Eladar

Contributors
  • Content Count

    23
  • Joined

  • Last visited

  • Days Won

    1

About Eladar

  • Rank
    Chocobo (+20)

Profile Information

  • Gender
    Male
  • Location
    Austin, TX, USA

Contact Methods

  • Website URL
    https://soundcloud.com/user-275706525

Artist Settings

  • Software - Digital Audio Workstation (DAW)
    Sonar
  • Software - Preferred Plugins/Libraries
    NI Kontakt 5, EWQL Symphonic Orchestra, Synapse Dune 2
  • Composition & Production Skills
    Arrangement & Orchestration
    Synthesis & Sound Design

Recent Profile Visitors

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

  1. Very nice improvements, Souperion! I find this version a lot more engaging. I can lose myself in it now, rather than being a little too aware of some of the repetitive/dissonant aspects of the first draft. The double bass and amped-up synth pad are really helping out the low end, harp is working better than the music box I would say, and even the new wind sounds are a nice upgrade. I can't pick out all the instances of it, but the "gentle attempts" to treat homogeneity you mentioned seem to be paying off - it definitely sounds more varied to me now. One minor nitpick I have is that the first entry of the harp at 0:05 through to 0:12 is in a high enough register that it makes the instrument sound a bit too synthesized to me. You might try dropping that section down an octave. The harp phrases at 0:21 sound better to me, for instance. I'd say the arrangement is in a solid place now such that you could do a pass on the humanization if you like. I noticed you marked it Ready for Review though, so perhaps you'd prefer to wait and see what an Evaluator has to add first.
  2. Thanks @Seth Skoda, glad to hear it inspired you! I do know what you're saying about the chimes, by which I'm pretty sure you mean the panning metallophone instrument that's there for the first 28 seconds or so (and comes back at various points later). This is a gangsa, which is used in Indonesian gamelan music - specifically I'm using a sample from the Native Instruments Balinese Gamelan library here. Gamelan instruments aren't pitched to the same scales as Western instruments, so this library comes with both "original pitch" and modified "concert pitch" versions of all the recorded instruments. I'm actually using the concert pitch gangsa here, but it does still have a slightly "detuned" sound to it. I personally enjoy this subtle detuned quality as a point of interest, but I can see how you might perceive it as a sort of unwanted dissonance. I tried messing with the Tuning knob on the instrument in Kontakt's synth rack view, but anything beyond 0.7 semitones up or down was too much (i.e. it just started clashing with the rest of the instruments), and anything less didn't seem to make a perceptible difference to my ear in the full mix. Returning to this song a few weeks later, I'm feeling pretty good about it as it stands, although I'd be interested in an Evaluator's thoughts on the gangsa situation (and the piece in general), so I'm going to mark it Ready For Review. (Looks like my source videos for the original track also got taken down, so I'll fix those too lol)
  3. This is solid Seth! I love the source track (well, I love just about every song on the S3&K OST, but this one does probably make the top ten for me, especially Act 2). And I think you've got some nice variations on its themes here, and have found a unique vibe to explore with it. Like Souperion said, it's fairly relaxed, which makes for an interesting contrast against the urgency of the original. I also agree that it sounds Megaman-esque, maybe it's those synth toms lol. Your synths are all sounding good and they meld together as a set nicely. Mixing-wise, about the only thing I'm not a fan of is the hi-hats. They sound pretty dominant on my headphones (Beyerdynamic DT 770s), to the point where I feel like they're masking some of the nice synth work going on elsewhere. I'd reduce the volume on them a bit. Arrangement-wise: you say the song has a long intro in your Newgrounds description, but actually some of my favorite touches of the whole remix are in the first minute. I really like the groovy progression that comes in at 0:30 (sounds a bit guitar-like, to my ear) and continues until 0:55 or so. And the transition from 0:56 leading into the song proper at 0:59 is really cool too. I missed these later on and would love to hear them return elsewhere - maybe a breakdown section or two, where the primary hi-hat-based percussion falls away and all we get is something similar to what goes on at 0:30 to 0:55 for a bit. You could lead into/out of it with effects similar to the transition at 0:56. I say this mainly because there's sections of the song where I feel like things are getting a bit too homogeneous/repetitious, and I want to hear some contrasting energy to "break me out of it" briefly. The shift into the B theme just before 2 minutes is a good one, and I like the fat sound of your synth lead here. It's more around 2:27 where I first start feeling like I need a breakdown (or something similar) to mix things up. I think the omnipresent hi-hats are partially responsible for this, so a break from them here and there might help your synth work shine through better. I'm also not sure the piece needs to be as long as it is - you've got a melodic exploration at 3:05 - 3:26 that's good, but then it basically repeats itself from 3:27 to 3:55 and I don't feel like I'm hearing anything fresh here to keep me invested. 