"Conversation with Myself" album full review 8:

"Overture: Wele to the Live House"

Someone's monologue .

"Conversation with Myself" album full review nine:

"Too Bad"

1. This song and the following "You I feel that the two live house songs of "Have You Ever" did not take advantage of the head recording, which is a pity. Why? Because the live Live House performance has to go through the microphone, the mixing console, and then through the left and right channel speakers, and then to the dummy head. Therefore, the two live house dummies recorded are not the instruments and JJ Lin’s direct voice, but the sounds of the instruments and vocals that have been mixed by traditional mixing methods and played out by the left and right speakers before reaching the human ear. It's equivalent to using a dummy head to record a pair of speakers lol. . Of course, the gap between live amplification and studio mixing is not small, there is also the 3D reflection sound of the environment, and the reverberation characteristics of most live houses have been carefully adjusted; however, the loudest part is a double sound There is no doubt about Tao's 2D. Therefore, after listening to it, I feel that there is not much so-called 3D sound in these two live house songs. Except for the reverb and the final applause, the rest is basically 2D. ***The official introduction is that the dummy head is placed in the audience. ***

Unfortunately, this step of tuning is inevitable unless you adopt the split-track recording method of "Songs Not Written for Whom". Otherwise, if you want to take one take and put the dummy head among unprocessed drums, guitars, and synthesizers, the sounds will all be mixed together: because it is pop music. If you have experience playing or singing in a band, you may have heard of super loud drums, very unstable vocals that alternately become strong and weak, and an inaudible acoustic guitar. Even if such things need to be recorded together at the same time, multiple microphones need to be placed for different instruments during recording to facilitate separate track mixing later. If it were just a human head. . There's no way to just put a dummy head in the middle. . .

Some people ask why classical music and symphony can be listened to live without going through the mixer, and there is no need to put dozens of microphones when recording, and it will not be mixed together? It is very simple: classical instruments You can arrange instruments around a point and control the volume of the sound simply by distance. But not pop. The guitar is not often used in classical music because it has a small sound. It was not until the invention of electricity that people could invent a microphone to control the volume that the status of the guitar rose. What I have said so much is that JJ Lin’s idea is very good, but if a fake head is placed in the Live House, it will almost certainly have to be recorded with a pair of speakers. I personally feel it's a waste.

If anyone knows that the recording scene is not two-channel, you are welcome to slap me in the face.

2. There is guitar noise at 0:19. Nothing, this is just a random observation. I think the noise here is actually a bit of a problem, and it greatly affects appreciation, so I give it a bad review. But live house is not perfect, but it feels more live. . .

3. Although I am not a professional lyricist, I feel that the lyrics of this song are good. . Ahhh, it turns out that it was written by JJ Lin himself. . When did he become so talented?

4. The melody of "Waiting for Fate" that started at 1:00 returned to "It Backfires" at 0:40, and after that, "Who has been "Beside you" also has the same melody and rhythm as the main song. It feels like a good motivation here has not been developed further. The slight energy boost brought by the first line of the chorus is immediately knocked back, which is a pity. But the development after 1:17 seconds is not bad.

5. JJ Lin’s singing is quite remarkable. While JJ Lin maintained his pitch, you can hear JJ Lin's inconspicuous "out of tune" in many places. ***It's not out of tune, for lack of a better word***. Because of the one take, the mixer can't correct the pitch, which is actually a good thing, making the sound more impressive.

JJ Lin also did a lot of processing on the rhythm in many parts of this song. For example, the rhythm of the second chorus 'it's too bad' is a little draggy, which makes the song full of variety and more infectious. . The crying tone in the last chorus is also very provocative QAQ

6. I personally like the last chorus "Two hearts can't be together". There is a variation here, which turns the melody into an ascending scale and enhances it. It’s infectious, and the next sentence and a half is also a melody with an ascending scale. It is worth noting that "You go further and further", a fourth progression appears, breaking the approximate scale melody of the first three sentences, and is also strongly distinguished from the melody of the previous chorus, emphasizing the "further and further" . At the same time, "far" is also the highest pitch of the song, which enhances the *** effect and is very cleverly designed.

