Sir_NutS

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About Sir_NutS

  • Rank
    Judge, Spanish Translator
  • Birthday 10/11/1982

Profile Information

  • Gender
    Male
  • Location
    A Tropical Island. Really! no Kidding!

Contact Methods

  • Website URL
    https://soundcloud.com/sir_nuts

Converted

  • Biography
    I maek boomtiss
  • Real Name
    Michael Molina
  • Occupation
    Web Developer
  • Facebook ID
    sirnutsmusic
  • Twitter Username
    PMichaelMolina
  • Last.fm Username
    Sir_NutS
  • Steam ID
    Macronaso

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Bitwig Studio
    Reaper
    Reason
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design

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  1. Well, as someone unfamiliar with this soundtrack, I too am having a hard time making the connections. I can hear some connections to Ramza's theme, but even those are pretty interpretative. I didn't take as much issue with the rhythm guitar's balance, although admittedly they could be toned down slightly, it didn't obscure the other elements too much. I actually found some of the continuous cymbal hits did obscure some elements instead. Other than that, I could hear the different elements fairly well. I do have issues with the guitars though, and it's just how static they are. They should be providing energy and drive to the track, but the long sustained chords that go on and on really do nothing for the song. In the sections where there's some dynamism added to the guitars, you can feel how the song instantly gains personality and gets interesting (i.e. 1:22). But for the most part it feels like the guitars are just on autopilot for very long sections of the song. I wasn't a huge fan of the offbeat rhythm used with the woodwinds either, didn't feel very natural to me, specially since you have other woodwinds playing melodies on top of that. Not sure about the vocals brought in later... I don't know how they are supposed to fit thematically into this one. I think this is a good start for an interesting take on these themes, Ryan. But it's not quite there yet. I would like more interesting guitars rhythms that don't feel on autopilot, some trimming out of long-winded sections that don't seem to provide much connection to the sources, and perhaps some re-writing so the connection to your sources is more noticeable. If you want to keep things very interpretative I would suggest providing some breakdown or just pointers on how to spot the sources for us plebs who have never heard the FFT ost before (though I think the other js have heard it before and still had issues making a connection). NO (resubmit)
  2. Yeah, this sounds pretty vanilla and dry. Gario and Larry nailed the issues well here, the drum groove is as basic as it gets, and though later is filtered out, I think it doesn't do enough to keep things fresh. The original did more with the drum writing to keep things in line with the arrangement, even. Ending was a bit sudden but, it could've worked in a better crafted song. The mix though, has this sense of emptiness even though it does have enough elements to fill up a track, it just needs some kind of padding or reverb to fill up the gaps. The bass also felt very bland to me. I think this needs several production passes to get it over the bar, bringing the whole mix together with sounds that sound less cheesy and fill up the spectrum more, and with more intricate drum sequencing/detailing. NO
  3. Not only you picked a legendary game/soundtrack, but also hey, this mix is pretty neat. The synth funk tag caught my attention, and I think the mix delivers on the tag. Gario gave pretty good feedback, but I'll also add to watch your lows and crowding on the bottom end. I think the mix could be cleaner than it is, so mix clarity is an aspect that could benefit from work, specially around 2:50. The eq in general could perhaps be slightly brighter, but that could be subjective. The ending could've been a bit more memorable as well, another area to look into. Overall this is pretty solid and you could do a few more passes to it, but I definitely suggest subbing it. Good luck.
  4. Yeah, the issues here are pretty clear. Extremely muddy and wet mix. There's this wishy-washy effect that permeates the track and just affects every other effect you have put on it, from compressors to eq, it's messing up everything. If you want my advice, start from scratch with 0 delay, reverb, long tails, or ambience effects, dimisnish the prescence of your pads, and start adding them back little by little on the parts you think need more depth or sound too empty. Look for reference tracks, reference tracks are a huge help on getting your mix right. Right now everything feels like it's coated in something sticky, even your build-up snare rolls sound muffled. Other than that, I think the choice of lead synth at 2:45 is dubious. I would've expected something with more energy after the pretty decent buildup you crafted before it, but this long attack, brassy synth is a bit of a let down there. Try some other presets that make that section sound like a proper climax. This isn't quite ready yet, IMO: NO
  5. hmm I kinda understand where the remixer is trying to go here. kind of a mix of ideas though, the synthwave beat, bass and vocoded quips kinda clash with the acid filtered synthline and highly detuned stacked saw synths, as it wasn't usual for these two to converge, since they're basically a decade apart in usage. Regardless of the culture clash, the mix is very rough, and needs proper balance, since you are basically losing most of the beat to the bassline. The vocoding was fine, you don't need the phrases to be understandable as they can simply be used as just another instrument and is a technique used in many popular songs. The overall mix feels very dry, with a lack of prioritization in what should be at the front at any given time. Some of the backing harmonies were clashing melodically with the rest of the instruments, such as the bell-like synth at 0:45. I wasn't too sold on the arrangement, as it seemed pretty repetitive, but the production is the major issue here, which needs quite a bit of work to get it over the bar, imo. NO
  6. I really enjoyed the wetness in the backing guitars and pads at first, it sounds really sweet for the first couple minutes, but after that, it just devolves into a very muddy mess. I think the arrangement is great and doesn't need changing at all, but the mix needs some extra work to get some clarity into the busiest sections. Perhaps turning down the reverb, or taking a closer look at the eqing of your backing elements to make sure they're not crowding the mid-lows, or checking you're not compressing too much on the busiest sections. Either way, something needs to be done to make those sections clear-sounding. The performances are on point, and I think this could be brilliant if the mix is executed properly, but that aspect drags it down just below the bar for me. Definitely close, but not quite there yet. I do want to see this on the front page so please consider a revision. NO (Resubmit)
  7. resub

