Nutritious

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    2,189
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About Nutritious

  • Rank
    Judge, Portrait of a Plumber Director

Profile Information

  • Gender
    Male
  • Location
    Norcal

Contact Methods

  • Website URL
    https://www.facebook.com/Justin-Medford-10309208402/

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Software - Preferred Plugins/Libraries
    EWQLSO, Massive, SampleTank, T-Racks
  • Composition & Production Skills
    Arrangement & Orchestration
    Recording Facilities
  • Instrumental & Vocal Skills (List)
    Flute
    Saxophone: Alto
    Vocals: Male

Converted

  • Real Name
    Justin M
  • Occupation
    Sr. Financial Analyst
  • Twitter Username
    NutriMusic

Recent Profile Visitors

13,727 profile views
  1. Chimp really nailed my feelings on this track. I'm especially nodding my head at the crits on the levels/compression (I just judged a track with similar issues). I think this would be served so much better by backing off the levels a bit and letting your instruments/synths breathe a bit so we get better presence & tone out each of them. I also agree that 2:43-3:26 felt longer than it needed to be. Maybe I'm missing some subtle changes, but the last run through on the main melody felt like just a retread of what we've already heard in the beginning half, so it would be nice (though not necessary) to bring something else/different to differentiate it from the beginning. It may not be the most creative take on Mute City, but the arrangement is solid and there are good, creative ideas on display here. I think this is close. I'd probably go for it even if just the levels/compression were toned down a bit. Keep at it! NO (borderline) resubmit, please
  2. Late to the party on this one. I have to say, I love the writing on here and the energy is fantastic. It builds excitement very well up until the very end. I really love this track. I definitely agree with the concerns on the mixing. This is pretty imbalanced in the EQ ranges (heavier in the mid/mid-low range, lacking in highs), has muddiness from parts bleeding together and becoming indistinct (listen from 2:58 on, with everything going at the same time), as well as general instrument levels. Normally, I try to give specific tips on how to improve things, but with something as complex as the mixing and mastering process, that's really difficult to do here without being hands-on with the song and showing you. Here's the best I can say at a distance: 1. Take a well-mixed/mastered track in a similar genre and listen side-by-side with your track to get a general idea of levels, balance, etc. you should be trying to attain. Listen to how leads cut through, but don't dominate the mix. How backing instruments fill up space, but don't overcrowd, things like that. 2. Practice doing a proper mixdown, lowering all the faders for your instruments and then raising them up to listening levels one by one. Personally, I'd set the track to loop on a problematic section like the last :45 or so and listen for when you hit the point where instruments start getting cluttered together and do some tasteful (light) EQ, panning, and/or compression to try to tame the worst offenders. I want to reiterate that this is a really fantastic track and can only get better with some improved production, so don't be discouraged!! NO please resubmit!
  3. Interesting concept going with different winter themes from multiple mario games. Going to echo concerns on the transitions. :08 off the bat felt a bit jarring to me. Maybe the timing is slightly rushed or the way everything comes in suddenly. :48 on the other hand was more just weaker writing connections between the two themes, but wasn't as jarring. Ditto for 1:30. 1:52 is a full stop and restart with something else. Can't help feeling like themes could be blended better together overall. I liked the flute lead and overall organic feel to it. The exception, perhaps, being the accordion sequencing - but I can tell there was effort put into trying to humanize it. Connections are very clear, but personalized nicely with counter play and other added notes/changes. Balance-wise, I agree the tambourine was a bit hot, but not excessively so. Overall, I can hear all of the various instruments pretty clearly. I can see both sides on this one for sure. While it has its flaws, I feel like it's bringing enough to the table interpretively and technically to just push it over. YES (borderline)
  4. Not much to add here. This song is fantastic. However, I'm pretty much getting the same source breakdown as Larry. I can say from experienc, it's pretty difficult to stretch a pretty sparse and repetitious original to a full length remix. Maybe if you could figure out how to get that 6 note motif to carry through the track in more places in creative ways to anchor it to the OST we could get it going. Again, great track. Production sounds solid and the vocal performance is excellent. Regardless of the result here, I hope you can release it for folks to enjoy. NO
  5. What a fantastically produced and executed track. Great performances, very clear production and good balances. Darn it, I wish there was more source in here. Improv is a centerpiece to Jazz music, but somehow this would need these extended sections anchored to the OST. Overall, there's more original stuff than Zelda stuff. This song is awesome. I wish I could pass it. NO
