MindWanderer

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About MindWanderer

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  1. The check-in has passed and the promised cuts have been cut.
  2. *NO* Streets of Rage 2 'End of Haze'

    There's a lot of clever arranging going on here, but the balance is seriously off. The leads, both guitar and synth, are too quiet everywhere except the intro and outtro, overpowered primarily by the rhythm and bass guitars but even by the synths and percussion in places. Also, I'm not sure about source usage. 1:36-3:17 and 3:55-end don't seem to have any source usage that I can hear, and that's more than half the arrangement. I have to admit that I'm not listening too closely, though, because the mixing is already a dealbreaker. But if there is source usage in those sections, it would facilitate the voting process if you could spell out how the source is used there. It's a good start, and I'd like to hear a revision with the leads in the lead. NO
  3. I was holding off on voting on this one because there was something off about it I couldn't put my finger on, but NutS nailed it: slightly more repetitive and less transformative than the usual Gario work, especially the intro, which jumps right in without much preamble. The bright ping-pong arps are on the relentless side, too, and aren't well balanced by the thin bass. Still, none of that is really significant. It's a fun arrangement and clearly achieves what it sets out to do. I can see why Gario was insecure about it but it's still a solid piece of work overall. YES
  4. *NO* Princess Maker 2 'Uppercut'

    Here's a link to the source by itself: https://www.youtube.com/watch?v=MDsXUvUt11k I personally don't feel the "stagnation" issue DA has, but the lack of low end is a serious one. It detracts from the impact of the whole thing and makes it seem more monotonous than it really is. I suppose the breakdowns DA mentions suffer the most from the lack of lows, since there's briefly no melody either, but really the issue is pervasive. I think the awkwardness of the drum mixing is because you have a really nice, meaty kick that's the only thing occupying the low end. As a result, it sounds particularly dominant. The ending is definitely lackluster as well. It doesn't even fade out at a point that makes sense--it would have been trivial to just draw those last notes out and end that way. Good ideas, fun arrangement. Occupy the low end and end the track more conclusively and I think this will be fine. NO (resubmit)
  5. Castlevania: Cacophony of Incarnation 2018

    Let's try this again! Rather than starting with signups, let's just see if there's interest. Let me know. If anyone would rather do a more traditional elimination-style tournament, we can do that too, but as of late the team gauntlets have been more popular.
  6. *NO* Polygonet Commandos 'The Future Is Now'

    I can't argue with anything Gario said. The piano is thin, the soundscape is thin, the synths are plain, the two vox effects Gario mentioned are too loud. It's much better where you're using the full frequency spectrum (0:29-0:51, 2:42-3:40), but those sections have some balance issues. I'd also have preferred it be a little less repetitive, but it's not too bad on that front, especially considering the source. Try taking this to the workshop forum for some more detailed feedback and I think this could work out to something pretty cool, but it's not there yet. NO (resubmit)
  7. *NO* Sonic Advance 3 'Twinkle Shiverfrost'

    This opened up with some SNES-style synths, so I was optimistic I'd be able to get behind some 16-bit chiptunes here. Unfortunately, there's a lot here that's holding the mix back. First, it's quite repetitive, with the same motifs played with the same synths many times over. As near as I can tell, the entire second half is a copy-paste of the first half (minus the intro and ending), and each of those halves consists mostly of the same melody repeated twice with an intro and a bridge, meaning that the main melody is copy-pasted four times. The percussion is even more repetitive, maintaining the exact same pattern for the vast majority of the piece. The energy level is also largely unvarying and fatigue-inducing. Second, the parts don't line up well together. Melody, pads, bass, etc. are all doing their own thing. There's no harmony, there's no call-and-return, there's basically nothing to indicate that any of the parts were written with the other parts in mind other than that the major sections change at the same points. To be fair, the source isn't great in this regard either, but that raises another point: The arrangement is very conservative. The bulk of the part writing is lifted directly from the source. I'm picking out only very small portions that are sufficiently transformative for our standards. Balance also needs some improvement. In many places the melody is too quiet, in other places it's the bass that can barely be heard. The ending is lacking, too. There's just a quick riff at the end of a loop. So, sorry, but I think this still has a long way to go. I'd take it over to the workshop forum to get some more detailed advice before submitting again. NO
  8. Twitch for VG remixes??

