. . Because the mixer obviously put a lot of effort into the Live House scene, when you think about it, some choreography techniques of "solo dance" are actually very common. But once again, I think that recording is a waste of false heads, and it doesn't play the potential of recording at all, but Solo has played it out.

2. The melody and arrangement of this song are also very clever! Very leisurely melody, strengthening smooth recording over and over again.

Comments on the album soliloquy16;

Overture: the end of the sea

This overture, written in the copy, was recorded in "The Sea", which sounds like being in the waves, but the title of the film is "The Sea", which I don't quite understand.