Emunator

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About Emunator

  • Rank
    Judge, Double the Trouble! Director

Profile Information

  • Gender
    Male
  • Location
    Mesa, AZ

Contact Methods

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

Artist Settings

  • 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

Converted

  • Real Name
    Wes M.
  • Occupation
    Print Specialist
  • Twitter Username
    Emunator
  • PlayStation Network ID
    Emunator-

Recent Profile Visitors

18,632 profile views
  1. Gotta agree with the others that this has a very "demo" quality to it. That's not inherently a bad thing - there's some wonderful ideas here, and even more diverse of an instrument selection than normal for you I listened to the remix before the source, and I was not expecting what I heard at all, which means that you did a pretty good job creating an arrangement that is unexpected I'm not going to rehash the same mixing critiques other than co-sign Bev and Brad, but this suffers from the same lackluster mastering and production as some of your other recent mixes. Thankfully, I don't hear anything majorly wrong with the recording quality, but the production could be so much more punchy and energetic to match the performances you have going on. Practice A/B comparisons between professionally-mastered tracks that you enjoy and I think you'll hear the difference in a way that can be actionable for your future mixes! I noticed prophetik called attention to the opening piano riff and its repetitiveness, and I also wanted to highlight how that part felt pasted on and lacked cohesion with the rest of the mix. The piano riffs elsewhere in the song sound much better integrated, but that particular riff just sounds awkward and dry. This one has great potential and is one of the most energetic, fun arrangements I've heard from you, but now it needs a mixdown that does justice to your performances. I hope this feedback is helpful, I am excited to see how you improve and keep mastering your craft! NO
  2. OW! Please make sure to put a limiter on your master track to prevent clipping, there are a few points in this arrangement where your track clips over 0.0dB and it's extremely harsh on the ears. Aside from that, there's a real charm to this synthetic surf rock thing you've got going here! I'm usually put off by all but the highest-end synth guitars, but this actually worked for me in many ways. The distorted organ was also pretty cool sounding. Aside from your lead instruments, however, the sequencing on this track is incredibly robotic - they're quantized hard to the grid, coupled with a lack of variation in velocity for the notes. I would love to hear a version of this where the drums/bass/other rhythmic elements were sequenced more like a human would play them. You could have also gone a lot further to spice up moments like 1:58 by writing a more energetic drum fill. Breaking down to just drums is a great choice to let the track breathe before the solo that follows, but the drums feel too basic to hold my attention as a solo element. This is a pretty cool take on the Mach Rider theme, but the production and sequencing needs some work. Thanks for the submission though, good luck! NO
  3. Ruku! This has all the vibes I expected from his previous work. Love love LOVE the drumwork and the slightly wonky piano on this, and the periodic phaser sweeps are crisp. I strongly feel like this arrangement could be cut down to be a little more concise and still have the same effect. At nearly 4 minutes without much change in instrumentation, it sounds like this was almost meant to be more of a beat than an actual song arrangement. Not saying this NEEDS vocals or anything to pass, but without some a more salient hook to grab onto, I don't know if the length is justified. The bigger concern is the mastering. I don't think a high level of compression is necessarily a bad thing - I A/B compared this with some Nujabes and Uyama Hiroto tracks and those are also mastered with pretty heavy compression. You're honestly not far off the mark. I think part of the issue here is that the lower piano chords start to bleed and lose definition when they're hit hard by the compressor, and since the chord writing is so thick and there's so many additional instruments, everything starts to become indistinct and muddy - much moreso than you would experience using the same mastering chain on a track with more breathing room in the instruments themselves. I think relaxing your master compression and opting for a slightly faster attack, as well as looking at compression levels on individual instruments like the piano, will make a world of difference, even if it's done subtly. This was a close call for me, and I want to stress that I *really* want to see this sent back to us. I love this genre and would love to see more representation on OCR! NO (please resubmit!)
  4. Really astute observation from Rexy on the piano tone - I don't know if I would have been able to articulate it as well as her but it really does function oddly here. It feels too subtle to truly be experimental, but also too unusual to register as a normal piano. My impression as a listener is that you were trying to go for something with a more experimental tone. If that's the case, I would recommend letting the formant of the piano sound more natural and really let the notes breathe and express themselves through reversed effects, delays, reverbs, other layered instruments with more of a natural attack/tail, or any number of other creative effects. There's a lot of ways to get the effect you may have been aiming for, but whether it was a stylistic choice or an error, it just doesn't sit right with me. I also agree that the mixdown is not where it needs to be. The accordion and winds sound great, but as a whole the track is undercompressed and you have certain instruments (i.e. bass drum) muddying up the soundscape and clashing with some of the mid-frequency winds. There's a lot of headroom left in the mastering, so I would strongly recommend normalizing your track levels and adding more compression to your master chain. As with many of your other arrangements, the arrangement is solid but the production quality is holding it back from achieving its true potential. I hope you can take this feedback to heart and continue improving on the technical side of things, because you're a really talented instrumentalist and you clearly have a strong artistic vision with your body of work as a whole. I'm confident you can get to the point where your submissions are hitting the mark every time NO