    I don't think people would expect to find that sort of thing on Twitch. Some people use it for composing or jam sessions, but not to just play finished work. YouTube can still work, but it's hard to build up a following from scratch. There's a very poor signal-to-noise ratio on there now.
  9. OCR03704 - *YES* Lunar Pool "Looser Tool"

    It's weird, all right, and one of the hardest tracks I've reviewed to map its sources to. I'd have liked a source breakdown just so I could appreciate the nuances of how this meshes so many simple tunes together, but I don't think there's any question that this is a Lunar Pool arrangement. It gets a little cluttered and busy at times, but a lot of the busyness is jazz-like controlled chaos, so it mostly works. I don't think it'll be to everyone's tastes, but it meets our posting guidelines, and it's a unique and memorable work of art. YES
  10. Video Game Addiction

    2000 hours is over 83 consecutive days, so I'm not thinking he got there in two months. Perhaps you meant 200 hours, which I'd consider excessive for an adult with a child. I put in a couple of hours a day at the absolute most; more often than not the number is zero. There's a reason why they're talking about adding video game addiction to the DSM (not exactly using that word, because they have a very specific definition of what "addition" means, medically). Gambling "addiction" is called "gambling disorder," for instance. The term under consideration right now is "internet gaming disorder," which of course misses the point in a lot of ways. But it's definitely true that video games, designed in certain ways, can hit those reward triggers in the brain.
  11. *NO* Final Fantasy 6 'End of the World Suite'

    I can't argue with any of what Gario said, but I will break it up into two parts, as the first two-thirds (up to 6:00) are drastically different from the last third. The first part is largely a subtractive approach, removing a lot of the depth and complexity of the source and replacing it with some simple, often thin, vocals. It's not a good trade-off, and while it's a cool idea, it comes off as a downgrade of not only the original, but of Rebecca's usual heavily-orchestrated work. The second part largely reverses the issues in the first part. There are a lot of layers going on, some of them quite complex, but many of them have a lot of reverb and long decays, as well as conflicting frequencies, that blend everything into each other. Both parts are, also as Gario mentioned, overly quiet for a bombastic orchestral arrangement. It's also mostly lacking in the low end that gives arrangements like this a lot of their power. This is less an issue in the second part than the first, but strangely, with all those layers, they mostly all reside in the mid to high range, aside from some brief kettle drums. There's a good foundation here, but the first two-thirds of it need additional content, creativity, and depth, while the last third needs to be less muddy, and nearly all of it needs more low-end and could benefit from more volume. NO
  12. Bloodlines, a.k.a. Divine Bloodlines, is the theme of Richter Belmont. Normally when folks join in between when I announce a check-in date and when that date arrives, I give them some more leeway about meeting it, but since you've admitted you'll probably need some more guidance, yes, please aim for March 31.
  13. Sure! I hadn't been familiar with your work, but "Down the Rabite Hole" is definitely up to par and compatible with what we'd be looking for. Did you want to claim a track?
  14. *NO* Chrono Cross 'Time Scar'

    First of all, this remix needs an actual name if it ends up passing. The arrangement is quite conservative, with up until 1:04 being an almost exact cover, and the rest retaining the melody and structure of the source using guitar and bass instead of the source's strings (in most cases, a 1:1 substitution, after an inexplicable and jarring key change). Genre conversions are often acceptable as ReMixes, but there should be some re-arrangement or re-orchestration going on, not just an instrument swap. The only significant transformation is in the percussion, and that's not dramatic. Production-wise, things could be cleaner. When the guitar starts in at 0:03, it carries with it a background hiss, white noise that stays with it throughout. It's very pronounced when one guitar is exposed, e.g. 0:03-1:18, 1:08-1:14, and 2:03-2:18. I don't know guitars, but on other audio equipment I would suspect cheap or faulty connectors or interfaces. When it goes into full-on rock mode at 1:22, the frequency spectrum becomes very limited. There's very little high-end from this point on, possibly because of an overly-aggressive low pass filter, or possibly because of that extremely low key shift combined with the equipment issue I'm guessing might be there. Your performances are great here, but the production really needs a lot of work. I'm less dead-set against the arrangement, but even with solid production I'd be borderline on that aspect of it at best; we generally look for interpretation and originality than what's demonstrated here. NO
  15. *NO* Final Fantasy 6 'Ultimate Train Suplex!'

    Hard to argue with anything those gentlemen said. Above all else, the EQ is just not doing this arrangement justice. I actually liked the violin section, although there was too much sizzle to the drum sequencer there. I'll also add to what Nutritious said, in that the riffing in the last third of the track did get a bit meandering, and it would have been nice if it had tied back into Decisive Battle at the end. Work on that production and I think you'll have a gem here, but this isn't it yet. NO (resubmit)