Jivemaster

Contributors
  • Content Count

    577
  • Joined

  • Last visited

About Jivemaster

  • Rank
    Judge

Profile Information

  • Gender
    Male
  • Location
    Australia (Brisbane, QLD)

Contact Methods

  • Website URL
    http://www.jivemaster.com

Converted

  • Biography
    Made a name for himself by being one of the first to bring old Sonic tracks back to life with some creative synthage and a touch of guitar. Now lurks the boards from time to time, adding the odd comment, and submitting the odd remix.
  • Real Name
    Joel Bird
  • Occupation
    Systems Training Officer; Producer, Designer
  • Twitter Username
    jivemaster
  • Xbox Live Gamertag
    jivebird
  • PlayStation Network ID
    jivebird
  • Steam ID
    jivebird

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Live
    Logic
    Reason
  • Software - Preferred Plugins/Libraries
    Plugins are for pussies 8-)
  • Composition & Production Skills
    Drum Programming
    Lyrics
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Electric Bass
    Electric Guitar: Rhythm
    Vocals: Male

Recent Profile Visitors

3,738 profile views
  1. Basic synths with stereo separation worked well. At 1:02 I was taken off guard by the direction of the arrangement. While I usually find the use of sound fx from the game a remix is based on to be cheap and often irritating, but here it works rhythmically to complement the arrangement as opposed to acting as cheap filler. The following transition where strings were introduced was a nice change. Percussion that is mixed throughout fits well, and helps to differentiate this from other minimal mixes. Creative take on the original. YES
  2. Jivemaster

    *NO* Adventures of Lolo 'Tresillolo'

    I thought things started off ok - no major production issues from me (which I would expect from a solo piano mix). Piano could do with being a bit less stiff. As we hit the 1:17 mark, I found there wasn’t much in the way of personal interpretation of the original - apart from short licks at the end of each set of bars, things remain relatively similar right through to the conclusion. From my perspective, your mix has a good foundation here for some personalisation … and that kind of sums up how I feel where this is at currently - a starting point for something bigger. The repetitive nature of the original comes through too much here, and there’s a lot of potential to build this into something more substantial. I would like you to revisit this and see what you can come up with. NO
  3. Reminds me of something out of a Tarantino film. Guitar twang and all. The arrangement while fairly minimal, has a reasonable amount of changes. Some things repeat at little too much for my taste, but I think they change enough to maintain interest. The fade-out at the end could’ve been done differently, but I do like how things changed up for that final section. Production quality is ok here, mostly passable. I felt the percussion on the right ear was quite loud but things weren’t too off balance. I agree some of the percussion patterns were a repetitive and stiff at times, the lack of humanisation there detracted a bit from the overall presentation, but not so much to ruin the track overall. I think this gets the job done. It’s certainly a unique take on the original. YES
  4. Enjoyable rendition. Agree that things were mixed too quietly - not a major issue but the overall volume could've been bumped up a tad for this one. I appreciated the variance of instrument lead in each section, parts drifted in out making way for the next transition. The changes to the main melody early in the mix are subtle but add much needed originality. Things felt like they had wound up at the 2:20 mark but built up again, adding further original material. The attention to detail here IMO was quite good, natural changes in pace and velocity. Short, sweet and whimsical. YES
  5. Nice little buzzy bass line. The vocals seem to work well and harmonise nicely with each other. There is a bit of dissonance between the piano backing notes and the main vocal melody however, which I found a little jarring and became a persistent problem throughout most of the arrangement. Production wise, vocals are up front and centre, with backups mostly centred as well. This makes the centre of the mix quite crowded. Things are mostly easy to hear when where aren’t too many things happening, but clarity drops when things like SFX and strings drop in. The outro is relatively sudden and I feel it could’ve had more done to close things out. I think the dissonant disparity between the backing and vocals is something that doesn’t quite work here. Mixing could also do with a revisit for clarity in built up areas. I would like a revisit to see what can be improved. NO
  6. While I'm not an expert, I thought the opening choir was well done, with solid integration of the other elements as they come in over time. Mixing between parts is largely well done, with good use of the stereo space. Some parts could do with slightly more foreground/background separation. The progression is not rushed, although changes could do with occurring a little more quickly. I also feel things were played a little too safe at times, with a lot of the original's cue's being relied on. I would have liked to hear some further originality mixed through. These crits aside, I think this is well done, a softer paced rendition, maintaining the angst of the original. YES
  7. A great adaption of the original. The instrumentation here works well, the sparkly and distorted guitars have a nice tone. When the bass drops in just after the one minute mark, the full soundscape features a good mix of instruments, with some decent mixing. The individual parts do sometimes get drowned out though, especially in the solo section starting at 2:33. This is where the mix loses some points due to ineffective (crowded) mixing. I think some of the parts here weren't needed, and the section would've still retained the same impact if the unessential layers were dialled back in volume or completely removed. The rest of the track is mostly well done, although the drums do feel somewhat muffled. The arrangement while slow, progresses relatively well. There was a little too much build-up before the mix actually got going, but these portions were still interesting in their own way. YES
  8. Hits full force on the first note. Lots of varied sounds, growls and sfx, although the first minute does become slightly repetitive by the time we hit 0:50. The following break certainly helps with bringing in much needed variation. The change of pacing here is great as well. 1:45 we break again with ‘lil spacey build-up, and back into the main growly hook. 2:19 again departs from the main progression dialling back layers and introducing elements back in slowly for a final build-up. 3:11 picks up the pacing to take us out, which appears to abruptly end on the final second. What you have here is done well, and while each section isn’t as varied as I would’ve expected for this style of music (with some elements being reused a bit too much), you do have a lot of arrangement variation which makes up for it. I think the drums hit well and you don’t overcrowd the sonic space too much with additional elements. The abrupt ending didn’t feel right though, it initially felt like a mistake in rendering or my download didn’t finish properly. Overall a nice take on the original. YES
  9. The big synths in stereo spread add a lot of width and impact, and while they draw a lot of attention, they surprisingly don’t take up as much of the low end as I was expecting. As the mix progresses however the bigness of these synths seem to be the main causality for your mix issues - mixing levels are affected due to the size (volume and sonic space) of some of these synths, needing other parts to be cranked up so they can be heard. Better use of complementary EQ curves would’ve worked better here, and further to this I feel some additional thought should've gone into selecting what should be foreground and background material, because a lot of of what you have going on wants to be both. Some of the lighter drum rolls are overpowered by the strength of the synths. There isn’t any major breathing room issues otherwise, which I also found surprising considering the volume that everything is trying to pump out at. I think the arrangement is a good take on the original - while it follows somewhat of a similar structure, it does bring in a number of lead elements (riffing) which do add to the mixes own identity. Mixing problems aside, I don’t have any major issues here. YES
  10. Intro builds up steadily. Lead melody hits us sparsely at 0:40. The pacing while punchy, carries a calming feel with it. Instrumentation is fairly minimal as we hit the first breakdown at 1:40. A pair of plucky sounds build things back up into a full soundscape from 2:15 and again at 2:41 where the main hook plays. Instrumentation still remains fairly basic but does the job well. The second breakdown at 3:36 changes up the melody and rhythm with mostly familiar backing elements. I found the sound effect at 4:33 a little jarring, it plays a little too long and carries some sharpness. Things close off fairly suddenly after the 5 minute mark and could've been more developed. On the mixing side things are done fairly well - while improvement could be made with some of the separation each part, I feel things are audible and well fit into the sonic space provided to them. The same sound fx were used a little too often for my taste, and I would have preferred to have heard some more varied sounds across the mix in general to make things feel more varied - particularly during extended sections of similar melodic content. Overall, some niggling concerns with SFX and variance in arrangement - but not enough in my opinion to drag this back. A solid interpretation of the original. YES
  11. Jivemaster