  5. I think Rexy/prophetik hit the nail on the head with all of the issues present here, but I really want to stress that there's great potential here, whether it's this arrangement or another one in a similar style. I admire the bravery to tackle a source like this, and I found it to be an enjoyable listen overall! The choir was really the only part that sonically stood out as weak, the main issue is just the lack of development. The arrangement doesn't need to kick into a higher gear, energy-wise, but more variation and one-shot sounds to keep the listener engaged would go a long way here. Would love to hear something like this from you again, you've got a great sense for ambient new age, there's just a few things holding it back currently. NO (resubmit!)
  6. Wow, this ALSO slaps! jnWake is killing it today Really ambitious take that never felt too big for its boots, it felt cohesive and enjoyable to listen to at all times.
  7. Damn solid! The live instruments and the sequenced ones gel pretty well together, and the production is on-point. Paper Mario is such an underrepresented franchise from a remixing standpoint, so I'm grateful that this mix saw the light of day even though the project never came to fruition.
  8. Right off the bat, there seems to be a load of timing issues on this track. I will admit that I'm not the best at articulating issues with timing, so I hope some of my fellow judges can elaborate on this, but the rhythm on the ride cymbal feels like it's on a completely different swing timing from the rest of the instrumentation. The piano was unfortunately not a strong way to start off this track in general - the sequencing felt rigid, the sample was not particularly strong, and it felt out-of-time with the beat. It almost sounds as if you tried to add some humanization to the groove by manually shifting certain notes around, but went too far and ended up causing it to feel sloppy. Things definitely came together better once the guitar and e-piano came in. Your guitar tone and playing is excellent for this style, the rhodes piano is a much more complementary sample to the rest of the instruments, and you reigned in your timing better. This sounds really pleasant. At 1:12, the problematic ride cymbals and piano come back again and it makes it very obvious to me that this next section is just directly copied and pasted from earlier in the song. I did a side-by-side comparison and everything from 1:12 through 2:20 sounds almost identical to earlier in the song. I don't mean to be harsh here, but there's still a ways to go on this arrangement before it's ready for the OCR front page. Love the vibe you've laid down, and your guitar chops are great, but the rest of this is not clicking as well for me. It's not bad at all for a first attempt in this style though, so as you hone your skills, I do hope we hear more from you NO
  9. This is a fun remake and and enjoyable listen, but I agree with my fellow judges that there's a few issues with this submission from OCR's standpoint. The biggest concern I have is the repetitiveness and closeness to the original song. Although this works great for a tribute album like the one you created it for and I'm sure there are many fans that will enjoy this, OCRemix is looking for a greater level of interpretation in terms of sound design and arrangement. For the majority of your song, you stick very closely to the original in terms of sound choices and arrangement. In fact, the first three minutes of the song consist of 3 very similar sections that all feel more or less the same to me. It's not until 3:21 that we hear anything that sounds substantially different. I will also echo the critique about the hi-hat writing, which feels like it's set to autopilot for the entire track and doesn't match the energetic performance of the rest of the drums. As others have said, I have no doubt that fans of the Jazz Jackrabbit games will enjoy what you've done here and it's a perfectly fine tribute, but for OCR specifically, we're looking for a higher level of re-imagination. I hope this doesn't discourage you from submitting in the future, but I don't think this at that level yet. NO
  10. There is a lot to unpack here! The original Iceberg theme is all over the place, and this is appropriately diverse too. Moments like the transition at :30 came out of nowhere but really felt exciting to me. Your contrast between heavy metal and more traditional chiptune instruments is your greatest strength here. The guitar solo is badass, too. That said, I feel like this track is not fully developed. The arrangement, when you trim off the first 3 seconds of silence, is barely over 2 minutes long, and it ends in a very disappointing fadeout. It sounds like you had more ideas and room to explore at the end of the song but chose not to finish, which is unfortunate. We have passed songs that were this short before, but they need to sound like a complete idea, and the fadeout makes this feel unfinished. I can't tell if you are directly sampling the original game audio throughout this song or if it's just a very closely-recreated sound match from MIDI data, but the opening chords as well as some instrumentation around :30 sounds like it might be a direct in-game sample. Hopefully some other judges can look into this and see if they feel like this is something to be concerned about. Production-wise, this sounds about like what I'd expect from metalcore, where the mixing is intentionally heavy, abrasive, and a little bit lo-fi. I don't have any major complaints on that, although the master compression is over-the-top, especially during the metalcore sections. Ultimately, you have a really strong, creative concept, but the song needs more to it before it's ready for posting in my opinion. Regardless of whether you resubmit this, it's a very cool take and I had fun listening to what you did here. NO (resubmit)
