Chimpazilla   Judges ⚖️

You never waste time here, your replies are always short and witty (I love that tbh). And yeah if you have the ability to make music at work (or tweak or w/e), DOOOOO EEEEET.

You ARE kidding me, right? I am learning Cubase, and also attempting to learn Vienna Ensemble Pro to run inside of Cubase. Tweaking and learning routing is all I've been doing for about two weeks. But yeah, I'm doing that instead of typing about it to you guys. (oh and I'm loving it)

Now ^that^ is the first sensible thing I've seen in this thread. While you guys were spending countless hours yesterday crafting paragraphs about your processes and either patting yourselves on the back or hacking yourselves apart, some of us were actually using that time to make music.

I'm agreeing with Will here. Yeah the Super Bowl is one of the biggest events we have in this country, and the exposure certainly is worth a fortune. Also the musical performers at the Super Bowl are typically huge names and already way too rich. But I think it sets a really bad precedent for musicians. I understand Will's frustration.

Cool Egyptian mood! I like your instrument choices and quite a bit of your writing. There are some good little solos, variations and flair on the melody in some places. I like how you've integrated the main theme into the mix, too. I have to agree the drum writing sounds like a simple loop for the most part. The finger cymbals are used all the way through the track, how about switching those up for something else at some point? Some beat variation would really be nice. Starting at 2:08 you have some pretty heavy sidechaining on the pad-like synth, and without a beat to match it, it feels a bit pumpy and odd especially since it goes on for so long. There are areas where the writing is very simple and repetitive that rely on the same (or same-ish) basic melody and chord progression and simple bass patterns for a bit too long. This is a long track, maybe you could lose a few bars of the same thing for the sake of keeping the listener engaged better, or at least vary the sounds some more. For example, your glitchy intro goes on until 1:27, and the glitching loses its interest in that amount of time. You could introduce some different percussion or sweeps or effects or sfx during that time, even while keeping the writing as is, and it would be more interesting. From 3:21 all the way until the end, the arrangement and main melody are quite similar and even with the bit of personalization you've done I start to lose focus and interest. I think some more melody or beat variation and/or ear candy (sweeps, sfx) would go a long way toward breaking up the monotony. I agree the dissonant bit at the end detracts instead of adds to the mood. Lots of great stuff going for this track! This can be very cool indeed. Not quite there. NO (resubmit)

But I like "super filthy heavy nastiness." This is nasty enough. And groovy as all heck. It does get a bit repetitive in the writing, but yeah there is some nice personalization and effects. I'd love some more wub variation during the verses. But omg dat breakdown at 2:43. My only complaint on this mix is that the (extracted? wow) leads are a bit harsh and resonant, and when they are playing they obliterate the lovely upper-end bass crunch. I have to wonder if the leads are going to hurt Flexstyle's ears? I'm gonna let it slide. I dig this. YES

I agree with Andrew, the string (and brass) sustains could actually use a little humanization as well, accomplished by automating volume swells. Brass could indeed have stronger attacks. But overall, this is wow. That's some deep choir in the background, and those bass drops and growls are excellent. Nice work on this one, I love it. I'm actually not hearing any Dark World at all, but there is sure plenty of Death Mountain. YES

I agree with Flex on the overcompression. It sounds a bit smooshed and also all the backing stuff is the same volume as the leads and everything is competing to win the loudness war and also the frequency war. Super nice arrangement, I love it (and a great source choice). Interesting and varied sounds, drumming, and effects. Just take down the compression/limiting and rebalance/eq the instruments so they each have a bit more breathing room, and this will pass. edit 4/20/14: I have listened to the newer version multiple times over the past month, and as much as it pains me to say, I still find it overcompressed, and it still has some balance issues (sometimes the violins are too loud, the snare is too loud, kick is too loud/compressed). It is a great track other than that. I sure wish you could take one more stab at the mixing, but I understand that you can't, so sorry about that. NO (resubmit)

I hear what Andrew is saying about the chorus recap, and yeah longer would be nice, but I'm not finding it necessary. I think this is a lovely laid back take on the source and it is produced very well. I like the phasey swirly pads, and the flute lead is nice, string accents and falls are great. I wish the chimes had been a bit wider panned, other than that I'm good with it. YES

This track is VERY well mixed. Yeah, that bassy synth is dynamite. The drums ROCK and the sidechaining is perfect. The writing is leaving me flat. The writing is pretty much verbatim to the source which is generally fine... but I'm finding there are large sections that are quite empty and bland and often repetitive, for example 0:44-0:55 is super empty except for the saw, and then that saw writing is identical all the way through the buildup until 1:06. (That lead that comes next is unique, I can't say that I've heard a lead sound detune like that before, and it isn't doing much for me but that's an opinion.) Then from 1:50-2:12, wow that section is sparse, I am just sitting here waiting for it to be over. Then at 2:12, you've got some cool bass synth stuff happening (and I love the GO!s), but the same lead saw writing all the way to 2:55. At 2:55, another sparse breakdown, with that SAME writing again, all the way to 3:17. Then the detuned lead again at 3:42. And yeah the ending is a bit of a copout, it just... ends. I think this has huge potential and the mixing is excellent. For me it just needs a bit more personalization and expansion of the melodies and a bit more interest in the breakdown sections to keep my attention. NO (resubmit)