4:27 - 4:55 also seems to me like it's just layering a couple previous explorations together in a way that isn't particularly novel, and I'd almost rather it skipped to what you have at 5:00 instead, which I like better. I think you could get the song just under 5 minutes this way, which would still be plenty long imo. A caveat: I'm not too familiar with trap music, so maybe some of my thoughts above would push you too far out of your chosen genre. Disregard any suggestions I've made that you feel would mess with the song's identity too much. I'm basically just looking for a few mixups to give my ears a break from what they've gotten used to over the course of the song. Some nitpicks, take 'em or leave 'em - I think that plucked synth sound all by itself in the beginning is a touch harsh; as the synth strings come in you pull it back and it sounds better to me like that. Maybe have it start at a lower volume, more equivalent to where it's at alongside the strings. I'm also not a huge fan of songs ending on a fade-out, so... maybe consider ending it more definitively somehow, but that's not a big deal ;D
  4. Hey Souperion! I love the Golden Sun soundtracks, and I'm glad to see you're shining some light on them here (heh). You mentioned in your post that you felt you might be out of your league with EWSO/Sytrus, so I figured I'd do my best to give you a detailed breakdown of what I think is working well so far and what could be improved. This ended up being kind of a huge writeup lol, but I hope some of it helps! GENERAL THOUGHTS The mix is clear, and I don't find myself struggling to differentiate instruments. So you've avoided muddying things up, which is a good start. I find the piece a bit thin and lacking in richness though. I think this is because frequency-wise I'm hearing mainly mids and highs. You seem to have a low synth pad at times (heard most clearly right in the beginning) but it's pretty subtle. You might try beefing up the low end during the busier sections (e.g. 1:16 to 1:40) with a deep cello/doublebass ensemble or something similar. Go for slow-moving progressions with a low attack/gradual buildup on each note, and see how that sounds. Overall the playing style is fairly mechanical. Your voice selection is good - lots of bell/mallet-type instruments which create a nice wintry mood - but these instruments always seem to be hitting right on the beats and with the same velocity each time. In an orchestral style like this, more humanization is often preferable. Give some notes a stronger emphasis (i.e. higher velocity), while others can be quiet, understated, and/or slightly off the beat to sound more natural. COMPOSITION/ARRANGEMENT SPECIFICS From 0:36 to 0:44, you've got some nice melodies on what sounds like a music box, and I like where things are going here. But starting at 0:44 I'm detecting some dissonance between the pan flute and the music box (esp. during 0:54 to 1:04, after which the dissonance seems to clear up). I can't be sure without seeing the notation, but I think what might be happening here is that you're using different scales for the flute/music box progressions, so they occasionally play notes that are out-of-key with one another. The flute sounds close to the original song during this section, so I think the best way to address this is to revisit what the music box is doing and explore some progressions that sound more harmonious with the flute. It'll help a lot to know what key the flute's playing in, if you don't already. Moving on to 1:32 - the strings and other instruments are working well together here, and I'd say this is the strongest part of the piece. It's richer and has some pleasing harmonies. I'm less fond of 1:47 - 1:54 - the sense of completion at 1:49 seems a little abrupt and flat, and what comes after (until 1:54) strikes me as a bit underdeveloped. I might say end on the note at 1:47 instead - draw it out with a faded sustain, which would then flow into what you have at 1:54 to complete the musical thought more succinctly. (You might end up needing to trim out a few seconds of the song to make something like this work, but with a total length of 4:17 I'd say you're safe to shorten it some.) At 3:14 - the swifter, descending progressions here and the way the strings jump upward in pitch for a bit before releasing at 3:33 works nicely. It's a good change of pace, an effective variation on the original piece, and the breathing room for a moment afterward helps with the song's pacing. I'd like to hear more stuff like this so the arrangement surprises me more and seems less homogenous. For instance, there's a repeated musical phrase (an ostinato, more or less) that you first introduce at 1:58 on the music box, and the specific rhythm of this ostinato becomes a bit dominant throughout the second half of the song. It goes away at 2:20, but the strings pick up a close variation 8 seconds later. It's absent during 2:44 - 3:00, but returns again from 3:00 - 3:14. Then it's back at 3:40 and persists nearly until the song ends. So due to this, I came away from the song feeling like the progressions during the second half relied a little too much on the timing of that ostinato, and exploring slight variations on the pitches involved with it. I think your relatively sparse instrumentation is part of what made that stand out to me. It's a fine phrase to use and repeat from time to time, but I'd take a look at some of the sections mentioned above and explore different phrases you could provide for that