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Eladar

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About Eladar

  • Rank
    Octorok (+25)

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

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  1. Okay finally having a listen. I love the ambient textures you've got going on for the first minute or so, and throughout the rest of the track. I'm into the slow fade-in, and the panned metallic sounds starting at 0:26 or so are awesome too. Later this dark attitude is taken over by some persistent swirling synths (particularly noticeable during gaps like at 1:35 and 2:00) and this is a nice evolution of the mood. I think these textural elements are my favorite aspects of the piece. I like the choice of a church organ, instrument-wise, for a Robotnik boss theme arrangement (makes me think
  2. Hey @Seth Skoda! I was gonna give you a listen on this and post some thoughts but the link you have there goes to a track called "Nightcore RS" rather than "Gangsta With A Mustache". Could it maybe be the wrong song ID in the URL?
  3. Liking this new draft, Souperion. I like the harp at the lower registers during the early sections better, and another new detail I'm fond of is the extra harp part that's harmonizing with the original one at 1:08 now. It's a small change, but to my ear it sounds much richer than before, to the point where I wish it would go on a little longer. The more touches like this you can include in your tracks the better - interesting harmonies and counterpoint can do a ton of work in elevating your arrangements and stirring emotion in your listeners. Listening to version 2 and 3 back to back, I h
  4. Hey, thank you both for the extra thoughts! This is really helpful. @Rozovian - I'll see what I can do about EQ'ing those accompaniments (or maybe low-pass/high-pass filters as Seth suggests) to help out the mids/highs situation and avoid competition with the leads. I think you mean the marimba-like chromatic percussion here is what needs some EQ carving, correct? Though you might also be referring to the heavy synth chords that come in at 1:44 and persist until about 1:54, those take up a lot of sonic space too admittedly. Then I'll give the bass another review, and find out what th
  5. 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 fi
  6. 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 ins
  7. 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 fa
  8. 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 piec
  9. 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
  10. 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 sa
  11. (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
  12. Thanks for the quick response, ad.mixx! And an encouraging one at that. Very glad you enjoyed it
  13. 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 re
  14. 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 melanchol
  15. 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
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