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

12,453 profile views
  1. 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
  2. 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
  3. 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
  4. 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
  5. 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!
  6. 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
  7. 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
  8. 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
  9. 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
  10. Nutritious

    *NO* Mega Man Zero 3 'You Don't Define Me'

    Yeah, gonna co-sign with DA/LT here. Very creative mix here. Great performances and sequencing. The mutli-vocal harmonies are super cool when they come in - I especially liked the 3:38 section. Nitpicking, the "softer" vocals before the transition at 2:01 felt very hesitant. I can understand if it's a bit high for your range, but it would sound better IMO if you can manage to sing it with a bit more confidence. I feel like this is really close to passing as-is. Getting the vocals to sit better within the mix would definitely put it over the top for me. NO resubmit, please
  11. Nutritious

    *NO* Mega Man 2 "Party Crashers"

    Man, old school Mega Man tunes are so ridiculously catchy. OK, I love me some D'N'B so diving right in. Off the bat, the overall mix didn't sound too loud as much as a bit out of balance. It sounds like some of the sub/low freqs are heavy compared to the higher end. Personally, I'd drop a bit in the sub range, and give it a bit more airy feel in the upper registers (even the bass can have have more mids/mid-high as opposed to all low), which should should give other elements like the kick a bit more room. Liking the energy here. I didn't mind the SFX so much, though it is pretty lopsided with a lot in the intro and nothing later. I agree with MW that it could be cool to maybe tone them down a bit at the start and use the sfx that compliment the other parts later. Nitpicks: phaser effect at 2:58 felt a bit tacked-on just for the sake of making it a transition. Also agreeing with MW on the repetition. We're getting some wholesale copy-pasta for decent chunks of what's here (he didn't even mention parts 2:28). Would love to hear more variation, not only in writing, but maybe a more diverse palette and perhaps also some drum variation (could half-time, alter the kick/snare 2-step pattern, etc). There's a lot of great stuff here for sure and it's a fun listen. Would love to hear it polished a bit more to really shine. NO resubmit, please
  12. Gario really nailed my thoughts on this one. Good performances and sequencing hampered by the mixing/mastering. I will add that the transition to the violin break at :44 sounded REALLY awkward. It either needs to transition smoothly to the new instrumentation or have a more dramatic build/sudden drop IMO. Right now it's in this unhappy medium that sounds more like an unfinished section. Also, while brief, the violin sounds super fakey with the quick note changes - almost like it's trying to sound like a synth stab? Again, it lands somewhere in the middle ground between realism and intentional stylisic fake and I don't think it's working. It's a great, creative take on the original and I like the approach. The deviation in the arrangement in the second half was nice, though it seemed to be wandering in a bit, with just the backing triplets holding down the connections for a while. It's a solid start, but some more work needed. Keep it up! NO resubmit, please
  13. Off the bat, there's a lot of competition for space between the various parts featuring reverb and/or delay. I agree the lead feel buried at that point and the track gets too cluttered. Still, once the beat kicks in, everything clicks a lot better for me. It's got a nice groove and great vibe to it. I would've liked some more contrast in the backing parts, specifically that slow pad which essentially plays the same two chords throughout. I honestly was a bit disappointed the same issue popped back up again at 2:54, because I was really feeling on board with this one until that point. The counter melody and other elements are coming through much more clearly than the flute lead and it's not sitting well with me. Beyond the mixing issues, I'm really liking this overall. Arrangement is conservative for a while, but branches into new territory as the mix progresses. I can see both sides, but this honestly should be a straightforward mixing fix to bring down some backing elements and boost/eq/augment the flute lead, so IMO I think it should get another mixing pass first. NO (borderline) resubmit, please
  14. Not to just echo Gario, but I'm just gonna echo Gario. Love the vibe, nice kit & beat. Agreed, though, that it's low-heavy and lacking high end clarity on any of the elements - especially the Bass which sounded overly "boomy." Also, the writing itself remains basically the same throughout, with some gradual instrument introductions and drop outs, making the whole thing feel a bit underdeveloped to me. Though I like the beat, it really needs variation in the form of fills and change-ups. GREAT start, cool song, but needs more development and some production tuning. NO resubmit, please
  15. Just chiming in to co-sign on the comments above. Nice arrangement overall. For me personally, I'd like volume a tad bit normalized so I don't have to turn up the volume to hear the quiet sections, but I can understand the reticence to lose dynamics in orchestral pieces. Just to note, the note combinations around 1:58 - 2:08 sounded off to me. It's brief, but noticeable. Good stuff here. YES