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Emunator

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  • Real Name
    Wes M.
  • Location
    Mesa, AZ
  • Occupation
    Print Specialist

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  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Piano

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  1. My fellow judges hit the nail on the head here, not much more that I can say. This shows a lot of promise for an early concept but there's a lot to learn about mixing theory to help you achieve a balanced, clean-sounding mix. There's a number of great resources on Youtube that can help you here - since this is FL Studio specific, I would check out In The Mix (https://www.youtube.com/c/inthemix). I've learned a ton about the basics of mixing and mastering a song from him. This will just be a matter of practice to get to the next level, but you've got a solid start. Hope to see you again soon! NO
  2. Cosigning the above gentlemen - nothing more to add here, I absolutely agree that deconstructing an original song and recreating it is a great tool for learning and understanding what makes an original piece work, but it's not what we're looking for here. NO
  3. I found a lot that I really enjoyed about this - your guitar tone is excellent, and for the most part, I thought your kit drums fit the style you were going for great. The weak link is definitely the kick drum though, and the bass is practically inaudible in the mix. Without any low-end presence for most of the track, it just feels imbalanced and doesn't set a solid foundation for the rest of your instruments. This especially takes the wind out of the transition at 3:55, which should pack a huge punch when the instrumentation drops back in, but it just falls flat. Source usage aside, I do think this warrants a resubmission on mixing grounds alone - the lack of bass presence is a dealbreaker, but if you were to resubmit this, I'd encourage you to include a breakdown of all the areas you used the original source and how it was adapted, so we're not potentially missing anything. NO (resubmit)
  4. Have to co-sign with the judges above - the concept is all there, it's a really beautiful fusion of melodies, but the impact of the arrangement is overshadowed by poor mixing and mastering. There's no impact to be felt because everything is slammed against the limiter so hard - everything is cranked up to 11, and because your arrangement is actually densely layered with so many layers, nothing is really coming through. While 2:20 is subjectively not too short for an arrangement, I do agree that this just fizzles out toward the end with no real climax or resolution. Especially since the original Ocarina of Time Title Theme basically hands you a perfect resolution on a silver platter, it's disappointing that this arrangement just stops mid-stream. There's a TON of potential hear, I would love to hear this back with cleaner mixing and better macro-dynamics, as well as a proper resolution to the composition. NO (resubmit!)
  5. Yeah, prophetik did a great job breaking down the specifics of why this mix is weird and where you should focus your efforts to fixing it. It was immediately obvious to my ears that something was off without even looking at a frequency analyzer. There's also a huge amount of unintentional distortion going on on the master track due to the loudness. I can't really sign off on this or give more specifics in its current form - there's a ton of energy present here and it certainly seems like you've got a lot of great ideas in the arrangement, but the mixing is actively bringing down the listening experience and needs some serious TLC. NO
  6. Professionals turning out professional-quality work. Who'd have thunk it? :) Great job Zack, even after all these years this holds up fantastically! Violin is a little shrill playing at that super high register, but that's my only beef.
  7. I'm into this! I am in the same boat as Lucas where I don't quite know what I want to do yet, but you can definitely count me in for *something* :)
  8. I found myself unfortunately siding with MW/Prophetik on this one, loving the concept but feeling like there's not quite enough connective tissue to link the bones together. Just a couple layers of texture or some additional flourishes would put this over the bar from a sound design perspective and keep it from feeling too plodding or static. Arrangement-wise, I think this could have been trimmed up and still gotten the point across, or if you were feeling ambitious, find ways to differentiate the second half from the first, but as it stands, the length isn't justified. I know project files were lost here and edits aren't possible, but hopefully the feedback can get implemented down the line in future stuff. You've got the creativity locked down, just need that last bit of polish til you're reaching that finish line with consistency! NO
