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MindWanderer

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Everything posted by MindWanderer

  1. I've been thinking about this one for a long time as well, for exactly the same concern proph had. There are some extra bells and whistles here--literally bells in some cases--but adding chimes and a vox pad don't substantially change the nature of the arrangement. It's very pretty, but is it transformative? I'm hard-pressed to argue that it is. The production is one of Rebecca's best but it's just too conservative. NO (borderline)
  2. I'm basically in agreement. It's simple but it's much more vibrant than the original, with a lot of subtle complexity thrown in. If anything it gets maybe a little too frenetic for such a mellow melody. The mastery seems fine, but I've been listening to several much-too-quiet arrangements of yours lately, compared to which this is a vast improvement. Just needs those last 15 seconds trimmed off. Edit 5/26: And done. YES
  3. It won't be as big as I had planned, but I have 6 completed tracks, enough for an OCR-I. Just waiting on one more that needs a rapper; I've been looking but haven't been able to find one. Once that gets resolved, one way or another, I think we can wrap this up.
  4. I like the idea, swingy synthwave. The original writing is actually pretty good. But there are some issues that keep this from shining. First, the sound design. The opening bass with the LFO tuning is too much. A little bit of a warble can be OK, but this is going in and out of key too drastically. The 808 kicks are a critical part of synthwave, and these are thin and used sparingly. The soundscape is pretty minimal throughout. You have lead, bass, rhythm, and percussion, and that's it. You have very little in the mids other than the meaty bass, which is dominating the spectru
  5. It's an interesting take, for sure. I've had to listen to it a number of times to try to evaluate it, and it's kind of grown on me. But it's a bit of a mess. The main concern I had with it is clutter. There are a lot of gritty synths occupying the mids, and in the busier sections there's a lot of mud. Take 0:44-0:58, for example. There's what sound like 3 different gritty saws there, all competing with each other as well as the percussion (which is itself gritty, being a combined hat and kick, and is causing pumping). There's a lot going on and it's turning to mush. Even in les
  6. Straightforward but effective. A lot of it is pretty conservative structurally, but the composition is a bit more than that, especially in the second half. The Ballad of the Wind Fish cameo worked really nicely. The bass line is a bit repetitive, but does get switched up a little from time to time. I'm on board. YES
  7. It's a fun disco beat, but it doesn't go much beyond that. The same beats persist through the whole arrangement, and it's very repetitive besides that: it consists mostly of two identical loops of the source, and then a breakdown of the same which drops parts and fades out. I like the meaty kicks, but most of the other synths are thin and vanilla, especially the leads, which are quiet besides. Thanks for submitting, but I think we need something more engaging, both in terms of structure and sound design. NO
  8. Lovely retro synth choices, especially the bass, and I love the harmonies in the middle section. It took me a couple of listens to notice the problematic descending quad that prophetik was talking about. It does drown out the other accompaniment a bit, but it's a very minor issue. If anything, I felt the exact opposite was more of an issue--that the bass is a bit loud everywhere else. But it's such a juicy bass that it's hard to complain about. It does pump a bit in 1:06-1:26, but that's minor as well. Very nice overall. YES
  9. I started off liking this, it's an original approach that I wasn't expecting. However, the vanilla synths, repetitive beat, and busy sections with conflicting notes bring it down. It's also mastered pretty quietly. The overall structure and approach are neat, but it needs some more variation, some more attention to the sound design, and a pass for clashing notes, especially involving notes with long tails, like those chimes. NO
  10. Nice take on a neglected source. I like the Daft Punk-ish dark electronica approach. Why... why is there a hard limiter at -3dB? That's a very strange choice. The result is that the mix quiet but still slightly overcompressed. You probably want a soft knee there and a hard limit just below 0 dB. From 0:45-1:20 there's a gritty, wide-spectrum bass pad that's overlapping the melody and muffling it. Also 3:03-3:14 and 3:18-3:50 have a gritty arp in the mids that's squashing everything but the lead--the kick and bass in particular are vanishing almost completely. This is really
  11. There are some interesting ideas here, and it's a nice groove, but it's exceptionally static. The percussion and arp are nearly unchanged for the entire duration, and each section loops about twice as many times as they need to. This is nearly six minutes' worth of about 2 minutes' worth of ideas. And then it fades out, too. There are also several clashing notes, so watch your harmonies. You have the right general idea, with the transformation of the melody and the changes in lead textures. I've heard worse debut efforts, so keep working at it! But this isn't there yet. NO
  12. Very nice! Lovely orchestration, great pacing (although the transition at 1:34 is a smidge abrupt). Straightforward but lush and highly effective. My one criticism is that it's mastered too quietly, even for orchestral. You have over 2 dB of headroom, and you should probably squeeze in a little bit of compression on top of that. YES/Conditional (on volume) Edit 6/17: Seems fine to me now. YES
  13. I don't remember exactly what white noise layers were in the last submission, but this one opens up with a really grating bitcrushed static sweep. It sounds terrible, frankly. Reviewing the comments from the previous submission, I still agree with all of it. The white noise is too loud, and your leads are frequently covered up by other layers, especially in the section LionTamer mentioned. I'm definitely picking up what you're putting down--a sort of Daft Punk take, which is very cool--but the production issues from before still stand. NO (resubmit)