"Conversation with Myself" Album Full Review 10:

"Have You Ever - Livehouse Version"

1. I saw the copywriting about this song It's Motown style, I wouldn't believe it even to death. Because Motown is a label, not a music style, it has a great influence on many styles. And if you listen to it, you will know that none of Motown's most famous songs have done this style. ***One song cannot represent Motown, but I recommend Do You Love Me ***Now That I Can Dance***.. because I laugh every time I listen to it. . Highly recommended to watch the MV. . ***Besides, every time JJ Lin wanted to play with his style, he never succeeded. The funk of "Between Waves" and the jazz of "Uncontrollable" are both miserable proofs. ***"Cinderella" is pretty good. ***It’s not that it sounds bad, but it’s just not that style. It’s a mixture of very strange things and is ambiguous. There is no style in Chinese pop music. If you learn other people’s styles, you only learn superficially and cannot learn the history and deep things. Except for Wang Liju and Tao Zhe, I have almost never heard anything with a pure style among pop singers. Then when writing the copy, they insist on saying "this artist has this style and that style". In fact, it is not the case. I don't have any idea about the development of this style. It makes no sense.

However, the advantages and limitations of Wang Li's masterpiece lie in this: no matter how many Chinese instruments are added and how many Kunqu operas are added to the melody, the essence of the arrangement and orchestration is still Western style, and it is extremely pure. . You can't say that it's just superficial, because there is indeed some essence - sometimes even the essence - of Chinese music that no one else has captured. Whether this is a good thing or a bad thing is a matter of opinion.

However, I digressed. . Because I think the orchestration of this song is relatively stable. In terms of style, it should be Chinese pop lyrical rock + Funk. Forgive me for my limited knowledge. If this Fusion has a specific name, please let me know. There is a funk acoustic guitar riff on the left side of the intro and chorus. But the kick drum and cymbal rhythms are closer to pop rock, and there's a lot of wah-wah electric guitar. Anyway, if you don’t believe it, it’s called “Motown”.

The most "worthy" harmony progression from Pre-chorus to chorus is the progression of III - I. I personally don't like this implementation very much. It's very weak in functionality and sounds very strange. Because the major triad on the III level of the major key is a dominant chord that is very closely related to the minor key, because it contains such a strong leading tone as sharp V***vii***, it is to be resolved to VI ***i *** level, but for such a chord with obvious minor key characteristics, you switch to the main chord of the major key. In this song, it also creates an oblique opposition to the funk guitar part below. Although popular music does not actually care about these harmonious traditions to a large extent; and the chorus in Eason Chan's "Ten Years" also has this progression; but I really find this progression difficult to listen to: after all, there is a lead sound You haven't solved it yet!! For those who like the "crying while crying" part of Eason Chan's "Ten Years" and think those two sentences don't sound weird at all, just pretend that I didn't say anything above.

2. Like "Too Bad", I think the dummy head is a bit of a waste in live house recording. Especially this song has a studio version with the same arrangement for comparison. The latter is even more "3D", which is a pity.

Full review of the "Dialogue with Myself" album 11:

"Overture: 12 Years Ago"

6:07 seconds. The Singlish in this song is eye-catching lol. . . In fact, the Singaporean accents of these two people are not that strong. . fine. . At the end of this overture, there is still JJ Lin’s friend playing and singing.

Full review of the album "Dialogue with Myself" 12:

"Her and Me Now"

After two live house songs, this song is 3D The effect was a little bit, but I don’t think it was obvious enough: both of them were in the back seat of a private car, so there was no chance for them to move around. It's a pity.

"Dialogue with Myself" Album Full Review 13:

"Overture: Beginning at the Sea" Waves, Waves

"Dialogue with Myself" Album Full Review 10 Four:

"Lier and Accuser"

1. I really enjoy the various sounds in the forest in this song.

There is a very interesting thing about this song: in popular songs, we have seen too many minor to major keys, and this album has many similar examples*** Many times I feel that JJ Lin It's simply abusing IV-V-iii-vi***. But some parts of the song can be said to be a major-keyed minor key. When entering the chorus "They don't even know me", the first chord borrows the main chord of the relative major key as a color change. Because I rarely hear it, it may feel a little strange.

