say the vibe on Ain't A Dream fits the line nicely. Good choice of main pad sound, and it sounds like you matched up reverbs in the track pretty well, something which can make or break the music. Only thing I wish for in this cut is a *little* more life/movement in the bass line, esp. since you went to the trouble of filtering that sample thoroughly. But I'm an absolute fiend for bass lines; your mileage may vary.


Just The Way I Feel is rocking a FAT guitar one-noter on the left in the intro..good shit...now, this track is interesting. You've got some souled-out low rhodes and vocal loops, and much more commercial-sounding drums. In a way it's a little disconcerting (greater reverb disparities in this joint), but in a way it's interesting. I think I hate that open hi-hat that sits slightly left..lol. Just from hearing it so much in like club tracks, strictly my personal opinion on it. I hear you've got some skill laying out a sonic landscape, something not many beatsmiths know anything about.


Intro to the Philly Producer Showcase makes me wonder what you would do with a piano solo etude, #153 from the Mikrokosmos by Bela Bartok. Since it's several tracks together I'll pass it by for now.


Isn't that bassline in Sweet the same one on Crossroads? I'mma have to break that track out. This cut got Sade all over it at first listen, on the vintage RnB tip. That da da da da Da Daaaaaa Daaaaaaaaaa, Da Da da da/ kinda leapt out of the texture at me, like the note repetitions brought themselves undue attention and/or are too big or something; maybe some MIDI velocity variations would fix that..? Cool how you kept the bottom end on this joint reined in on both the kick and bass, helps bring the flavor home.