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About MindWanderer

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  1. Found my feet tapping while listening to this, always a good sign! Great energy levels, solid sound. My one big concern is that there a big chunk of copy-pasta going on: 0:27-1:43 is the same as 2:54-4:10, and 1:44-2:11 is cribbed from that part as well. That's 103 repeated seconds out of 257, almost exactly 40% of the mix. EDM is usually on the repetitive side, but that's a whole heck of a lot. It ends right at the end of the repeated section, too, nothing added to close it out. If not for the bridge and the kick being left out in the intro the second time through, this would very nearly be the same song looped twice. Given the overall quality, and the genre, I'm nearly inclined to pass this anyway. With just something slightly different the second time through--some different filters or effects, even some little things like SFX, I think this might be OK. But as it is I think this falls on the side of NO (borderline)
  2. I have a small but annoying peeve about the new aesthetics: the way the gray gradient background cuts off, it sometimes for me looks almost exactly like the scrollbar. I'm constantly grabbing the wrong thing and trying to drag it.
  3. Ooh, that opening contrabass sounds super fake, not a great start, and it goes on for a long time. Then it's quite jarring going into the rock section at 0:50, which has very little low presence at all. The highs are uncomfortably shrill, and I had to turn down my volume a lot because my ears were literally hurting. Everything is jammed into the mid-high to high range, making the mix sound very thin as well as sharp. I also had a hard time picking out source usage, partially because the lines carrying the melody were often covered up, but I'm personally just not willing to go through it methodically checking for source, because I find it so uncomfortable to listen to. Besides, the mixing is more than enough to make this a NO
  4. I have to admit, that vibraphone really is awfully mechanical. I don't mind some rigidity of the synths, since they're clearly fake anyway (although those could also stand to sound a little more organic), but the vibraphone in particular is an instrument where little changes in timing and velocity make a huge difference in how it feels. Otherwise, this is a great interpretation of the original--faithful to its tone, but still original. I had to turn my volume up quite a bit to hear the cut-off hiss at the end that Larry mentioned, but he's right, it's definitely there and should be fixed. I'm a little more on the fence about this than Larry, since the vibraphone is the only "real" instrument in an otherwise electronic mix, but since it's so prominent and so vibrant (no pun intended), its being so rigid does stand out as an issue. It's not too hard a fix, assuming your soundfont has decent velocity support, so please try to improve that and send this back to us. NO (resubmit)
  5. I tend to think of DLC in terms of value as compared to the content in the original game. For instance, Mario Kart 8 has 16 tracks, and the DLC has 16 more. The DLC characters and car parts are just aesthetic, but the tracks are the main thing, so 100% more content for 20% of MSRP ($12/$60) is a very good value--kind of my gold standard for DLC value. Smash 4, on the other hand, has 51 characters to start with, and each DLC character costs between $4 and $6, effectively ~2% of the base game's content for ~10% of its cost. Really only a good value if you like and play the game a whole heck of a lot, way more than you would play other games. BotW's Season Pass costs $20 (1/3 of MSRP) and gets you an enemy rush mini-dungeon, a harder difficulty mode, a "new feature for the in-game map" (whatever that means), a new dungeon with a new short story, and a couple of random items, one of which is purely cosmetic. Considering the base game has 100 shrines and 4 full dungeons, plus whatever the final area is, this is much more in line with the Smash 4 DLC--good if you're a superfan, not a great value otherwise. I'll probably pass.
  6. Reminder: Next (and potentially last) check-in is in two months from today. There are nine current claims. Out of those, I have three WIPs and two are new claims. Although I'd like to get new WIPs from everyone, that means four people have been on the list for a long time and haven't turned in any music yet. If I don't get any new signups and none of those four people don't turn in a WIP, this whole project will be suspended indefinitely, probably permanently.
  7. Global Test Fires for Splatoon 2 have been announced: 6 one-hour timeslots over 48 hours, March 24-26. Looks like it'll basically be the same weapons and whatnot as the demos so far. I finally managed to snag myself a console preorder (during the brief window Best Buy put them back up), so I should be able to do at least part of the Saturday afternoon one and the evening ones. I really want to find out whether the joy-cons+grip are adequate to play or if I'll need to plunk down the cash for the pro controller. Anyone else planning on being there?
