Nutritious

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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/
  • AIM
    Nutritious414

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
  • Last.fm Username
    Nutritious

Recent Profile Visitors

12,703 profile views
  1. Really like the instrumentation here. Really love that bass sound, which evokes old-school drum 'n' bass music. Wasn't a big fan of the stark gating at the start and end, but they were pretty brief in both instances. Clear connections to original (with very similar structure), but with some rewriting of parts and much more interesting presentation. Good production overall, though the part balancing could be a bit better. I was really on board with this for about 2/3 of the track, but then the repetitive nature of the arrangement really started to show as it really spends a lot of time treading the same ground we've already heard. I'm rarely a fan of fade-outs and this one is no exception. The arrangement with way it's structured and fadeout sounds more like a remade song from OST for a new game in the series, rather than its own standalone song. Really cool ideas, sounds, and for the most part execution, but I think there's some room to cut down on repetition and real ending (please!). Personally, I really like this song and if it doesn't pass, would love to hear it come back. NO (borderline) resubmit, please
  2. So short and sweet vote. Liking the approach. Connections & arrangement both clear and creative. I do agree to a certain extent with the leads being buried a bit, especially on the first go-around. The excessive delay at times didn't help (and actually caused some off-sounding notes just after the 1-minute mark), but it wasn't a deal-breaker for me. I agree production could use a bit more space/dynamic range, but I don't think the bar is that high on that end to hold this back. Good, fun stuff. YES
  3. Nutritious

    *NO* Deus Ex 'Infiltration'

    Off the bat, the EPiano sounds stiffly sequenced and all the elements sound pretty dry and upfront (like the acoustic kit). This pretty much becomes a non-issue as it switches gears into a nice glitchy dnb style. I 100% agree with MindWanderer here. I will agree, though, that some of the sounds are a bit bland/vanilla sounding. I wasn't really feeling the synth at 4:51, which is pretty loud, esp in the 2khz or so range. I actually wasn't a big fan of the guitar that followed as the fakey sample is pretty exposed with upfront it is. I agree the string stabs aren't really cutting it here, but they (and the piano near the end), could at the very least be helped by some reverb to soften the tones and help them blend better. Gonna reiterate that all of the sound effects have to be removed before we can post this, for which I also share the concern that they are being depended on at times to stretch the length of some sections. You may want to consider trimming a bit if this proves true. Actually, now that I write this, I'm also concerned that some of the synths used in this mix are actually sampled from the original, including the main bass synth used throughout. Warning, somewhat useless background info incoming So, back in the day, Alexander Brandon did his pc game soundtracks in a .umx soundtrack. This was true for Unreal Tournament and the original Deus Ex. I remember in the early 2000's using a Mod tracker to listen to and mess with the Unreal Tournament soundtrack, because it allowed you to access & isolate (perhaps even edit?) individual sounds used within the songs. In all, I'm pretty sure the main bass synth (used throughout) is sampled from :13 & 1:03 of the original. Also, the phased pad at 1:03 appears to be sampled from :01 of the OST. I Initially thought the synth at 2:45 sounds like it's taken from :38 of the OST, though it plays some different notes, so it's probably just a similar tone. TLDR; beyond the fact that Square Enix content needs to be removed anyway, it's worth noting that large portions of the track that connect to the OST are likely sampled from the original audio. NO
  4. Intro's got my attention immediately - I like the reversed piano effect here. Kudos for tackling a theme that's been covered many times over the years, yet finding a way to approach it creatively. This never felt predictable as far as direction and melodic approach and flows well throughout. Timing sounded a bit loose near the beginning with the tambourine. I didn't notice it as an issue after that, though. I agree the mixing is a bit weak in points. The sustained pads could be pulled back and some leads pushed forward, but I didn't hear anything egregiously wrong TBH. I can hear all the parts clearly enough throughout. The rhythm guitar notes sound a bit fakey at times, but it gets the job done. EDIT: I just read he used an organ for the rhythm sounds. Color me impressed. /EDIT Lead sequencing is well handled, especially near the end of the track. Super creative and a fun listen. YES
  5. Not much to add to what's been already said. You don't hear as much straight dubstep like this anymore, so it's cool to hear something that was started years ago, but just now getting submitted. Source connections are very clear and well integrated into the genre change. I was a bit worried about production quality at the initial onset with the drum sound choices, but they quickly resolve into the main beat, which is nice and crisp. Overall production sounds pretty solid. The song progression keeps it interesting - I especially liked the decision to go double-time @ 3:00, but was equally disappointed in how it was cut short with the sudden ending. It sounds like it's either unfinished, or leads straight to another track on an album. I have to ask if the ending is 100% intentional or if something got cut off. Regardless: YES
  6. Not much to add to what's been said. I'll echo the bass line sounded indistinct and behind a bit on timing (could be due to some atmospheric effects. I liked that it focused on the melodic elements more than the original did. Soundscape was nicely filled out as well. Clear connections to the original, but with some personalization in the instrumentation and writing. Nice, chill feel to it. Good stuff. YES
  7. Production sounds nice and clean. Great, expressive performance. Sometimes the use of emptiness and rests can convey part of the emotion of the arrangement as well. I imagine this is what would play in the aftermath of Tornado Man's meeting with Mega Man ;). Arrangement connection is clear. It's short, but definitely gets the job done. Lets goooo! YES
  8. Really digging the new direction here. Based on the source, I wouldn't have expected this style, but I do remember your contribution to the FF4 project and this is in a similar vein. Well produced overall. As mentioned, the panning creates a bit of audio imbalance when listening on headphones, but not a big deal. Some parts got a little dense, even a bit distorted, like the build to the end at 3:45. The shifting 6/8 to 7/8 time signature is cool and well executed. Very creative take on the source while keeping the connection strong. The feel reminds me a bit of the Risk Of Rain soundtrack (which is awesome, by the way). Love it. YES
  9. Pretty straightforward take on the original theme here. The connection to the OST is never in doubt here as the theme is all over this. I like the style you've brought, though I think there's more room for some liberties with the melody beyond the effects & counter melodies. Glitching around the :20 mark felt a bit awkward to me as some of the hits sounded off-beat. Seemed early in the track to be pulling this kind of breakdown-type idea out, but to each his own. I can also echo the sentiment that the energy level pretty much plateau's when it gets established. Some work on building excitement by transitioning well between low/high energy parts could go a long way here. I did like the delayed re-entry for the beat around 2:13 and there were lots of creative touches sprinkled throughout the track. Ending felt lackluster to me, but it does get the job done. YES
  10. Man, this OST is hawt. Very cool intro sequence. Balance sounds bass-heavy to me, but it didn't strike me as as much of an issue as it did some other judges. This is mainly because it didn't seem to detract from the clarity of other elements. Still, I'd personally drop it a dB or a few. Lots of energy, but also some change-ups to give the listener a break. Never a question for me as to what is being arranged here - riffs and cuts from the original are all over this. I can agree a bit on cutting down on some of the repetition, but again, it didn't strike me as a dealbreaker. I guess I can see both sides, but the issues weren't enough to bring it down for me. YES
  11. Nice opening. Bass is pretty hot. I can hear what MW meant with his crits on the synths as the first lead has a bit of a mid-heavy + buzz tone, but you can tell care was put into sequencing to give it interest and they both jive well with the style IMO. Balancing is on point with everything coming through clearly thoughout. I overlooked it initially, but the drums have a very cool core pattern. If I'm getting nitpicky, but I think there could be some more variation on it beyond the handful of fills thrown in. Perhaps something that distinguishes the A section from the B section following it. I was also concerned about source on first listen, so thanks to the other J's for the timestamp breakdown to make it easier. Really like the adaptation to the jazzy feel. I can't say I would have ever come up with this approach this this particular source (nor how I would go about doing it), but you've managed to pull off something really creative here, while maintaining connection to the original. I think the bassline possibly was intended to be an interpretation of the backing bass from the original, but it's too much of a stretch to really count it. Still, with Larry's breakdown, I'm comfortable with source usage with the other elements. As mentioned, this track is pretty short, but what's there is solid. Ending is abrupt, but doesn't feel outside the bounds of what you might hear in this genre. Wish it was longer! YES Edit: Is it safe to assume this is a GDQ reference? If so, I respectfully rebut your title: Save the frames, kill the animals!
  12. I admit, the style took me by surprise. I think it's just been a long time since I judged a electronic dance track for some reason. Really liking how you adapted the melody here. Very creative, but still clearly green hill 1. Nice, full sound here, though at times a bit cluttered in the more dense sections, as mentioned. The hit at 2:54 stuck out as an example of when ithe sound's getting distorted by pushing the limiter too hard. Overly abrupt ending could be fleshed out more as well, but not a deal-breaker there. Room for improvement, but lots of great energy, I like. YES
  13. As soon as I heard the accordion at the beginning, I knew I was going to like this. Guitars have a good sound - the double-tracked panning gives the rhythm a a really wide, encompassing sound. I agree that there could be some additional variation on the backing guitar, however. No doubt at any point what this is arranging. Connections are clear, but I felt it was personalized just fine with the performances, a bit of rubato and timing changes, etc. Nice YES
  14. Nutritious

