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Profile Information

  • Real Name
    Seph Brown
  • Location
    Decatur, GA
  • Occupation
    Audio-Visual Technician
  • Interests
    Gaming (TTRPGs, PC games, board games); music (guitar-based anything); cooking.


Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    Studio One
  • Software - Preferred Plugins/Libraries
    Helix Native, Spitfire LABS
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
    Acoustic Guitar
    Electric Bass
    Electric Guitar: Lead
    Electric Guitar: Rhythm
    Vocals: Male
    Vocals: Metal
    Vocals: Tenor
    Vocals: Voice Acting

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pixelseph's Achievements

  1. Hi Nase! My time to review the workshop is getting strangled by work this week but I will be popping in to give some more comments soon!
  2. Hi Pipko! This one's ready to sub. Worst the panel can do is give you some targets to focus on for a resubmission. :)
  3. Hi Janet! I love chip arrangements and Freya's Theme, so this is a fun listen! The reharmonization starting at 2:44 is a nice touch, as are the filter sweeps with the swells. The syncopated 4:3 pulse that starts at :39 feels stilted in the center channel currently - some ping-ponging between the center and left/right channels opposite the swells would give it more impact. Great cover overall! Looking forward to more posts from you :D
  4. I'm pretty sure I've seen Hemo mention humanizing your MIDI velocities, durations, and timing at least once a week to someone on the forums or Discord. This track is exactly how you do that with a piano piece! It's not done to sound more real, although that's a consequence of humanizing - it's to bring the emotional weight of the writing into focus for the listener. Don't mind me, just gonna go sob in the corner for a bit. :'-)
  5. This track was my absolute favorite in all of GSM1 - favorite to track, favorite to listen to, favorite of all the rounds. Game Set Mash! works by having an arranging/recording/producing round that lasts about a week, and then a voting round that lasts about a week. Emunator brought essentially the entire arrangement to the team by day 2, and by day 3 it had all of the guitar layers as well as Paradiddles’ acoustic kit additions (I think cymbals and some toms?) ready to add. The finished result is a song I’m proud to have been part of, and proud to add to my “lemme introduce you to VGM remixes” playlist.
  6. It's dangerous to go alone, take this! Come join us for Office Hours, a time and place where you can ask your burning VGM remix questions, get feedback on your WIPs, and/or learn some tips, tricks, and techniques to take to your next project! This weekly event is an open forum for remixers (both budding and established) to bring their WIPs forward for an extra set of ears and eyes. You do not need any audio engineering or mixing skills to participate. We encourage you to bring your skill to the stage, even if it's none! These weekly-formatted events take place in the Discord Office Hours stage channel. Audience members can participate via chat or voice (raise your hand while in the audience using the button to request to join the stage). Screen-sharing is helpful for visuals but not required.
  7. until
    It's dangerous to go alone, take this! The Sages are hosting another Office Hours, a time and place where you can ask your burning VGM remix questions, get feedback on your WIPs, and/or learn some tips, tricks, and techniques to take to your next project! Hosted by @pixelseph this week! The agenda is TBD at the moment - let us @Sages know if there’s a specific topic you’d like covered!
  8. Hi VQ! I’ll be giving this one a listen in full a few times, along with re-reading the judges’ feedback, before giving you some recommendations. It may take a bit, but don’t fret! - the goal is to improve and that’s what we’re gonna do! Will likely need to edit this space several times, so I’ll make another comment once all the thoughts are put together! - Opening SFX set the scene. Bar 9 (around :15) is when the mallet percussion and cello enter. The cello seems to be giving a low pad/bed for the percs to lay on; the reverb here is good, though the stomp sfx bury the instruments by about 1-2dB when they occur. I would recommend dropping the volume on the stomps at this point by about 3dB and see if that doesn't open the space up more for the melodic content to come. - Around Bar 21 (:40), we've reached the transition to the A section of Blizzard Buffalo. The cello swells up to a peak around :44, and the sustain on the peak here softens the impact of Bar 25 (:48) where the