  8. Oh, wow, Jorito and Gario, Farewell to Ballade and Strike the Earth? You guys had better not disappoint!
  9. I certainly never would have guessed that this source was from a Superman game! Then again, the superhero games back then were really all over the place. Anyway, the first thing that stands out to be about this arrangement is how repetitive it is. 0:18-0:47, 0:47-1:16, and 1:30-1:59 are all identical. Then there's an additional half-loop from 1:59-2:13, with the last section of the song riffing on what would have been the second half of the loop. That last section from 2:13- is also extremely busy. Lots of conflicting instruments playing at once, all drowning each other out. Sections like this need to have very careful EQ applied, especially when so many of the instruments share a similar spectrum (mostly in the mid-highs here). The arrangement is also very conservative. Up until 0:47, it's basically a cover of the original. The bass is original (though very simple), but the melody, harmony, and percussion are all identical to the source. The only original parts of this arrangement are a brief solo at 1:16-1:30 and the extra (busy) accompaniment from 2:13 on. I'm sorry, but this really isn't the sort of thing we're looking for. Try posting your remixes to our workshop forums for some advice on how to make them more interpretive and dynamic. Good luck! NO
  10. There's some great guitar work here, but this is really more conservative than than what we look for. Other than the introduction and a few minor elements, this is nearly identical to the source, just with the instruments changed. There are a couple of neat additions, like the arp at 0:58-1:14, but otherwise it's basically just a cover. There are some substantial balance issues that need to be dealt with, as well. The drums are far too prominent, with the snare and hats drowning out nearly everything else, and the lead and bass guitars are much too quiet. Take a look at the levels and EQ, and see if you can bring the melody into the forefront while still letting everything else be audible. Please try hitting up our workshop forums for some additional advice. Hope to see you there! NO
  11. Well, this is... interesting. The transition at 1:36 doesn't come completely out of nowhere--there is a quiet rise that leads into it--but the transformation is so total, especially coming over a minute and a half in, that it's really jarring. The other transitions from synth to orchestral are smoother, but that first one really needs to nail it, and probably come sooner in the arrangement, to avoid such a shock. Other than that, my main concerns are with the instruments used. The static accompanying the kettle drum seems to be intentional, but it just sounds like a really poor sample. The exposed kicks from 1:20-1:32 also just sound like noise--in isolation like that it literally sounds like my headphones aren't securely plugged in and are popping. The snare at 1:37-2:45, especially from 2:11 on, is pretty generic, loud, dominating, and distracting. The horn-like synth at 2:07 is also very vanilla and sounds dissonant with the part leading into it; when it returns at 3:29, there are also a few moments that sound off-key. Same for the synth at 2:58 and other places. There are some interesting, creative ideas here, but ultimately I don't think the orchestral and synth elements blend well together, and I think some more care needs to go into the sound design on the synths. Keep at it, though! NO
  12. Thought it was going to be robot masters from the Game Boy games? Enker's theme from MM10 is quite a bit different, and Punk's and Ballade's are completely different past the intros. (The MM10 ones are better IMO, though.) I guess whoever chooses Wandering Travelers is just representing the whole mob of them, and not a knight per se?
  13. So, they've announced that the online service will be between ¥2,000-¥3,000/year., which works out to about $17-26 or £14-£21. So probably $20 or $25/year. $19.99/year would be a pretty sweet spot to sit at, and I don't think they've have much trouble selling it at that rate. It'll probably be influenced by that free NES/SNES game, though--getting, say, Yoshi's Island free for a month would be somewhat attractive, but if they give you Clu Clu Land it had better be for life or it's just a slap in the face.
  14. That's literally nearly the opposite experience with the Phazon Mines. I chose the wrong direction to explore that area at least 3 times, twice involving the large lava/ironworks room at the very bottom, and climbing back up out of that room takes forever. Part of that was due to my not knowing that the X-Ray Visor not only let you look through some walls, but revealed invisible platforms, and the quick "back door" route into the Phazon Mines from the surface requires using one of those. I found the Plasma Beam pretty quickly, but I actually got the Grapple Beam extremely late--not only did I not suss out the correct direction to look for it in, but I accidentally found a skip, not realizing it was a skip because it was just a very difficult jump not unlike all the other difficult jumps, that let me get much further without the Grapple Beam than I was supposed to. I found about half of the artifacts naturally, but my point isn't that they were hard to find, it's that they were meaningless MacGuffins, not actual upgrades like everything else in earlier Metroid games (other than the bosses--of which, in Super Metroid, only one of which wasn't required just to proceed anyway). Meanwhile, the actual upgrades were hidden extremely well--I never did find the missile upgrades for Wave or Ice, and finished the game at 81%. Plus, in other Metroid games, a new upgrade would let you enter new areas if you backtracked, although sometimes those areas were small; to get the artifacts, often you could get all the way up to them but not actually collect them without the right upgrade (e.g. one that required Plasma Beam in Phendrana). Plus, the game just wouldn't let you scan all the artifact hints at the beginning--there were a few I could have collected the first time though if I'd had the hints, but no. Certainly 3D platforming is harder to get right than 2D, and DmC is a great example (one of its major problems was also in visibility, with its terrible camera angles, and I still personally found it easier than Metroid Prime). But while lots of 3D platformers do get it right, very few first-person games have even arguably decent platforming.
  15. A source 13 seconds long is pretty tough to make into a full-fledged arrangement without becoming repetitive. Unfortunately, I don't think this succeeds. Not only is the basic melody repeated many times, it's only carried by two different leads. The arrangement follows a basic additive structure: one loop with just backing, then a loop with the lead added, then one with percussion added. It repeats twice more at 1:29 with an extra (quiet) arp and an SFX added, and then one more time again with the percussion removed. Then it ends at the end of a loop, with an SFX. The interlude in the middle is driven by voice clips, which can be OK if used in moderation, but here they're used in lieu of doing something interesting with the actual music. The melody in that section is mostly even more repetitive than the original; there are a couple of interesting variants in 0:51-1:00, but that's it. On the production front, the piano from 0:12 on is almost completely muffled. Piano is a tough instrument to mix with others in the best of situations, since it covers so much of the frequency spectrum all by itself, but with a busy set of synths like this it's even harder. There's some creative work here, but it never really develops. You might want to try your hand at a less challenging source before revisiting this one. NO