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

Recent Profile Visitors

3,459 profile views
  1. I'm in agreement with my fellow Js here. Lovely arrangement but the performance is holding this back for sure. I think that not only the performance but the piano sound itself has this blocky, cold tone to it when in an emotive piece like this one the sound should be warmer. The use of pedal isn't optimal here as well, with some of the harder chords around the 2 minute mark feeling pretty dry and harsh even though they should be evoking power and emotion. Overall, an arrangement like this should feel very touching but this is feeling rather soulless at the moment. It may sound like I'm overanalyzing this piece, but in a piano solo the performance is of prime relevance and I think this needs another pass to make it feel more human. NO (resubmit)
  2. wew, Larry really went into detail for this one. Sadly I've never played the game more than just a few minutes so I can't say I'm very familiar with the soundtrack, but Larry seems to be very familiar with it hence the very detailed evaluation. For the most part I agree with the issues he raises, the guitar mainly feels very blocky. Most of the transitions worked for me with some exceptions such as 1:40. The mix feels muffled throughout, with the guitars feeling very far back and the drums taking too much prominence. The bass lacks definition, and the only element that I thought was getting proper level and eqing was the chip lead, even properly going into the background at 3:32, but the guitar is just not taking over properly due to the muffled mix. Now for the good stuff I find the chip lead works really well, and really, the soloing here is very good throughout. The drum sequencing here is just amazing, tons of detail and pacing changes that sound natural and fit each sections. Even though this is a medley, this could work with just a few transitions adjustments. I feel you have the arrangement chops but gotta step up the production. The mix needs brightness and definition in everything but the chip lead, and I really recommend to join us on our workshop on the forums or on discord and look for a guitarist. We usually have people interested in collaborating specially with well-done arrangements. BTW, I checked your Serendipitous Synchronicity track and it was amazing. This one though needs another pass. NO (resubmit)
  3. Yeah, the main issue here is mix balance. The guitars and bass are really overpowering everything, the drums bring almost no energy due to being drowned out, and the synths are very hard to distinguish or even hear at times. There are sections such as 2:05 where I can faintly hear what sounds like something that wants to be a lead but the guitars are taking over the entire mix. I also wasn't blown away by the arrangement either, since what we hear is mostly rhythm guitars for the majority of the mix, and it feels like it's missing some lead melodic content or vocals or something else. We do get some solos, and those feel very good, but for the most part it feels like it's all backing. This needs more development but most importantly a re-do on the mix balance side. NO
  4. Yeah, I think this fine on the arrangement side, it's certainly powerful and I think that even if the source usage is pretty liberal, the song is represented well and recognizable, but production needs tightening. The low/mids lack much needed definition and the mix could use some brightness and air. If you get the production up a notch regarding mix clarity, this can surely become your first ocremix. For now though, NO (resubmit)
  5. This is a hard one, I've gone back and forth on this one for over a week. In the end, I think my thoughts are the same as MindWanderer's here. The source is enough and recognizable throughout for me, even with some changes done to the progressions and harmonies, and the bassline serves as a nice hook, but I can't deny the track as a whole feels very static and underdeveloped, even through its short duration. The fadeout ending didn't help the track feel more developed either. I also think the rattling drum could've been used less, though it wouldn't bother me that much if the track was moving to different places melodically. Nothing bad production wise, but not enough on the arrangement side. This is very close however, it was a very hard decision that I didn't make lightly. NO (resubmit)
  6. The mix is indeed a bit top-heavy, but never sounding tinny or piercing. Also that kick is so damn hollow, it sounds almost wimpy. I think the mix also sounds overly charged most of the time, with some backing drones that are getting too much presence and interfering with the instrumentation such as around 5:13. I think the arrangement itself is amazing as well as all the performances in it. I wish there was less hubris to go through in the mix to enjoy the otherwise excellent interpretation. I'm really borderline on this one, though I'm slightly edging towards a pass due to the excellent arrangement. The issues with clarity in the mix and mix balance bring down the song at some points for me, but this is a long song, and I think there's more to be enjoyed here than not. I definitely wish the mix would've been more refined. Not an easy decision for me, and I wouldn't be surprised if other Js feel like asking for another pass. YES (borderline)
  7. I agree with Larry that the vocal samples are way overused, I disagree on the "Float like a butterfly" usage sounding bad, the way it's sped up. Repetitive sample usage aside, I felt the mix itself felt pretty barebones and not full enough. Some of the instrumentation ends up sounding very simplistic and of not the greatest sample quality. I think this needs more developing, maybe using the samples in different ways and slicing those samples into new patterns throughout the track to keep them from getting too repetitive, and getting the instrumentation to sound more full and complete. NO
  8. This track is deceptive in its nature, at first glance it seems very very static, but on further inspection there are textural changes in almost every measure, or little additions and details. However, this does not mean that the track is sufficiently dynamic. The issue is not with sound palette breadth but with the arrangement itself, which is where the staleness is found. The same arpeggio is a constant throughout the track, and if handled well, this kind of grounding technique works, if the other parts of the arrangement are evolving, but there's not much on that front. This is a good idea and you nailed the intended mood, but there needs to be more dynamism arrangement-wise for me to give it a go. For what is worth, it seems like I'll have this melody in my head for the rest of the day. NO (resubmit)
  9. 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)
  10. 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
  11. 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.
  12. Pleasant surprise, this one. I couldn't think how this track could be made into ambient music, but after listening to Eno, and then your track, I can hear how you used his approach to ambient in this remix, and successfully. Just one thing, the white noise coming in at 2:50 has no attack time so it doesn't blend into the rest of the ambience well, it just pops in and sounds more like an error than intentional. If we could contact the artist to fix this, that would be great, @Liontamer. But I'm ok if this goes to the frontpage. YES
  13. 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
  14. 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
  15. Ah electro swing, a genre I listen to quite a bit (I love the likes of caravan palace, tape five, swing republic, etc.). I think this one could've stand to be more swingy, and the harmony layering, although mesmerizing at moments, it does get quite busy at some spots enough to get slightly confusing. Nevertheless, this is an incredibly deep rearrangement of a very simple source that expands it considerably, while keeping the connection to the source alive and noticeable for the most part, and to top that off, explores a niche genre and executes it fairly well. YES