  6. This is a very similar approach to the original in instrumentation, writing, style, tempo, etc. I literally was able to sync both tracks simultaneously and they adhere completely with each other as the track progresses in all the core elements for the first 1:30 or so. This, unfortunately is going to disqualify this one off the bat with our arrangement standards. We're really looking for more interpretation, rather than covers or sound upgrades of the original songs. On the production side, the balance and levels need some tweaking as some elements are significantly higher than other (cymbals, bass synth at 1:30, etc) and there's noticeable distortion on the cymbal hits due to pushing the volume too hard. Overall, it's loud and crowded when things going and it just gets worse as the song progresses and more instrumentation is added. I don't want to take away from your effort here, it's a fun concept and would sound really cool if the production issues were fixed, but it doesn't align with the philosophy of OCR. NO
  7. Wow, this is a really pretty source tune. Has a sad vibe to it. On to the mix: Cool take with the instrumentation. The pace and beat already feel like they're plodding a bit, though. I think the writing may need a rework on the drum part at the very least to make it feel more natural at this pace. Timing also felt really loose at times, like :41, 1:06, 3:03. Layered in with other elements, the drums sounds seemed ok, but when alone and/or when the sequencing doesn't sound natural, they get more exposed and fakey sounding. A few nitpicks: 1:30 & 1:38 (and elsewhere, but here most notably) there are some hard bass notes that stick out of nowhere above all the others, probably because of the way this particular instrument was sampled. When I'm using an instrument that has some obvious timbre changes between notes, I've sometimes been able to get around it instead using a note above or below the offending note and pitch bending them up or down to match. I do want to emphasize that this type of approach is extremely difficult to pull off - doubly so with sequenced instruments because it's so easy for the sample or sequencing to become exposed in a solemn, spare arrangement. So big kudos for putting yourself out there and going for it. At the same time, I really got the feeling that this sounded more of a scratch vocal/instrument recording than a finished product. With some work, I could see this one getting the nod. NO resubmit, please
  8. Cosigning this. Ooh, I love the way this starts off. The backing synth reminds me of the Tron soundtrack. I wasn't as big on the beat when it came in, since it sticks out a bit on top of the other elements for a while until the sub comes in. Overall, I still like the vibe. I'm going to echo some of the concerns above on repetition really hurting this one, but I actually felt like 1:30 already could've used more contrast from the previous section, sound texture wise. Though, the following sections had some nice development in the writing, the textures and energy level felt pretty static for much of the track. I agree with Larry that this could just have a reworked 3:31 and on and be good to go. I'd also consider bit more contrast in the sounds used between some of the main sections. In all, I really like this song and the approach. A lot. Looking forward to hearing it come back. NO resubmit, please
  9. Co-signing this one. Liking the approach with the distant reverbed synth leading things off. Good way to catch the listener's attention. Unfortunately, the very next synth (and things like hat hits) are super loud. I had to turn the volume down quite a bit to listen after the :10 mark. At 1:12, when it transitions, the sustained whole note synth really crowds out everything else and it gets really cluttered. Overall, despite being really loud in general, the mix itself seems to have some gaps in the mid-lows/lows range, making it top-heavy. I don't want to take away from your creativity and effort here, though. There are good ideas coming through, but it's hard to appreciate them with the balances/loudness so out of whack and the grating synth textures. Keep working at your craft! NO
  10. Great points by Larry above. Off the bat, the mix is sounded a bit cluttered and over-compressed, especially when it has loud leads/backing elements + kick/snare hitting at the same time. Specifically, listen to the snare in places like :12 - :18, :32, :39, :45-:47, etc.. Because the compressor is getting hit too hard, it's smashing the snare sound and making it sound slappy/hollow. It's hard to put into words, but try to listen to how it changes tone depending on how much is going on in the mix. Rebalancing the mix overall, perhaps dropping some of the supporting elements, or carving out some EQ space for everything to sit better together should help. I don't really have a problem with the lower tempo, but I can agree that the piece felt plodding at times. The backing rhythm patterns are well written, with drums fills to transition sections, but I think it needs to be varied more within the sections so you don't get the near-constant 2/4 snare, kick pattern, and off-beat hats for the whole track. I think the sound choices were pretty solid here. I liked the bass writing, though I honestly didn't notice it until I read the write-up and was listening for it. The other elements really command more listener attention at their levels. Guitar performance was solid. Sax sounded cool as well. I'm almost never a fan of fadeout endings, and this isn't really an exception. I do think I see what you're going for, though, almost as if this track could appear in a Street Fighter game and it's presented in a way that a looping OST would be. Overall it's a very solid start and I could get on board with some production tweaks and some variation mentioned above. NO resubmit, please