    *NO* Secret of Mana "Heaven Forgive Me"

    From the start, the sequencing feels pretty rigid, especially with the piano hitting the same hard timbre repeatedly (though I hear the volume varies a bit). Choir that comes in later also has some rigid note changes. Balancing feels a bit off to me, like the various elements don't quite exist in the same space and volume needs to be balanced a bit more. When vocals kick in, the overall volume jumps quite a bit and the backing elements & melody from the original get pretty buried. Part of it also is there is a mix of really dry elements that are quiet, but then you have loud vocals which have delay on them (and are quite a bit louder) and guitars and drums, which sideline everything else. Arrangement-wise, this is interesting as the backing non-rock elements are almost verbatum to the OST, but the vocals, drums, & guitar are original additions. I like the energy you've brought to it, especially with some of the faster, harmonized vocal runs, but I feel it needs more development of the backing source parts to bring some more personalization to the track beyond layering stuff on top. Great start here and tons of potential. NO resubmit, please
  15. Nutritious

    *NO* Streets of Rage 2 'End of Haze'

    Gonna echo the comments on balance here. The lead gets really buried throughout by other elements, especially the rhythm guitars. I'm also not sure about the effects & tone on the initial lead guitar. Sounds like all the distortion and delay(?) is making it even harder for it to cut through the sound. 3:17 gets really busy with the constant kick drum hits along with the cymbals and loud RGuitars. Both some volume balancing and cutting some freqs from rhythm guitars (and maybe others) should help make more space. Arrangement sounds pretty straightforward and nicely handled through 1:38. After that, as with my fellow j's, I can't place what it's connecting to source-wise until 3:17 & again nothing after 3:55. If we're missing something, feel free to let us know. Would like to hear this one come back. NO resubmit, please