A section kicks into gear. The sustain seems to be a combination of the reverb tail and compression on the low-end; automation on the reverb (decay first, and then the reverb bus as a whole) would be my first area to tackle. - Bar 25 (:48) has harp (or pizz strings) running an arpeggio against the chords created by the perc, cello, and added violin(s), as well as the thunder sfx in the back. The reverb here is really strong, making the articulations on the strings harder to distinguish. The instruments feel stacked on the center channel as well; I would consider spreading the percs suuuuper wide to free up some space for the arpeggio. The cello will maintain its center channel position throughout to give a solid foundation, and a slight widening of the violins will also help give some room for the arpeggio. - Bar 41 (1:21) has a wonderful solo violin swell! This is good dynamics here! The reverb level is appropriate given the space it's filling out, however, it's worth automating the level of it down for the next section at Bar 45 (1:28) since the soundscape is about to be more dense with instruments. I would also keep the violin center here, even if you panned the violins earlier. - Bar 45 (1:28) trades the mallet percussion for a piccolo and adds a muted piano(?), with bells at Bar 59 (1:56). The first bell strike comes in late (about 50-60ms after the rest of the orchestra) and makes its addition feel awkward until the tempo change around Bar 60 (1:58). This combined with the reverb still being too high in this section makes distinguishing the individual parts harder, just as before. Before we look at addressing the EQ of the reverb, let's see if we can't fix it by adjusting (and automating) the verb's output volume first.
  9. Hey Vylent! As was mentioned in the live feedback, having space between vocal phrases is helpful for the listener to digest what the vocal passage is doing and saying. The guitar lead in the older version is a great example of creating that space between the vocal phrases! The intro in the older version has a stronger build than the current, though it goes without saying that your vocalist, Sirenstar, is absolutely wiping the floor with the AI vocal. Returning the levels to the drums on the out (as in the older mix) would better realize the vision of getting this mix close to Imagine Dragons. There’s some rough cutting on the vocals around 2:44, and the breath coming in around 2:48, 2:52 is a bit hot. I think that’s most of the feedback from last night! I am really looking forward to hearing this get polished and see it get submitted!!
  10. Hi Peshti! This is coming along nicely! The change to the melodic tags works really well - like Larry, I would love to hear a more complete resolution to it, perhaps with some more build after 1:45? Looking forward to more!
  11. Hi Rukunetsu! Gonna drop the source of the track here for reference later. This is some slick D&B on this track! The vibe is on lock right from the get-go and every shift just maintains it. The pitch bends on the source melody are a great touch.
  12. Hi Mellow Sonic! This one's a damn good cover. I really enjoy the change-ups at 1:59 and 3:30 - interesting palette swaps and epic trap-style drums. Is this one you're working up to submit to the site or just looking for general feedback?
  13. Hi Seth! The 12/8 vibe for the opener is killer, though the energy drop at :48 was rough. The writing during that phase has a lot of promise by itself, it just feels disconnected from the intro and outro - is there a way to weave the melodic content from that section into the others? Or place the slower waltz bit ahead so that the change to the industrial bop feels like an upswing? Down to hear more of this!
  14. Hi Peshti! You've said this is halfway there, and I agree. You've got a nice balance of voices in the piece so far; the Tee Lopes influence comes through here. One thing I'm noticing is that the piece currently stays the same dynamic throughout; part of that is the drums keeping the same 4-bar loop (with the same fill) after the intro. I recommend leaning into the hits at :42 and seeing what you can come up with to bring us back around to the A section around :45. The lack of percussive transition to the B section around :17 also plays into this feeling. You're off to a good start here! Looking forward to hearing how this progresses ?
  15. Pretty banger stuff going on here! That down-pitched tambourine-sounding cymbal at 1:27 works well in the drop. Any chance you have a link to the source for this one? Trying to find it for comparison and not having much luck. :)
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