  9. I've been coming back to this one many times and struggling to reach a verdict. There's a lot of things I do like about - the adaptation of the source material, the overall "vibe" of the track, and the arrangement itself, at their core, are really enjoyable. You did a great job making this into your own on the arrangement level. The tubular bells are a great touch. I can see how this won some judges over on that merit alone. I can't point to a singular issue that sinks this, but at the end of the day, I ultimately feel like the sound design and mixing lets this down. Many of the sounds used are so simplistic in tone, and the balance issues with the mix serves to accentuate these deficiencies rather than mask them. There's a lot of potential for a really groovy rhythmic cadence, but with the bass and drums being mixed so far in the background, it never feels like it locks into a groove I can really feel. The picked bass sample at :54 has a lot of potential, but it just draws attention to the fact that the bass in the rest of the track feels phoned in and doesn't have nearly the same amount of character. The rhythmic elements feel detached from the melodic ones rather than working together. The lead bell tone is very plain sounding, so coupled with the fact that they are sequenced pretty rigidly and frequently play long uninterrupted stretches of melody without anything else going on to pad it out, you draw further attention to an aspect of the track that is fundamentally not very strong. I think Rexy's suggestion about other pads/arps/keys is also one to explore. It's a lot easier to get away with using stock-sounding samples when your instrumentation is fully fleshed out. But I also think that finding ways to add more interest to your part writing, especially the lead melody, would go a long way. Here's just a few ideas that come to mind, none of which are "must-haves" but just different approaches you could explore: Listen to your drum groove and explore ways to get them to work together rather than just coexisting in the same space but never really talking to one another. Be more intentional with your velocities on a micro scale - first look at the groove you want with your beat and accentuate the on-beats and off-beats, then you can subtly track your bass and melodies to that rhythm so that there's more of a cohesive pulse to the track. Change up the lead sound occasionally with some call-and-response action with other instruments - Flexstyle said it best about music being a conversation rather than one instrument standing up and speaking their peace uninterrupted, and I will second this suggestion wholeheartedly. Selectively layer in additional belltones/keyboards during certain sections of the song. Try to put yourself in the headspace of a pop song and visualize your arrangement from a verse/chorus perspective, where you want the verse to be more subdued and the chorus to hit a little harder. Punching up certain sounds and adding or removing layers with intention can help signal to the listener where they are in the arrangement. Get a little wilder with your delay - for example, using dotted delay patterns or a stronger ping-pong effect, or automating your feedback amount toward the end of melodic phrases, for example, is a great way to add some spice to your melody lines. Just because it's a sequenced melody line doesn't mean it has to be stagnant, there's a LOT you can do with processing even the simplest of synth sounds. This same philosophy can apply to nearly any creative effect. This is one of those tough votes where no singular issue is bad enough to drag the arrangement below the bar, but there's also nothing especially captivating that pulls it up over the bar, either. I think my final verdict is that this concept absolutely has potential, but it requires more boldness, ideas, and, perhaps most importantly, intention with what it's trying to do. I do hope we see this again and I'm wholly confident you can bring this up to par, Troy :) NO (resubmit)
  10. I hate to be that guy, but that long of a stretch with audio only in the left ear is a non-starter for me. Mono/lo-fi is totally fine, but this is just painful to listen to. The rest of the track has some great bones, but the frequency spectrum does not feel like it's filled out properly in the low end, like the bass is an octave up from where it should be. All of the core components sound very good and appropriate for the genre but those two aspects are immediately putting me off here. There are other nitpicks to be had, and I think Brad did a good job covering them, but the frequency balance and (especially) the left-ear panning is enough to sink this sadly :( NO
  11. It's... fine? Yeah, I feel like I'm coming to the same conclusion on all of Jordan's submissions lately. The underlying production quality is absolutely undeniable, and the adaptation of the source material is brimming with creativity at its core, but the arrangement is phoned in. It's very obvious when making comparisons to his older tracks, where the arrangements were much more unpredictable and high-effort. I'd love to see a return to that, but all that said, there's a lot of greatness here that can't be ignored. I'm also a lot softer on repetition than some of the other judges, so at the end of the day, it passes the vibe check. Barely! YES (borderline)
  12. Astral Tales has provided a new version. @XPRTNovice @Gario @Chimpazilla @MindWanderer @prophetik music Let's see if this is enough to flip anyone's vote! I was a YES on the previous version but this one sounds even better to me.
  13. Aritst: Lunios This is an acid house spin on Lower Norfair fitting with the era of the game being the mid to late 90's.
  14. Primary Artist: Fox Ferrari This game has the best soundtrack ever
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