• Content Count

  • Joined

  • Last visited

  • Days Won


About Kat

  • Rank
    Roll (+350)

Profile Information

  • Gender
    Not Telling
  • Location

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
    Acoustic Guitar


  • Real Name
    Katherine Allen

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Serious response: Like this MNP round
  2. Yep, that's Launch Octopus. Hoping more people submit, though.
  3. Some key things that need attention: 0:00 - 2:00; The piano is very dry and lacking humanization here, particularly when the staccato starts around 0:23. I can sort of get what sound you were going for here, but when a pianist plays the keys in such a heavy handed way there are still some notable differences between each note. I'd suggest making use of the pedal here(and in slower sections in general) along with a softer velocity to help with the transition into the staccato portion of this section. 2:00 - 4:00; There's a notable shift in the tone of the piano starting here, which makes the transition a bit jarring to my ears. It also feels like way to much pedal throughout this part - the reverb is causing the notes to bleed in an unpleasant way. Around 2:08 you've got some major clipping going on 4:00 - 5:00; Much like the previous section, the pedal needs to be toned waaay back. Not only are the notes bleeding as before, but it's really muddying up the sound in this section, perhaps because of the high velocity of the notes. 5:00+; That F-G-G#-A# progression sticks out a bit, due to the same humanization/velocity issues. 5:44 starts to sound pretty good, but the abrupt silence right before-hand is really out of place. Around 6:10 those machine-gun notes need a lot of work - both in terms of humanization and arrangement, as notes of that speed would be a bit of a challenge to play, especially in the context of this arrangement. Take a look at video, this video and watch how the pianist plays(particularly around the 0:15 mark) when repeating the same note. This video also does a great job explaining the specific techniques used in such a piece. At 6:22 it abruptly cuts off again. Overall it still needs a ton of work. Note velocity, pedal usage and humanization in general are extremely important areas in a piano arrangement. The arrangement itself is a promising concept, but the execution needs a lot of work.
  4. Thanks! I put a lot of work into this track, and I'm glad it paid off. I was trying to maintain a similar mood to the original while still being different, so that's good to hear.
  5. Biggest issue with the Godzilla MIDI is was that it's at an astounding 12 BPM. Since it was written at 12 BPM to sound like 160ish BPM it's understandable hard to work with and must have been painful to sequence. Anyways, I might do something for this round, considering how long it lasts,
  6. This arrangement was originally made a couple years ago for an album, but due to life I was unable to work finish it(or do much related to music for a while). I've finally found the time to get back into music, and I'd almost forgotten about this. I've polished it up a bit, but for the most part I consider it finished. Original:
  7. I feel like it could work if you either added some high hat open/close fills. Alternatively, you could bring in some marching-styled percussion towards the end as you build up towards another heavy section.
  8. Just a simple piano arrangement of Dart's Theme. The title is clearly a bad pun based on the name of one of his Additions(Madness Hero). Yes, I feel bad. No, I don't regret it. Enjoy. Feedback is appreciated, as I think I may submit this at some point. Original:
  9. @Flurry of Flames Indeed, I didn't have enough time to really work on it and get all my ideas into place. As for the plugins, it's quite a list. The strings and woodwinds are Rhapsody Orchestral Colors, while the percussion(including the glockenspiel and xylophone) is Rhapsody Orchestral Percussion. The horns are all from Bravura Scoring brass, and the piano is Pearl Grand Piano. All of those are from Impact Soundworks. The solo trumpet is Chapman Trumpet by Embertone, and the flute is Passion Flute by Orange Tree Samples.
  10. I originally did this for a PRC compo and I've been touching it up a bit since then. It's still somewhat short and a bit on the conservative side, but I figured I'd drop it here. Comments and critique are welcome and appreciated.
  11. Having not heard the original version since you originally posted it it's hard to draw direct comparisons, but many of the prior issues still remain. I still believe it's far too long. Right now you're still recycling the same segments over and over with very little variation, outside of instrument swaps. The brief flute solo at 4:42 was a nice change, and following it up with those piano variations was great, but you quickly went back into the same cut-and-paste segments, just with different instruments. I don't have a ton of time to go over everything, but I'll outline a few specific points: The good: - A lot of the solo/variation/etc writing is pretty solid, even if it's not particularly complex. -While there aren't a lot of dynamic variances, the mixing itself isn't bad. -The intro is still really nice. It had a fair amount of build-up and left me wondering where you would go. The bad: -The length of the song does not match the amount of content. I'd again suggest severely cutting the length of the song and focusing on the arrangement. -A lot of the instrumentation is still very robotic. Some of it could be attributed to lower quality samples, or perhaps not using the samples correctly. For example, staccatos at 3:28. As they're taking over the lead, it feels kind of odd writing it like that. A more flowing sustained section might work better, especially if you happened to have a well-timed brass section swell up alongside it rather than simply chugging along with the backbeat. -The song still ends abruptly. Even a fade out would be preferable to that.
  12. No problem. I, too, have seen some "different" variations. Things like "Stay in that fire, lady, get your back torn"(Instead of "So dare violate and get your back torn", which is what it does say) or "So violate an express-mic wave" which doesn't even make any sense. The official lyrics - particularly the rap portions - are pretty hard to track down, but I got them as close as I could get.