background rhythm. Or maybe eliminate the ostinato entirely in some of those spots, allowing the piece to flow in a different way for a while. From 3:33 onward I like how the piece wraps up. The final staccato string notes that start at 4:02 sound clipped to me though - like they haven't been allowed to fully decay. This is especially noticable at 4:06 through to the end. I'm not sure if this is something about how your reverb is set up, or maybe to do with your original instrument samples, but perhaps you can hear what I mean. So to sum up: arrangement-wise, what I'd like to hear is more build + release, more contrast in the pacing, more moments where I can anticipate what the piece is preparing to say and then be pleased by what's ultimately said. I think the best example you have of this now is 3:14 to 3:33. More humanization (velocity variation/less consistently precise timing) would also provide dynamism, and I feel like some extra low-end richness (cello/doublebass ensembles here and there?) would help as well. Take my suggestions with a grain of salt though. Sometimes you can identify a problem in a piece and provide a solution, but that solution doesn't work so well in practice. You might find other better answers once you head back in. Good luck with the next draft!
  5. Thanks so much for the comments everyone! @Souperion Yeah, the bells + synth combo was kind of the genesis (lol) of the piece for me, and I built much of it around that. Glad you liked it and felt things came together well. I appreciate the puns too thank you for those XD @Ordonis Happy to hear the remix went beyond your expectations! Establishing a common ground between the two source songs was one of the trickiest parts. Fortunately they do share a decent amount of musical material. One of my early breakthroughs was the idea for the "bridge" section that pops up a few times (first at 1:07 to 1:16) - this helped me move between Act 1 and Act 2 parts without disrupting the flow of everything. @orlouge82 Google Drive link has been added to the OP, you should be able to download the MP3 of this draft from there
  6. Possibly the most laid-back remix of this track I've ever heard, but it totally holds my interest. I like the beautiful, soothing pad work, and the drawn-out builds and releases (that nice rush of wind at the 2:00 breakdown is a great moment). Your percussion's super sparse, but there's a slow rhythmic quality to the low synths in many places that makes me think of gently lapping waves. Agree with previous comments that the woodwind synth is a little dominant throughout much of the piece, but as Gario said it's a fairly minor quibble. I don't personally have a problem with the woodwind sample itself, but I do feel like the two higher synth string notes we can hear at 3:45, 3:59 etc. sound a bit MIDI-esque. That's just another small nitpick though. I also assume the title of the piece is a nod to Purity Ring's Lofticries? Nice ref, haha
  7. (MP3 direct download link here) Hey folks, been a while since I last posted. Here's something very different from the last two pieces I put up here. It's a synth-heavy combo of Acts 1 and 2 from Sonic & Knuckles' Lava Reef Zone. I always loved the inherent juxtaposition of Lava Reef - the fiery magma of Act 1 vs. the cool, almost ice-like crystal structures of Act 2... and of course, the music for each differs appropriately. The goal with this remix was to try and blend the smooth intrigue of Act 2 with some of the intensity of Act 1. Genre-wise it's a mix of things - early on there's some downtempo/chillout vibes, but later it gets more energetic. I suppose there's some synthwave influence too (lots of analog-style leads and pads, heh) Here's a couple links in case you've not heard the source tunes before: Act 1 - Act 2 - Hoping to submit this for review at some point, so by all means - have a listen and critique anything and everything about it!
  8. Thanks for the quick response, ad.mixx! And an encouraging one at that. Very glad you enjoyed it
  9. Hey everyone! Here's a Zelda remix I completed recently, centered mainly around the Ballad of the Wind Fish and Kakariko Village. This remix is meant to be a musical representation of Link's Awakening's ending - a blend of the bittersweet and joyful feelings Link might have had at the end of that journey. I also wanted to achieve that sense of being "at sea" that many of Wind Waker's tracks evoke. There's also a touch of Wind Waker's Outset Island and Ocarina's Zelda's Lullaby mixed in, but only briefly. This first draft is technically "done" and I'm planning to submit it for review eventually, but I wanted to start off by getting some feedback from the community. Thanks for listening! (P.S. - I've got each of the Instruments of the Sirens represented in here, somewhat loosely in certain cases. See if you can pick them all out!)
  10. Loving the use of chromatic percussion here. The fact that the bells/gongs can be heard on both sides of the stereo field add some nice spaciousness. There's some great nuance on the guitar as well, such as the hard hits around 1:36 vs. the softer playing at 1:41. If I'm nitpicking, I might say the solo strings (cello?) at the end sound a little artificial. I think it's mainly the transition between the last two notes at 2:01 and 2:03, they seem to overlap unnaturally. I like the deviation from the original lead melody at 0:58 too - I feel like your take on Terra's theme is more melancholy than the original, which the new intervals here seem to accentuate. I agree it's rather short though! I could easily listen to another minute of this at least, but I suppose better short and sweet than long enough to wear out its welcome. Good stuff!