  11. This source tune is one of my favorite from any game in recent memory, so I can see why your gut instinct would be to hew closely to the original source material. Unfortunately, without live performers and the highest-quality instruments, this falls flat in some areas compared to the original, and the arrangement isn't substantially different enough for most of the duration to discourage those kinds of direct comparisons. The choir and flute are both very exposed in the mix and, as Larry pointed out, gets particularly muddy and dominant when they hit their loudest peaks. The piano does not feel properly humanized - although the original riff is also very staccato and played in a rather unconventional way, this piano sample simply doesn't seem as expressive and the timing is just a bit too rigid. I like this in a bubble despite my mixing and instrument quality criticisms, but at the end of the day I don't find this to be substantially transformative when compared side-by-side with the original, and the production issues make it harder to justify passing in its current form. Sorry! NO
  12. This arrangement does have a lot going for it. There's some very satisfying sub frequencies going on in your mix, and I like the overall mixture of chill instrumentation and harder trap beats. The main issues I'm picking up on are sound design on your lead instruments, and the levels of your instruments. Starting off with the sound design, I thought things were relatively solid up until 1:15. The pulsewave lead is incredibly loud in the mix and does not fit with the rest of the soundscape in terms of reverb or overall texture. It sticks out like a sore thumb, I would strongly consider revisiting that lead in general and bringing the levels down. The piano sound, similarly, is a dry, tinny sample that doesn't fit well with the rest of the song. You might be able to get some of the way with EQ work to soften the tone of the piano, but honestly you might be better served by finding a different piano sample or using a different instrument entirely. Sir_NutS did a great job explaining the issues I have with the drums so I won't go further than co-signing his thoughts. The ending is also way too sudden and doesn't offer any proper resolution. Aside from that, I actually really enjoyed the bones of your arrangement and how you interpreted the source, so I think this is worth a second pass at! Good luck NO (resubmit)
  13. This is really great! The groove is strong and the sound design complements the original while decisively stepping up the energy a notch. One critique I have is that the leads are getting eaten up in the overall mix - your melody lines are all there and they sound great, but the backbeat sounds like it's mixed much higher than the leads and doesn't give them enough breathing room. If you are planning on submitting this, I would recommend addressing that first. DarkSim also brought up a good point that the dynamic range between the verses and chorus could be a little more pronounced. Really enjoyable listen even in its current form - I think it has a bit of room for improvement but I do hope you submit this eventually We need more Celeste representation on OCR!
  14. Very cool instrumentation choices here, it works perfectly for the source material. It wouldn't feel out of place in a medieval renaissance festival. The instrument performances were pretty solid across the board, so I don't have any issues there. My main qualms with this arrangement boil down to repetitiveness, both from an arrangement perspective and a rhythmic one. This arrangement frequently finds its way back to the same core patterns and rhythms on the stringed instruments, and despite some subtle variations, this grew stale for me around the 2 minute mark. It's rare that I suggest taking such a short arrangement and making it even shorter, but I felt that this arrangement either needs to be more concise, or (preferably) introduce some new original content to provide a reprieve from the same rhythms that loop almost every 4 bars. The original soloing is a step in the right direction, but I would also like to hear the backing instrumentation go in some more unique directions, as well. I found some great potential here, but the arrangement still needs some time in the oven to keep it fresh throughout its whole duration. NO (resubmit!)
  15. This arrangement is brimming with personality! I agree with the others that the true strength here lies in how successfully you adapted the original source material to something tasteful and listenable without doing a full 180 on the peppy circus vibe of the original source. For as little material as you're working with, the arrangement never feels like it's treading water. Your sound design is no slouch either - the rich, bubbly bassline sits perfectly against the lo-fi synths that fill out the mid/high range, and the breakbeat drums keep the pace upbeat while contributing a warm, scratchy texture to the mix. I'm honestly not hearing any of the complaints about the leads not cutting through enough - I personally wouldn't have wanted the leads to be too in-your-face for this style of arrangement, so I agree with Eino's mixing decisions here. I thought this clicked on just about every level (except for the abrupt ending that unfortunately fizzles out) and ended up delivering WAY more than I expected from the source tune. Nice work! YES