    OCR03810 - *YES* Mega Man 2 "Made of Metal"

    Good use of stereo space. Synths are crisp, with a nice air to them. Dynamics are punchy, with a solid rhythm driving the mix forward. Separation of the instruments is achieved quite well, with a good amount of low end on the bass instruments that doesn't interfere with the other parts playing along. Arrangement progression does feel a little samey at times, despite featuring a number of transitions to different melodies (or variations thereof). This is mostly due to the underlying elements being relatively static, but thankfully, creative use of glitching and the introduction of different lead sounds add much needed variation to the mix as it progresses. The break starting at 3:25 provided an enjoyable change of pace, which I feel could've occurred earlier. The glitch filled ending sequence was relatively clever but could've been more musical. Overall, while the mix is somewhat predictable given the source material, things are well presented and move along at a solid pace. No major issues. YES
  12. Sounds good. Well done making this more humanised, it adds to the emotive nature that you were already trying to capture with the original submission. Tone seems good, arrangement felt well paced from start to finish. I don't have any further issues with this one. YES
  13. Good use of stereo panning for the synths here, with their movement and bouncing between channels giving the minimal instrumentation the illusion of being bigger than it actually is. The early break to introduce the main theme was a nice and simple departure from the initial build-up. While pacing is slower than expected, the arrangement progressed well, with a variety of synths and changes in lead working to keep things moving. The kick has decent weight to it, and the 8-bit synth and its associated riffing were welcome additions in the second half. Things return to earlier territory to take us out, which is probably the main area I would suggest improvement - I would've liked to have seen some further original ideas over the final bars. Regardless, this is a creative adaption of the original with its own rhythm and personality, a solid effort. YES
  14. Quiet yet emotive intro. Performance is strong, with variable pacing throughout. Mixing is serviceable (although overall volume could do with a slight bump), and there is a good amount of air to the notes played. Nothing here feels repeated, even though each section is quite minimal. Due to the slow pacing and minimal nature of the mix, this does feel quite short - leaving the listener with a feeling of wanting more. Not necessarily a bad thing, but I would have liked to hear some further evolution of the source tune. Otherwise, what is here is done well. YES
  15. On the mixing side there's a noticeable bias towards the right channel in a lot of sections which I feel could've been balanced better. The arrangement's progression works well, lots of section changes with timing and other effects used. The early bridge section at 1:15 was an interesting surprise, a complete departure from everything to that point, making good use of guitar tone and accompanying FX for that atmospheric spacey feel. The synths that appear across the mix are basic in nature but surprisingly fit in well with the guitars, although again, panning was a bit of an issue for me across different sections. Overall a very creative take on the original - a mix that drops a bunch of ideas relatively quickly without overstaying its welcome. YES