Seen and never Heard - Luk

Made this a few weeks back and wanted to throw this out so i put a "stall" on it. Thanks to Rabid for recording and editing.
Heres My attempt at high synch slow quirk

https://youtu.be/qT_gdzlzOss

this is the kind of syncing that should be the only kind of syncing

Yuppediyup, this is my cup of tea. Thank you for making this

That was legendary. Big shame it's unfinished.

Love, love, love. I love how you avoided attempting to sync to every possible thing, and I think the product is much stronger as a result. Really great job of syncing to the overall impression of the song instead of the details.

Y E S

Space-aware, synced slow manuquirk? This was so well-executed and stands out as something really unique.

I love the direction people are taking quirk right now! You integrated it into the larger boom-bap structure of this track and it just WORKS.

GOOD FREAKIN' JOB, dude. I look forward to your next track.

mmmmmmmmmmmmmmmmmmmmmmmmmmhmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

I can't say I've ever synced this well

I think this is more of a cool experiment than anything else. If a track's sole purpose is to sync to a song, is it still a track? Nevertheless, the execution is quite impressive.

Showing us how slow tracks should be done

Wow, that's sweet! I really like this type of track. The choreography takes the spotlight and the quirk is there to make him move how you want him too. Really enjoyed this.

loved how the manuals changed speed so quickly but smoothly

conun's camera really does good for these bouncy tracks

cool syncing, only complaint is that it isnt finished

Helios Pavonine wrote:If a track's sole purpose is to sync to a song, is it still a track?

wait, is this a serious question?

Thanks for the positive feedback. Totally didnt expext that

rabid squirrel wrote:

Helios Pavonine wrote:If a track's sole purpose is to sync to a song, is it still a track?

wait, is this a serious question?

Yeah. Let's talk about that.

Sure, there are plenty of tracks that sync to a song really well, like Daisies and SSM, but those tracks (Bosh's movement caused by lines / the lines Bosh rides on) have their interesting moments as well. SSM is technically very impressive and looks like a kinetic dance, and Daisies experiments with slow and green manuals and low pressure flatsled. When you would take all that stuff away and create a track that basically only relies on the song, I'm not sure if it can be classified as a track still. There are barely any visual stimuli, and Bosh's movement is very dependent on just gravity. To me, this is a very bland track. Granted, the idea was executed perfectly, and it's sorta enjoyable, but that is, imo, all I can say about it.

I guess I'm not romantic enough to get it in an emotional way so I'm not going there. I say the technical aspects of the track could have been implemented differently to keep the flow going while still keeping it slow. It had a few flow killers that didn't fit in my opinion. The remaining track was solidly executed.

Helios Pavonine wrote:

rabid squirrel wrote:

Helios Pavonine wrote:If a track's sole purpose is to sync to a song, is it still a track?

wait, is this a serious question?

Yeah. Let's talk about that.

Sure, there are plenty of tracks that sync to a song really well, like Daisies and SSM, but those tracks (Bosh's movement caused by lines / the lines Bosh rides on) have their interesting moments as well. SSM is technically very impressive and looks like a kinetic dance, and Daisies experiments with slow and green manuals and low pressure flatsled. When you would take all that stuff away and create a track that basically only relies on the song, I'm not sure if it can be classified as a track still. There are barely any visual stimuli, and Bosh's movement is very dependent on just gravity. To me, this is a very bland track. Granted, the idea was executed perfectly, and it's sorta enjoyable, but that is, imo, all I can say about it.

So, as I've been looking at the conversations this community has had re: Daisies, this track, etc. I've noticed that there are these two ways that most of the community looks at tracks. The first camp is structure-oriented: this perspective provides a focus on tricks and how they're sequenced. The second camp is movement-based: this perspective focuses on how Bosh moves, rather than how the lines affect him. Everyone's got a little bit of both on their mind when they look at a track, and some people have clear preferences, while others don't. The interesting thing about this is that people's preferences have almost no relation to what style of track people make.

One example:
- Rafael makes movement-based tracks with a lot of technical stuff. The tricks are fast, powerful, and complex, but in tracks like SSM and Jam, the focus isn't the tricks, but the way bosh moves to the music. However, Rafael doesn't follow either school of thought to the letter (correct me if I'm wrong or misrepresenting your opinion, Rafael, this isn't disparagement, but is simply for the sake of an example). Instead, Rafael enjoys tracks with polish and deft execution. S&NH is executed extremely well as a movement-based track, and WTM functions incredibly well as a structure-based track, and Rafael likes both of these.

In this framework, it seems like your criticism is that this track, which is primarily movement based, doesn't have a very strong adherence to structure, and you're not wrong. But does that make S&NH "not a track"? Personally, I'm not entirely convinced, especially since Line Rider is so, so subjective.

every time someone says something isn't a track I'll just make some weird postmodern track where the backing track is a woman crying softly while bosh slowly limps around offsled called "my tears are the ultimate oppressor of the happiness within"

Helios Pavonine wrote:

rabid squirrel wrote:

Helios Pavonine wrote:If a track's sole purpose is to sync to a song, is it still a track?

wait, is this a serious question?