  11. I really enjoyed this rendition, Dcapo. It's restrained, but your chord choices and the varied speed/velocity of your playing are bringing a ton of emotion. I think your choice to avoid "flashy/virtuosic" was a very good one here. Touches like the quick little runs at 1:44 bring a playful yet somehow appropriate counterpoint to the melancholy mood. This to me mirrors the mood of Majora's Mask itself very nicely, which is a game that's at times deeply sad and at others more mischievous and light-hearted. I'm liking your explorations from 2:35 'till the end as well - the Ghibli-like quality mentioned by one of your Youtube commenters seems especially evident here. That's a good thing; I think Zelda and Ghibli music have a good amount in common and the styles go well together. This song has always elicited a strong emotional response from me, and I'd say your version here moves me at least as much as the original - perhaps even more. Thanks for sharing it!
  12. I love a lot of Capcom's mid-to-late 90's arcade OSTs (CotA, X-Men vs. SF, Darkstalkers), but I'm actually not too familiar with SF3's (or any of its iterations). Somehow it wasn't on my radar back in the day so I never formed an attachment to it. That said, listening to the original track here, I agree with Audiobinger - your remix is better to my ear than the original. I think you captured the spirit of it but took it in a new, smoother, groovier direction and avoided some of the repetitious elements of the original that make it less listenable for me (those constant "YEAHs" and "WOOs" are of their era and a bit overused, haha). The underlying synth chords at the beginning set a nice, chill mood, and the guitar solo at 0:51 - 1:12 is a highlight for me - that unexpected tonal shift at 0:58 is great. And the sax parts later on fit the rest of the arrangement like a glove. The sirens are subtle but they help give the piece some extra atmosphere. Might be worth experimenting with some aux percussion as Ridiculously Garrett suggests, but I personally wouldn't change it much. Best of luck getting this approved!
  13. Thanks for the feedback guys, very much appreciate it! Glad to hear you're liking the arrangement overall. Yeah, I was curious if this might be the case. This mix primarily uses the Kontakt 4/5 factory libraries, and for the most part I've thought they sounded good, but it seems some of that stock instrument quality is showing through. In certain cases I did use other VSTs where I felt Kontakt's libraries were lacking: the solo violin parts are on NI Session Strings, and EWQL Symphonic Orchestra is being used for the trumpet ensemble (because the Kontakt libraries and NI Session Horns were disappointing me with their higher brass). I've only started using EWQL SO recently, in fact I picked it up in the middle of working on this remix, so perhaps I'll try moving more of the song over to SO and see how well it addresses the sample quality. It has a lot more expression modes than anything I've used before, so that might help me improve on the humanization too (especially with the violin). And Sam, that's a good suggestion, I'll try adding some extra instruments to some of the string-focused sections to bolster the main melodies.
  14. Very nice start here, I'm liking the playful, relaxed feel of it. Especially from the minute mark onward, with those colorful electric piano chords and the string harmonies beginning at 1:09 and continuing up to the ending, I was loving that section and it definitely made me want to hear more. As for suggestions, I won't say too much about the drums since you're only getting started with them, except that the hi-hats seem fairly nuanced and good so far but maybe 0:30 - 0:50 is a little too reliant on the persistent claps, which sounds a touch mechanical. Also the high brass (trumpets I think) at 0:33 sounded somewhat artificial to me, which might be intentional but is slightly odd against the rest of the more-realistic-sounding instrumentation.
  15. I'm liking this so far too - it's a good track choice with some catchy, memorable melodies, and in particular your sax-like lead synth (first appearing at 0:51) is easy on the ears yet unique and energetic (the panning delay on it is a nice touch). The overall laid-back mood you've set is mostly consistent, a bit jazzy and funky, and quite enjoyable. A few things that didn't work as well for me: there are sections and moments that are a little loud/jarring as others have mentioned, for instance when the drums first come in at 0:31 I feel they're a bit too hot (maybe fade them in or ramp up the note velocity gradually), and at 3:24 in particular all the sound comes back in much too strongly and suddenly after the mix's sudden glitchy stop. I think the glitch approach is possibly workable and a good idea in concept, but the execution isn't quite there yet. Everything from 4:07 onward up to the ending works well, since nothing in there leaps out all at once at a high, jarring volume. Also, by close to the 2:00 mark I felt the arrangement was getting a little static. As great as the lead synth and accompanying guitar riffs are, they have been repeating their melodies a bit much by this point. The change at 2:34 and the arrival of the square-ish synth is a good shift and I think having this happen sooner might maintain listeners' interest better.