  11. Funky source, love it. MW really nailed my thoughts on this. I agree this is mixed on the quiet side and that things need to be balanced better. The loudest element by far is the rhythm guitar, while the drums get really buried in the background. Really nice performances on display here, however, and while the arrangement is pretty conservative, I like what you've brought with the nuances of the live performances. I enjoy this a lot overall and I think it could pass even with just some better balancing (and perhaps some variation on the acoustic guitar). NO (borderline) resubmit, please
  12. Sheesh, if this is your first foray into a full mix, color me very impressed. My first (many) attempts sounded like garbage compared to this. Nice full soundscape to start things off, perhaps slightly too much so. Some of the bass a rhythm guitar freqs sound like they're stepping on each other a bit and when they get louder, are causing some muddiness/distortion. Listen to the hit at 4:10 when everything is going together, it's the most prominent example. I remember years ago when I was a wee-little remixer and Larry chiding me for trying to cram all of the elements of the mix together for the finale section of my songs. I'll pass on the same advice that you may want to cut back a bit on how many parts are playing at once, as you can still get the dramatic dynamics without throwing ALL of the instruments together. I also agree on the aforementioned issues with the lead guitar. It's very robotic in the way it's sequenced, especially when it's just playing repeated quarter notes. The woodwind lead is also a bit stilted, but not nearly as much so. The strings really didn't bother me as is - I feel like they compliment the style. I'm not sure I'd pan quite as hard to the sides as you did with some of the elements. I want to reiterate that this is a really solid effort and not far off the bar IMO. It's got some great emotion behind it and some solid writing. With some cleaning up on the mixing side and humanization on the leads, I'd be 100% on board. NO resubmit, please
  13. Liking your take on the theme here. Very creative, more upbeat, very ocr-esque. Good energy and use of complimentary sound ideas. Personally, I felt like the mix sounded a bit dry - at least until the beats really kick in. It gets a little dense at that point, so I guess you risk making it really cluttered by adding 'verb. Still, I think adding a touch (more) reverb could be in order to give the sounds more depth. All in all, though, good stuff. YES
  14. Oh, hey, I also have an orchestral track with "courage" in the title that remixes this theme. Aaaand that's about where the similarities end... spoiler: this one's better Beautiful orchestration here. As mentioned, it's follows a similar structure to the original, but with plenty of complimentary part writing to expand on it and fill out the composition. I did feel like the direction got a bit lost/plodding a couple times, specifically 2:34 where you've been winding the track down to soft section, then another main chorus crashes in, negating the nice transition you created. Also, 3:01 - 3:15 with the root/chords not really seeming to match the melody. I especially liked the addition of the 3:16 section (besides the random cymbal hit that comes out of nowhere). Very minor note, but 3:40 could've used a better transition to bring back the main melody. Nitpick: sounds like an accidental extra note included in the woodwinds at 3:43. Production is nice and clear, also well-balanced. I was bothered a bit by the repeated sustained string notes with the same somewhat hard vibrato - it starts to stick out the longer that section goes as unnatural. The percussion also felt repetitive after a while as it goes on autopilot for decent stretches of the track with that hand drum/tambourine. Overall, these issues aside, this is a beautiful track and very pleasant to listen to. YES
  15. Beautiful intro, beautiful arrangement. Blending natural instruments and synths like this doesn't really bug me. Previous J's have hit my main points, though. The left hand piano runs sound very robotic. If you think about it, no player's hand is going to be flying around hitting each note that quickly with the same velocity and tone on each. It's hard to humanize stuff like that, I know, but I think this has plenty of room for improvement in that regard - either by better velocity (maybe even timing) variation or just simplifying the part so it's easier to make it sound more natural. Cymbal hit at :33 sounds like it's overcooked in the high end or overcompressed or too synthy or something. It doesn't sound right to me every time it hits. I'll note, the bass buzzing doesn't bother me either. Gives the mix a more "live" feeling. I'll cast my vote for a bit more developed ending as well, but IMO that's not as important as the previously mentioned issues. It's a great mix, just needs some more TLC. NO resubmit, please