Yeah. Let's talk about that.

Sure, there are plenty of tracks that sync to a song really well, like Daisies and SSM, but those tracks (Bosh's movement caused by lines / the lines Bosh rides on) have their interesting moments as well. SSM is technically very impressive and looks like a kinetic dance, and Daisies experiments with slow and green manuals and low pressure flatsled. When you would take all that stuff away and create a track that basically only relies on the song, I'm not sure if it can be classified as a track still. There are barely any visual stimuli, and Bosh's movement is very dependent on just gravity. To me, this is a very bland track. Granted, the idea was executed perfectly, and it's sorta enjoyable, but that is, imo, all I can say about it.

I think not considering this (any) track a track does short of its complexity. There are infinite ways Lukking could have synced to this song while still having a seemingly flawless execution. You're right about it not having a lot of depth though. I think I like this extra much because of how many players have strived for a track like this The pinnacle of smoothness.

OTDE wrote:Rafael makes movement-based tracks with a lot of technical stuff. The tricks are fast, powerful, and complex, but in tracks like SSM and Jam, the focus isn't the tricks, but the way bosh moves to the music. However, Rafael doesn't follow either school of thought to the letter (correct me if I'm wrong or misrepresenting your opinion, Rafael, this isn't disparagement, but is simply for the sake of an example). Instead, Rafael enjoys tracks with polish and deft execution. S&NH is executed extremely well as a movement-based track, and WTM functions incredibly well as a structure-based track, and Rafael likes both of these.

Pretty accurate I try to take the best of everything

If someone showed me this video minus the first bit of intro, without telling me the track-maker, Lukking would have been my last guess. I think that's great.

To me it's staggering that somebody could argue over this not being a track. So much work must have went into each sync. Especially that recycle at 31 seconds! That must have been a super lucky line placement, or it might have taken hours to get that right. And there are so many more moments that must have been difficult to get right, which I think are really impressive as well as enjoyable to watch. The whole thing seems so much more like Bosh is moving to the music. It's like a dance, it's mesmerizing

Edit: wait, maybe it's not a track after all. This is the future of Line Rider and we'll call it Line Dance! And tracks will be called a dance! HYPE

Remember the time when we chose the music AFTER finishing the track? good times, good times

I really liked what you did with that. Very impressive syncs. I was always expecting one of those rapid succession (or "one two," not really sure what to call them) sync parts to miss its sync or for it to not be as clearly synced as the others, but it never happened. It was really impressive and I liked it a lot.

This felt like it could be the opening for a really excellent track and then it just ended, which is a shame. The recycle at 0:33 is phenomenal. Most recycling feels really unnatural and sort of forced, but that recycle feels as if it is a first-use thing that flows with the track.

0:45

no one?

Hello, I was brought here by conundrumer... I'm not really part of the line rider community and I pretty much never played or used the program, but he was suggesting that I give feedback on my experience watching these creations, so here I am, giving it a try. Hope it's helpful!

I think it's overall really cool, what rhythms you chose! However, I think there is still room for improvement :'D

1. There are a lot of stops that are really well timed, however the landings are sometimes delayed enough that it ruins the vibe. Examples: 0:53-ish, 1:01. I think hip hop is supposed to be pretty sharp especially if you are following the drum hits. They really have to be accurate to the beat and it doesn't have the vibe anymore if you delay it even a little.

2. The falling part at 0:44 was a really cool idea, but I think the fall was too long, and made it not feel the way that I expected. If you made the fall almost exactly match up to the area when she says "falling" and the bass goes silent and the drums stops for a second, it would be super cool to have that negative space.

3. Perhaps try to follow the rhythm of other stuff like the electric organ chords in the beginning. It would be kind of cool to accent those once in a while because they are in the background and it brings attention to those, which I think the music even does sometimes.

Hope this helps!

delisammich wrote:Hello, I was brought here by conundrumer... I'm not really part of the line rider community and I pretty much never played or used the program, but he was suggesting that I give feedback on my experience watching these creations, so here I am, giving it a try. Hope it's helpful!

I think it's overall really cool, what rhythms you chose! However, I think there is still room for improvement :'D

1. There are a lot of stops that are really well timed, however the landings are sometimes delayed enough that it ruins the vibe. Examples: 0:53-ish, 1:01. I think hip hop is supposed to be pretty sharp especially if you are following the drum hits. They really have to be accurate to the beat and it doesn't have the vibe anymore if you delay it even a little.

2. The falling part at 0:44 was a really cool idea, but I think the fall was too long, and made it not feel the way that I expected. If you made the fall almost exactly match up to the area when she says "falling" and the bass goes silent and the drums stops for a second, it would be super cool to have that negative space.

3. Perhaps try to follow the rhythm of other stuff like the electric organ chords in the beginning. It would be kind of cool to accent those once in a while because they are in the background and it brings attention to those, which I think the music even does sometimes.

Hope this helps!

Wow this is actually some really good advice, thank you!