Sir_NutS

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    2,761
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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

2,504 profile views
  1. I am really loving this idea here, but the execution falls short. As Gario mentioned, the vocalist's style is really fitting for this style but sadly she does fall flat in several places, most noticeable in the lower registers. I agree that a bit of pitch correction would do wonders. Also I loved the harmonized sections. The instrumentation is also alright, though it does feel mechanical sometimes, it's not the focus of the song. As the vocals draw so much attention you can get away with a bit of stiffness/fakeness in the instruments and their dynamics. Gario is on point on the off-beat nature of the performance around 3:10. An easy fix. I'm also having issues hearing the original source in this, and I know this soundtrack by heart, sf64 being my most played n64 game. I'm not sure if the arrangement can be changed at this point but I would recommend making the source connection more evident. I think that with this kind of track with so much vocal focus, a second pass to make them shine throughout the entirety of the duration of the song would be great. When she hits her stride she gets lovely and epic results out of her voice. I would really love to see this on the frontpage so if possible, think about the suggested corrections and hit us again. NO (resubmit)
  2. I have to agree that the track gets lost in the arrangement after the first minute of source representation. The bass from the source is there most of the time, albeit sometimes slightly transformed. Another big issue is the static nature of the track. I've noticed we get a lot of funk/disco submissions that feel very static in nature, that may be because these genres tend to produce songs like that, but for ocr we need more than just a static drumline with not many structural changes in the composition. It feels more like a jamming session for the guitarrist, which I personally enjoyed, but it's not really what we're looking for. As a final note I noticed the bass had an unnatural clicking sound to it on every note for some reason. NO
  3. Yikes those high frequencies are in serious need of taming, I had to turn the volume down just to be able to listen to this. The snare splash is noticeably piercing to my ears. The mix seems pretty empty overall, with some instruments feeling very static such as the pad in the breakdown, which also has a pretty jarring envelope with no release but a noticeable attack time that's just... odd. The arrangement feels pretty repetitive as well. even though you introduced some neat tempo effects in some of the parts, they didn't help much to keep things interesting when all the other parts felt very samey. If the frequencies are balanced correctly, and more work is done in the arrangement so it's less copy-paste and more cool/quirky stuff, as well as working on making the more static/boring sounds more interesting, I could see this making it to the front page. But only then. NO (resubmit)
  4. Yikes, this is a tough one. I wasn't as bothered by the transition at 3:12, though it is jarring. What I find odd is the rigidness and quality of the instrument, given that you're using The Grandeur which is a decent enough instrument by itself, but here it didn't seem to have much depth to it, though that may be more due to the performance than the instrument itself as I have heard very good sounding performances done with it. Somehow it also felt very mechanical specially in the higher octaves, which is weird given that this is a recorded performance and not sequenced. I don't think the reverb settings were ideal either, I think going for a warmer tone would've given the instrument a bit more body and subtlety. I thought the arrangement was ok albeit a bit conservative, didn't feel like you took many risks here. I feel like if you had gone the extra mile with the arrangement, and the performance didn't have the timing/ overuse of hesitation issues that have been pointed by my fellow judges (and I that I agree with), I could've let this one through despite the non-ideal production. So sadly, this is a NO
  5. This mix is too compressed, sections that are meant to be calm quickly become incredibly busy. 0:34 is already very busy and muddied up by the compression bringing up so many lows to the front and making reverb/delay effects too prominent. The busiest section around 1:56 is where the mix breaks down, cymbals are crushed and the doubling of the guitars becomes quite messy. Don't get me wrong, this is a lovely arrangement, but this really needs a more relaxed mix. This may be as simple as turning down the input gain on his compressor a couple dbs, or looking into the mix, but I think it's reasonable to ask for a resub because the the mastering is hurting the listening experience enough, imo. Looking into the wave itself, the climax looks like a sausage, as expected. And that's not very good, unless you're doing certain EDM genres. EDIT: New version feels relaxed, no distortion on the second half, waveform doesn't look like a sausage. Up to the frontpage with you! YES
  6. That bass at the start doesn't sound very natural, there isn't a natural flow from one note to the next, instead they cut each other, which sounds jarring. Going into the mix, the balance is off in almost every section. I think Jive does a great job pointing out the issues here and I agree with his observations. There are some piercing frequencies in the highs that are very noticeable, and sometimes the lead guitar goes into the background (1:52) because the drums and bass (and I'm guessing, a pad) are overpowering them. I did like the drum work you did here, it certainly keeps the arrangement interesting. On the arrangement front I didn't have many issues, I can hear the source enough to believe that this doesn't need to be source-checked, but the production needs to be addressed first because it's a very big issue. NO