I'd just be careful on how solidly you rely on the word "objective." Again I get what you are saying (and yeah great examples!), but one's ability to even identify all the things you've listed here depends on their progress with producing and evaluating music. You could listen to the same piece a year apart and have a whole new level of "objectivity." It is a moving target. That's all I'm getting at. For a laugh:

I like the marimba, the flute and the hand drumming. I also like the nature sfx you've used. I feel like the sounds could be eq'd so each has more room to breathe. The string sample isn't great and could use humanization. The arrangement is nice enough, but it feels like the intro with those same six notes from the main theme goes on for too long, I hear that all the way until 1:35 and I think that's too long to drag that out. After that you have some good arrangement ideas but I agree with Andrew that they need more development and personalization. The ending is very abrupt. NO (resubmit)

The drumming sounds pretty much like several continuous loops. The drumming in the intro starts up in a totally unsignaled way. The loops sounds pretty good but often they don't feel like a fit with the nearly ambient background. The synths sound generic and mid-heavy, especially the square lead. That lead is used throughout the track. Some varied lead sounds and more interesting writing would really help. There is too much reverb on nearly everything. The two tempo-change sections (2:12-2:49 and 4:28-end) are an interesting idea, but the transitions are not so great, and the kick in those sections has much too long of a tail and just ends up sounding muddy. Also the writing in both those sections is identical. The heavy sidechaining and filtering as an outro is sort of odd and jarring. The ending filtered beat goes on too long and then cuts off abruptly. You have some interesting ideas but this needs quite a bit more production love. NO (resubmit)

Wow that's a lot of reverb and also delay... the low end is drowning. You'll need to lower the amounts of reverb and delay, and make sure to highpass your reverb and delay to keep mud out of them. The mix also sounds quite overcompressed, at times I really hear some serious pumping. You need to back off the gain on your master compressor and/or limiter. The track has almost no dynamic range. You'll need to do some serious eq work to make the piano sound less heavy and the strings more full, while giving all of the instruments room to breathe. Also I agree with Andrew this is basically a cover. It's a nice cover, but for OCR you'll need to do quite a bit more interpretation. NO (resubmit)

I think this is a fantastic arrangement. It could just about pass simply on the arrangement and writing, but I'm going to suggest a few fixes too. The backing strings sound terrific. The lead violin does sound a bit sequenced, but it is sequenced and humanized quite well. Having a live violin player would be amazing, but it isn't necessary, because there isn't enough lead violin in the piece to make it problematic, imo. There's a bit too much reverb overall. The piano practically disappears into the track as it also has too much delay. Many instruments have too much delay all at the same time and they conflict. I'd suggest lowering a lot of the reverbs and delays, and doing a bit more to eq the sounds apart. Also, make sure to have a good highpass setting (like no lower than 500Hz) on your reverbs and delays so you don't have reverb/delay mud. Snare could have more snap and less sizzle. Hats are a touch loud and sizzly too. Yeah, that one loud crash, eek! My biggest complaint in this track is the prevalent plucked instrument. It is so stiffly sequenced. That instrument is the type of thing I'd expect to hear played in a very humanized and emotive manner, not plucked at the same velocity and timing each time. I'm not sure that part writing in the track can be humanized, so I wonder how that would sound with something more synthy instead, maybe with the plucked instrument playing a countermelody or some backing arps or fills instead. It just sounds too clunky this way, and the instrument is quite prominent throughout the mix. So you may want to experiment with a few things. I do think this arrangement is pass-worthy and I like it a lot. Please fix it up and resubmit it! NO (resubmit)

Mine is done, finished, turned in, and also subbed! Really, really done.

HAPPY BIRTHDAY AMY.... omg how did I leave you out of this... jeez {{{HUGS}}}

I get where YOU are coming from T, honest I do... but I have to say this, even though it sounds so cliche, but here goes: objectivity is sometimes subjective. It is different for everyone, and it is almost always a moving target (as we improve both our production and listening skills). Even someone like Deadmau5 or Hans Zimmer may see something as sounding bad a month after they do it. It's just the way it is. Give your past self a break! edit: may "hear" something as sounding bad (how can you "see" something as sounding bad? silly me)

Happy birthday, Argle! Enjoy your day today. May we hear many fine remixes from you in the coming year, including some excellent Zombie Disco! Happy birthday, Diodes! May you have a blessed day today, girlfriend!

