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About Palpable

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  • Location
    Ho Chi Minh City, Vietnam

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  • Biography
    If you dig my music, you'll probably also dig the music I do with my band Flickerfall.
  • Real Name
    Vinnie Prabhu
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Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design
  1. No problem with the direction of this mix, like Sir_NutS had, but he think he's spot on about the staticness of the arrangement. I also think the source song is pretty boring personally, and has the same problem as your mix. The groove is good, but I don't think it's interesting enough to carry a song for 3 minutes, despite a lot of effort on your part to include variations. Sometimes a mix needs micro variations (changes in notes, flourishes) and sometimes macro variations (new sections, dropouts), and I think more macro variations would be in order here. I don't think that issue alone is a dealbreaker FYI, but combined with some offputting sounds (the synth at 0:14 always sticks out like a sore thumb for me) and the abrupt ending, it feel a bit short for me. I think it's very fixable, and this is the kind of sub I'd like to see get posted. Hope you can give us another go. NO (resubmit)
  2. I really enjoyed this piece. The sparse original song gives you a small glimpse of a world, and their arrangement colors in what's past the border of the picture, letting you see more. It's not gonna win awards for risks, but minimal sources like the original pretty much beg for expansion/jam remixes in this vein, and I always love to hear them. The sax sounded a tiny bit thin for a lead instrument, like maybe the recording wasn't 100% clean, or maybe too much EQ was applied. With the reverb on it, it's fine I think. The soloing and distinctive touches really took this far and made up for any production blemishes. YES
  3. I think we're all hearing the same tuning issues here, but the severity of it is the only debate. I am a bit more lenient on live recordings, and everything that was off was constrained to the first 1:30. I think I fall most in line with Larry, that there's so much good here to outweigh the mistakes. I also agree with Dave that Melodyne might be the only thing needed to fix this if it's a multitrack setup. The 2:36 section is something that only works in live recording, something so simple that it banks on the charm and nuance of live instruments to keep the listener's attention. It's exactly moments like that that make me want to pass this. YES
  4. I'm so used to weird stuff from Brent that this qualifies as positively normal! I liked the mood, heavy vibe and the dynamic shifts that the song goes through. I still thought the fadeout ending could have been stronger - it came just as a new section was starting, it seemed - but it was a strong arrangement, with good production. Makes for a YES. YES
  5. I thought this was close already, and with a more conclusive ending, this has gone over the top for me. You kept exactly what I liked about this the first time and fixed up what didn't work. I think there's some extra polishing that could be done, and certainly live instruments rarely ever hurt, but this is postworthy for sure. YES
  6. This galloped along pleasantly, a good mix of original material and source material. I agree that it's a little hot for my tastes, sometimes a little shrill, but never too much. I think the FX are incorporated better than in most subs - they are used rather percussively here. All in all, great stuff. YES
  7. I liked the additions here. Nothing major, but enough to keep my interest through this time. I can't remember if that glide bass was in the mix last time, but I like how it's used in the second half. I definitely disagree with 2:17 sounding dissonant; in fact I think the 7th chords work really well there and it's one of the best sections in both versions. Ending isn't spectacular but it beats no ending. Yes, this is enough to push me to a YES. YES
  8. I loved the song concept but I think the simplicity and lack of dynamics hurt this one rather than helped it. I was bored by the drum loop by the first minute, and it never changes. It's not atypical in rap to keep the drum loop the same for the whole song, but there's wasn't enough else there to make up for it. No bass, and the guitar didn't deviate much either. The chorus also sounds like a total cut-and-paste, with everything coming in at the same time each iteration (including the backing vocal being early at the same time each chorus). Production-wise, I thought it was fine. The guitar sounds like maybe a live guitar that is sampled and triggered, but it's good enough. Vocal was good too. This is a great start but I don't think there's enough here for a pass, based on the simplicity of the arrangement. NO (resubmit)
  9. I have to side with the NO votes here; the production problems with this sub only get more noticeable as the piece goes on. With better humanization (different instrument envelopes based on the situation) and better frequency balance (more highs), I think this would pass. Sir_NutS gave some detailed advice that I agree with. It's a beautiful arrangement with a lot of intricate partwriting, and it deserves a production as good. NO (resubmit)