  14. I certainly wasn't expecting vocals. I've never quite heard a vocal take like this, where the lead sometimes has lyrics and then--in the middle of a phrase--switches to an instrument. And sometimes it's just "la la la," seemingly at random. The impression that it gives is that you just ran out of ideas for lyrics and filled in the rest with instruments or "la la la"'s. I don't think it works at all. It sounds confusing at best, if not lazy. Then let's talk about that ending. Nearly the entire second half--about two minutes--just trails off. There's occasional melody, and some other
  15. There are a few different styles here, so I'll address each one in turn. 0:21-1:03 has a single high-pitched lead and a medium-pitched accompaniment. No bass, just percussion. This is okay for a few seconds as a breakdown, but it's serving as the main melodic core, and it's too minimal for that. 2:29-3:12 repeats this section with a mid-low saw arp that's sort of a bass, but not really; it's still pretty thin but better, easily the best-done part of the mix. 1:04-1:25 is an okay bridge--just one synth, the percussion, and the VFX, but for a brief section and a lead into the ne
  16. So, this arrangement consists of two approaches, interchanged: Very close to the source material, but layered with a ton of Simlish voice clips. A straightforward DnB take on the source that's pretty conservative once you account for the genre change. I don't particularly care for the former. There's not much to the music part of it, just some instruments swapped and maybe a clap or sweep added, and it's a whole lot of voice clips, overlapping chaotically. As for the latter... it's better. It's more than a MIDI rip, because there are some other layers added to it--a
  17. <sigh> Another almost 12 dB of headroom. Look at that waveform. Music shouldn't look like that. This source is a tough sell as a candidate for a remix. It's so minimal that turning its sparse 1-4 note trills into a full piece of music is bound to be nearly unrecognizable. So Rebecca's approach here, which is basically to remove all the silence and then remix that, works reasonably well. For someone who's played a lot of BotW (and who's played it at all without playing a lot of it?), this will sound immediately familiar, if possibly difficult to place. That said, it's a pre
  18. Pretty standard 2-loop arrangement, with the first loop being a straight cover and the second one adding some riffs and permutations, and then a fade-out. There isn't any one thing dealbreaking about this, but there are a lot of borderline issues that add up. The structure is really simple, basically the bare minimum that would count as reinterpretation for us. And it's only the melody; all the other parts are very to the source (and are fairly static throughout the arrangement). Not exactly identical to the source--there's a key change in the C part (1:05) that doesn't sound like it w
  19. It's conservative melodically, but the 3-lap format works well to hold interest and differentiate itself from the original. It's a creative approach that I think worked out. However, there are some production issues that need to be addressed. It's far too quiet overall; even though there's little headroom, there's also no compression to speak of. The instrumentation is extremely mechanical, with every note playing at the same velocity and with rigid timing. The sax in particular is really uncanny. Also, there's no ending whatsoever, it just ends. Please add one. I like this
  20. Well, this is an interesting arrangement. But the production needs a lot of work. It's far too quiet overall. Some parts are too loud--most of the SFX, some of the horns--but overall it's hard to hear. Especially before 1:00, where there's a sharp jump for some reason, it's nearly inaudible. The horns in the intro are distorted. They sound like they were originally too loud to the point where they pumped, then the volume decreased afterwards. The same is true for the whole section from 3:45-6:08. All the the instrument playing is very mechanical, especially the staccat
  21. The good news is that this continues to be an improvement over your last submission. It's still not quite there yet, though. Even though you switched to CakeWalk, the sounds are still largely primitive, except for that one meaty organ. The soundscape is still very bright, with not much in the mids and little if anything in the lows. It's too quiet overall; the intro especially is far too quiet, but the rest needs some compression. There are a couple of places where you echo the lead a beat behind, and it's causing a lack of clarity and occasional conflicting notes; at 2:12-2:27 it jus
  22. 12 dB of headroom. Twelve. Seriously, Rebecca, I love your music, but stop it. Orchestral remixes of orchestral sources are a tough sell. They're going to be inherently conservative unless you make a dramatic change. There are some minor orchestration changes in the first half, but they're barely noticeable. The second half does expand on the theme, but it's sort of empty expansion, not really adding anything to or changing anything about the existing material. It comes across as little more than padding. I don't think this is transformative enough, taken as a whole. NO
  23. Loopy is right--it sounds like three identical loops with a brief intro and ending. That by itself is a dealbreaker--if you're going to repeat more than a small portion of the mix, you should change things up with different layers or textures. Throwing some actual rap on top of it would help, too. Is there compression here other than the limiter? I can't tell if the pumping is intentional, but it's strong and distracting. The ending is particularly odd given that you made an effort to not make it part of the loop, but chose to have it fade out anyway. You have a solid, fun gr
  24. With the opening notes of the Lanayru theme, I could see why you decided to mash up these two themes. They're a natural fit. For a mash-up, though, this is an extremely static and conservative arrangement. The Red Soil triplets, bass, piping vox, and percussion run through the entire piece unchanged. Then there's pretty much just the two melodies, A-B-A, cello-sax-cello (with a brief nod to Kraid's Lair). Also, the attack on the cello is really slow, putting them behind the beat even given how slow it is. I don't think there's enough interpretation here for what we look for.
  25. Well, that was certainly... interesting. I largely think you achieved what you set out to do. It's creative for sure. The one thing I was waffling on was the click sounds. They're quite loud and irritating. I found them far worse than the buzzy "bell" Rexy mentioned. However, your inspiration used nearly the same sound, if slightly quieter. I'm fine accepting this as it is, for what it is. YES
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