Very nice mix, guys! I love the vocals and the autotune. Really nice electronic soundscape. Enjoyed it!

Oh my. Well maybe I'm just not in touch with my jazz roots here... but I can't get behind this one. The trumpet solo shows some skill, but I hear tons of flat trumpet notes throughout the piece. Also there is an awful lot going on in this song, even though it is so low key: there is the stand-up bass, organ, guitar, vibraphone, and trumpet lead, ALL playing a busy line, full-time. Maybe the trumpet sounds flat because it is conflicting with some other thing playing at the time, I can't fully tell (and it seems to happen often). Also, that's a lot of trumpet solo, it would sure be nice if something else took the lead for a bit. Source obscured, yes, other than the backing chord progression. Mixing is good though, even considering how busy it is. I get that this is jazz and the rules are a bit different here... but I just can't get into this tune. Maybe I'm just being a grandma? Good luck with the rest of this vote! NO (resubmit)

I have to agree with Andrew here almost entirely. This mix is exhausting to listen to as the dynamics almost never change. Wow, it's bright, and hot, yeah too much compression overall. I agree some timbre changeups would really be welcome, especially that wide harmonic lead, it sounds great, but how about a section with soft drumming and something more like a simple legato lead? And then maybe yet another lead near the end? Also the drumming is fairly relentless, most notable in the snare, possibly because that snare is so mid-heavy. This is a cool arrangement! I think a little sonic variation and a whole lot less compression would really make it work. NO (resubmit)

What a pile of crap this source is. At least there's plenty of it in the remix. I beg to differ Larry, they are using Pod Farm 2 which is a guitar amp vst, so all they have to do is reamp the guitar parts (which I'm assuming are just straight "direct input" wavs) and use a different amp preset. (I am assuming this is the case, and that the guitars were not recorded using a mic.) But yeah, track is way too fuzzy. The fuzzy "old rock" tone may be a style choice but it really doesn't work on a metal-ish track like this one. For metal guitars, I would expect to hear a really clean tone so each note is audible, nearly percussive. The fuzz ruins that completely. This applies to the lead and rhythm guitars. Also, all the guitars, most notably some of the leads (like the one starting at 0:33), are way mid-heavy. Gotta lower those mids. The guitars all seem to be eq'd differently too, which gives an unbalanced feel. Bass could be a little louder (but may in fact sound loud enough once some mids are removed from the other guitars). Drums are sounding thin, muffled and punchless as well. This track needs a really beefy kick and nice snappy snare! The opening four crash hits are quite loud compared to your hats and crashes in the entire rest of the song, that's a little weird. I think the whole track could benefit from some rebalancing and eqing. The leads are loud but still feel like part of the background. Use eq to carve out space for your leads against your backing guitars, and use a longer predelay on any lead reverb you may be using. So yeah, reamp, lose the fuzz, lose some mids, give the leads room to breathe, and let's hear this again for sure, it's a really good arrangement. NO (resubmit)

This is a sweet take on a sweet source. Very nice arrangement. What is holding it back is the samples. Since the mix is only the piano and strings, those two instruments have to really shine, and they don't here. The piano is played with completely mechanical timing and velocities. You would need to vary the note velocity values and start/stop times quite a bit to give it a human feel. Some samples are velocity-sensitive, and others are not. For a song with the piano this prominent, you've got to have a velocity-sensitive sample. These strings are terrible, let's just face it. But they can still be workable, but it will take some, well, work! Make sure there is velocity variation within your chords, first of all. And since the sample ends so abruptly, you'll need to make all of the string notes longer, and use automation to create "swells" with the volume, to emulate natural violin playing. You can also eq this sample to sound more natural by removing a lot of the midrange (which is also serving to drown out your piano). Also as the other Js have said, some writing variation will really help this piece not be repetitive. Take one of your same-y sections, and give the melody more of your own influence somewhat. I hope to hear this again with these issues addressed! NO (resubmit)

That Goldeneye "poooohm" is one of my favorite sounds ever. Glitched? Huh, that's gonna take some getting used to. I almost wish you had glitched it differently each time, or just added some more extra glitching stuff and left the "pooohm" as is! (personal preference, because poooohm ) The track seems pretty well balanced, with the backing guitars sounding quite good. Kick could have some more low-end punch. Snare sounds great. I'm not a fan at all of that synth lead, it is a very generic saw. I feel like saw leads can easily get tangled up in the high frequencies against guitars. There is quite a bit of mid/high frequency clashing going on here. And the lead synth is panned left-ish for some reason. Yep, way too much repetition throughout the song. Try using different leads as the song progresses, and/or throw in an original solo on top of a section or two. The two identical breakdown sections are really sparse, those are two perfect opportunities to add original material on top, or something else of interest. That ending tone is too loud. And yeah, blip at the end. NO (resubmit)