    Yeah this track really needs some personality, some spice. The piano is stiff and pretty boring. There are some weird harmonic choices throughout the track, MW mentioned some. I'll add others, such as the sine lead sounding kinda random and not quite in harmony with the rest at 1:23... not sure what it's trying to express there. The final busy section near the end, oddly enough, was harmonically sound IMO. The drums were pretty basic, and repetitive as well. The drums should serve as a base (along with the bass) for your track, help drive it forward and add/take away energy, but you should also consider them proper instruments that should add variety and intricacy to your arrangement. I think this needs more to elevate the track from its generic status to something we would like to post. NO
  8. I think this feels too sparse of an arrangement. Minimalist arrangements are ok, but I don't feel like being minimalist added much to this arrangement, I feel like it takes away from what could be a more involving track. The panning on the violin was very distracting for me as well, specially since there's nothing on the other side of the stereo spectrum to balance it out. The arrangement felt very repetitive as well, which could've been mitigated by a more intricate harmony stage, which brings me back to the minimalist nature an why it's not quite working. Overall volume is also needlessly low. NO
  9. Man is that chorus guitar sweet. Definitely one of the highlights of the song. The lead performance may be another, the final short cameo of JTS, one of my favorite soundtracks, was also sweet and hit me right in my bias bone. Now the strings, that's something my fellow judges are taking issue with, and I would agree that they are indeed fake sounding, but the artists refers to them as synth strings, so I don't believe they're meant to sound realistic. Even if they are though, in the context of this track, they didn't bother me as much as to think they bring the whole thing down. I wouldn't be against changing the synth string sound to something else, but they sound more like a string machine to me than a string library trying to be realistic. Overall this track has a lot of heart and the arrangement is handled well. The artists knew how to pace this mix well, as we see things like prolonged pauses to accentuate an ending or upcoming section. Pretty solid overall. YES
  10. I didn't have issues with source recognition at first, I can hear both sources where they're used for the most part in the first 3 to 4 minutes. The issue here really is with the twilight parts and how long they last, and how plodding they feel. There's really not much going on from 1:00 until almost the 3rd minute. After that when both sources are weaved together, it makes it very hard to relate to the original other than mood. I think that cutting on the plodding section and changing the second half of the arrangement to somewhat make the source more recognizable to what's going on would get it closer to what we're looking for. As Mindwanderer pointed out this is quite a challenge. The twilight source is just a series of long-winded harmonies and that's not really a lot to build upon something recognizable to the listeners, but maybe this could work with more obvious referencial material. Your artistic vision for the track is something to consider too, as I believe this track outside of the context of an OCReMix is fine, so it's up to you to take this points into account. NO
  11. Have to agree with Deia here. I don't like how the lead is sitting on the track, it feels very exposed compared to the rest of the elements going on, another element that seems to not be sitting very well on the mix were the guitars, most notably around the first minute. I think they get some help from the synth pad later, as it complements them and the rest of the mix well though. The hard wubs threw me off, and they don't necessarily sound bad, but again it seems to me that they're failing to sit well with the other elements in the mix, specially with the leads. The arrangement itself was fine, albeit the track felt short due to the extended intro, but I think this needs another pass on the mix side so that the instruments chosen sit better in the mix and don't feel as exposed as they feel now. I do think this is close, but not quite there yet. NO (resubmit)