2. The melody and rhythm of this song are relatively monotonous. The verses and choruses have no changes and are relatively rigid. Because this song is both played and sung, and all of it is guitar arpeggios, it kind of enhances the monotonous and rigid feeling, which I don’t like too much.

***Some people ask, for example, Beyonce - If I Were A Boy still has the same melody repeated to the end, and the chorus is just an octave higher, why not rigid? Because there are arrangement changes lol. . It would be nice if the chorus of Lier and Accuser had strings, or added a backing vocal, or similar changes in timbre, texture, and rhythm. . Imagine how beautiful this song would be paired with a string quartet in the forest. . Will JJ Lin really run out of money later? 233333 ***

"Dialogue with Myself" album full review fifteenth:

"Dancing Solo"

< p>1. I think this is the most successful work of the album. Before I heard this song, I had the feeling that the 3D effects were good only for playing and singing, but the 3D effects for songs with rich arrangements were not good. It wasn't until I listened to this song that I finally felt that JJ Lin's experiment had achieved good results: this is the 3D recording in this album, excluding Live House and the last "fake 3D" of "It's Not Difficult to Dream." Among them, the orchestration is the richest and most layered, and the sound and image distribution is the most reasonable, balanced and moving. For example: after playing so many guitars and singing, a bass appeared in the "Spring, Summer, Autumn, and Winter" position at 0:50 seconds!! I don't know how happy I am lol. .

The instruments in this song are not just in front of the head, but around the dummy head, and there are a lot of sounds behind your head. Previous songs rarely used this position. In addition, the dummy head did not move. There are many guitars in the arrangement, and there are two strumming guitars on the left and right. Each remaining guitar has a different range and rhythm pattern! And the spatial positioning of each guitar is very clear, so clear that it gives me goosebumps. .

JJ Lin’s vocals are in the middle! Very clear and balanced, with no discomfort from moving around. Then, at 1:53 seconds, after an interlude, JJ Lin’s voice ran very close to the right, and I got goosebumps again! In a way that maximized the advantages of the dummy head recording, it captured the audience’s attention again. Focus and avoid the burnout of listening to the same melody a second time.

In addition, at 1:53 seconds later, there are no other instruments on the right side of the sound field. The guitars are on the left and the vocals are on the right, so it is very balanced.

Do you still remember the beginning of the music? The right side of the sound field is also empty. It turns out that it is paving the way for the vocals that will enter two minutes later!!

Then "answer" that The vocals begin to move to the middle at the beginning, and the chorus section returns to the middle after 2:10 seconds, regaining the balance of the vocals. At this time, the guitar on the right began to sound again!!

The vocals moved to the left at 2:55 seconds. While grabbing attention, I also said to obsessive-compulsive disorder: I have been to the left and to the right. Finally *** back to the middle. It can be heard that the movements of the vocals in this song are carefully planned! It is not like "Playing and Singing": "I will run wherever I want."

The clapping sound that starts to become obvious at 1:22 seconds is also very interesting! It should be the backing singers clapping. Here we also take advantage of the accurate positioning of head recordings: the accompaniment of the singers singing and clapping their hands is very graphic and interesting.

In addition, there is a background male voice on the left side of the beginning and middle paragraphs. It's so far apart that it feels like I'm covering my mouth and singing lol. I think this distance has also been roughly calculated.

Then play them all over again!!

This entire arrangement is countless times better than those Live House songs. .

Actually, you can’t say that. . Because the live mixer at Live House has obviously put in a lot of effort, and if you think about it carefully, some of the arrangements used in "Dancing Solo" are actually very common. But again, I think that recording was a waste of dummy heads and didn't realize the potential of the head recordings, and "Dancing Solo" brought it out.

2. The melody and arrangement of this song are also very smart! The very smooth melody enhances the smoothness of the recording ***.

"Conversation with Myself" Album Full Review No. 16:

"Overture: Ending at the Seaside"

This overture, the copywriting says that "in the sea" "It was recorded, and it sounds like you're in the waves, but the title is "Seaside," so I don't quite understand it.