  7. I really liked this idea, very minimalistic, but with a wide selection of sounds to keep things interesting. The rigidity of the performances is an issue though, and something I think we cannot overlook. Other than that, I'm with MW here in that I'm more on the fence about this one since I don't hear many issues and this is a very unique remix, the types we don't get too often, which focuses on a very distinct approach and executes it very well. Overall I would really like a resub with more work put into the performances and maybe some extra spicing up of the ambience. I think you have something with potential going on here, very unique. For now though, NO (resubmit)
  8. When I started listening to this I was actually surprised that it was being NO'd by the other judges, but after a while the issues became pretty clear. Your drums are really cool, and everything you have going on in the background is great, the syncopation and odd time signature is something I really enjoyed, and in general the arrangement does a lot of things right. I just took a moment to read the other votes now and Gario is absolutely spot-on when he says " It's like purchasing a 5 star meal... then pouring ketchup all over it. " The detuned saw lead is probably the biggest problem here because everything else is just great, but this lead is just bland, generic and too pervasive throughout the duration of the song. I wasn't a fan of the basic wubs used as well, but those are given the spotlight briefly, so they aren't much of an issue to me, more of a nitpick. As MW mentioned, the track goes on for a while after it ends so you may want to cut all of that space out. NO
  9. The mix feels very messy, and the drums also have an odd quality to them. The snare has this really resonant nature... not sure I like that, and the main hats gain this swerving quality to then when the mix is going in full. As Gario pointed out, the arrangement feels pretty static throughout, and nothing really stands out to me. Perhaps a more interesting arrangement could lift this one up, along with some fixes to the way the different parts are mixed in. Gario has provided plenty of advice on the sections I think are problematic so take a close look at that. NO
  10. I could quote-vote @MindWanderer on this one. I agree with everything on his post, I'll also add that the drum loop feels very vanilla and disconnected from the mixdown, some work on the mix/mastering side could make them mesh better with the rest of the song. The instrumentation in general is also pretty basic. I think the two gentleman before me have given enough good advice, so I won't be repeating all that. NO
  11. I won't be joining this one but if anyone needs an extra set of ears or some advice, hit me up with your WIPs.
  12. It's cool that even while you're familiar with the genre, you understood right away that trap is all about them hat triplets+rolls and the correct usage of he 808 kick as your sub. I think regarding the kick you could've extended the release as a proper trap song would to cover most of the measures, without the pauses, and boost its overall presence more. So in that sense I think I agree with Deia on the kick not being quite there, but since this isn't straight-up trap, it works alright. I love me some harpsichord and this mix doesn't disappoint. The glitching towards the end keeps things interesting. I didn't find the song to be that in-your-face until the glitching and distorted sections, felt more like a slow groove that you can, uh, djp to. Production is solid, but the ending was abrupt. Overall nothing should really hold back this one from the frontpage, so up it goes! YES
  13. Inventive arrangement here with plenty of sfx used to spice things up. I have two issues with this one, the sidechain gets a bit too aggressive at some points, and the main melody disappears behind some of the noise/airy sfx. Regarding the arrangement I'm very happy the remixer took a lot of care in the mangling and splicing of the chemical zone theme and wasn't just happy with playing the source verbatim over the new edm base, which is something you hear often in the remixing community. Regarding the production, besides the issues mentioned above, it all seemed pretty clean and well-crafted. You gave everything its own space, drums were coming up crystal clear and punchy. Overall great rendition of this classic theme in a style that I can't really place in any other edm genre, but that likes to bounce between dubstep, future bass, complextro, and others. Good stuff. YES
  14. This one takes its time to develop with a very deliberate pace but everything falls into place at the climax and the build up sections didn't feel like filler but sections with their own purpose and actually interesting to listen to. Loved 2:55, this section feels very well humanized and detailed, really good stuff. The arrangement is very dynamic throughout, changing cadence as the arrangements needs to. Overall excellent arrangement, this really shows Slimy's chops. On the production side the mix is slightly low-end biased but really not an issue by any means. Instruments are clear and real. YES
  15. Man, I SO wanted to give this a pass. Beautiful arrangement, and the ambiance and style is just lovely. The handle of dynamics and humanization was great as well, but it's just the production issues holding this back. I listened on two different setups and yeah, the frequency distribution is an issue, it's mostly concentrated in the lows/low-mids, giving the mix that wetness feel (which is great and I personally love!) but also adds tons of mud (not so great =\). When checked in my analyzer it's a steep curve downwards from 1.5khz and up. The mixdown issues here are very easy to solve, so I'm sending this back and hoping Slimy gives us a cleaner mix that retains the wet and ethereal feel of this one. It may seem like rejecting this song over one issue is unfair, but it does obscure things in several places enough to take away from the experience, sadly. I'm really looking forwards to a rework. NO (please resubmit)