  12. I think Gario and Mindwandered explained very well the issues present here. The performances feel overly mechanical and the instrumentation is at times too simple. I also have to agree on the compression levels, though it's evident they're prettty high I ran it through an analyzer anyways and I got -9 RMS on the busiest sections. That's quite a lot considering the style you're going for here. The synth elements used were also slightly out of place for me, I think they could be another point of improvement, making them fit along the other instrumentation. This needs an overhaul starting from the mix to get the balance of the different instruments right first before applying any mastering, and then several humanization passes. NO
  13. Pretty surprising departure from the source. My reservations with this song are similar to MindWanderer's, so I won't write three more paragraphs exposing the same things, but I'll note that they are the Brass synth and repetition. The brass is soo overbearing and cheesy it just gets really tiring after the first couple minutes, and the repetition of several parts is pretty obvious and I feel not much was done to keep the copy-pasted sections different from one another. I did like the idea to adapt the source to this genre, but this needs more work on the sound-design level, with more palatable, better balanced synths and also on arrangement to get it over the bar. NO
  14. Interesting. This is some pretty good stuff coming from a rather simple workstation like LMMS. What I liked the most about this song was the soundscape building and the groove it builds to in the busy sections. I do have a few issues with it, first, the dubstep bass feels, for lack of a better word, weak. Exposing it at the end of each measure, as you do in later iterations of the groove, doesn't help much. Second the kick is causing compression issues specially on the rolls. If you're using sidechain you have to make sure it's not going into effect on those rolls because it's ducking the rest of the mix. If not, you may want to balance it out so it doesn't act like this. The arrangement does get a bit stale at some points, and the celesta arp. is almost a constant throughout the track, which I think is contributing to making the whole thing feel static. These aren't deal-breakers for me, but something to be considered. I feel there's a lot to like in this mix but it needs a second pass on the issues above. It's very close and the votes could go either way. NO (resubmit)
  15. I have to disagree on the lack of interpretation on the first half. There's quite a bit of it, although it is very subtle. The pizzicato sequence is not the same as in the original, it changes to harmonize with the progression instead of being static, and the changes from measure to measure are different as well. The background strings also do not follow the progression verbatim, although they do start on the same notes. The piano as well has some subtle changes and addition of extra notes in the higher registers that are all new. The main melodies remain very closely tied to the source but there is work done in the first half and calling it a straight up cover is really not fair. The second part expands on the source in more evident and creative ways. I did enjoy some of the chord resolutions which fell into more pleasant harmonies than the more somber tones expressed in the source, 1:32~ is a good example of this. In my opinion this track is totally fine arrangement-wise. Production-wise more could have been done in regards of humanization and the performances. Some envelopes in the string seem identical to one another giving them quite the mechanical feel. I hope @Gario takes a look at this one because he's much better than me at expressing how orchestral instruments could be humanized better. Overall, even with the not-so convicing handling of the performances I think this is a few inches over the bar for me. YES (borderline)