  10. My vote is pretty much in line with Nutri's. I liked the approach quite a bit, but the details just barely made this a NO for me. The pan flute was probably the biggest problem. It shouldn't sound lo-fi, especially as the lead, and sometimes it comes across quite blocky. Other times, like with the quick runs, it sounds fine. The blocky string chords also made this sound more boring than it needed to, and took away some from the dynamics. I will disagree with Nutritious that the track was lacking dynamics on the whole. I thought with the swells and instruments coming in and out, there was enough to provide the rise and fall a track like this needs. I particularly enjoyed the rubato at the end. This is one revision away from a pass in my opinion, and I strongly suggest giving it that extra push. NO (resubmit)
  11. The additions here are pretty subtle but it's pretty interesting to hear some of the more amelodic elements adapted to guitar. Overall, I thought the arrangement was just interesting enough to work beyond a cover. The rhythm guitar was a little compressed and choppy. Did you use an acoustic pickup? I've noticed they can have that sound sometimes. I think a clean electric would probably sound a little better but it wasn't a dealbreaker. Count me in. YES
  12. I can always count on Max for a high-energy, enjoyable arrangement and this is no exception. I love the use of the orchestra here, and the solo section towards the end is pretty audacious (reminded me of a Tom Morello solo). I did notice some mixing issues here though. The intro (and its uses thereafter) get pretty crowded with the orchestra, brass, guitar, and drums all fighting for attention. I think a lower pitched snare would actually free up some room there, as well as sound better in the well-balanced non-orchestral sections. The strings are also a bit loud in the breakdown section; dynamically it would have sounded better softer. I don't think it's enough to reject since most of the song sounds freakin' great. YES
  13. I found myself agreeing with DA and Larry for the first three minutes, but that last minute added almost nothing new and I started to see why two judges had gone NO. I liked the addition of piano to the chorus around 3:00 and I thought the last minute needed some extra changes like that. Overall, it's very close for me. The production is great and I love the combination of instruments here, especially that subtle acoustic guitar. No concerns about the stiffness of the piano either; it seems to work well in this context. But I think I have to side with the NOs on this one. Please make some additional changes to the last minute and think about using some other clips instead of the same one four times. NO (resubmit)
  14. I'm listening to version 1 and baffling at my comments from last time. Did Tim fix the strings and drums as well, or just the panning? Either I had an off day back in December or Tim fixed a lot. Every issue I had was addressed here - it sounds great. I didn't even think the crowding was enough of an issue to reject it. Unfortunately, I must agree that the panning in Version 2 is too drastic. If the leads were centered, and everything brought in a little, I think it could work (and potentially sound better). Anyway-- YES (on version 1)
  15. Wow, the ocean is loud today. I think you can take it down a bit so that it isn't (literally) drowning the hand drums. I did like when the ocean filled in the empty space at 1:03 though. Speaking of the drums, they were very dry and sounded odd next to the ocean sounds. Adding some reverb there should make everything sound like the same space. You can even cut the reverb some when you take out the ocean noises, as if we are moving into the studio. I like the bells, but I love the guitar line you added. It compliments the source arp so nicely. The pan flute is the first big misstep. I'm surprised that some of the judges were ok with it because I thought it was flat out awful. Sorry to be harsh, but without humanization, front and center, it sticks out really badly. In fact, the stiffness of it made that section pretty boring because there wasn't a lot else to focus on. Big shift at 3:09. I thought it was cool but wasn't a fan of the pad playing the reggae offbeats. It was a weak, washed out sound. The trumpet is better than the pan flute, but not much. And again, there aren't enough other things to focus on that I can overlook it. The arpeggios started to get a little repetitious in this section, but the cool drum and bass work covered for it. 5:15 went back to the reggae, minus the pad but plus the guitar. I thought this worked much better. Unfortunately, so many of the patterns were cut-and-pasted that it didn't sound different enough from what had proceeded it. Sounded like it was composed almost entirely (or entirely?) from older sections. It also ran long. You've got a lot of great elements here, and an ambitious arrangement. I think subtly varying patterns and humanizing the leads are the biggest problems here. Fix those and that goes a long way towards a pass. NO (resubmit)