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prophetik music

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About prophetik music

  • Rank
    Judge, Chronopolis/Thieves of Fate/Threshold of a Dream Director

Profile Information

  • Gender
    Male
  • Location
    Rochester, NY

Converted

  • Biography
    i like ultimate frisbee, pizza, playing games, and my wife and children.
  • Real Name
    Bradley Burr
  • Occupation
    IT
  • Xbox Live Gamertag
    prophetofsax

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
    Synthesis & Sound Design

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  1. the opening is pretty straightforward and just outlines the initial chord progression, adding in new instruments with each repetition. the filter effect at 0:50 helps break it up a bit (not sure it's needed so soon, but it's not a problem). the solo was fun and different enough, and i liked the synth work on that. the second original section at 1:39 sticks out like a sore thumb with how simple it is compared to the melody - i'd try some new content there to try and mix it up more so that it feels more like the original's compositional style. around that part i really started to feel the d
  2. damned is a professional arguer, don't mind him =) nice video.
  3. yeah, the crunchiness comes from a bunch of adjacent notes that shouldn't ever sit next to each other. the big issues are in the second/sixth and third/seventh measures. top line is the melody, bottom line is what i guessed the chords were based on the bass line and some of the other blurps going on. there's an Eb next to an E (and a tri-tone away from the root, always bad), a Bb a half-step from the root, and a Db a half-step from the C (and competing with the minor nature of the chord, also really bad). then in the next measure, you've got the C right in the middle of the Bb third
  4. there's some fun sound design going on in here. i think i'm getting what LT is saying here - the track sounds like it's missing another part throughout, causing it to be too empty. throughout it does feel like there's at least one voice missing - usually some level of rhythmic mid-level synth that'd provide chord structure without overwhelming the soundscape. you've got drums, an active and fun bass, a lead part, but rarely anything in the middle. at 3:12 you finally added something in the middle, and it suddenly feels much fuller and more corporeal. something that functions similarly without
  5. friend of mine was looking into this and thought it might be hamauzu. i told him to post here after he dug into it more.
  6. i agree that there's a bit of flooding later on in the track when the compressor finally kicks in, and that there's a lot of dynamic contrast (arguably too much width overall, the quieter parts need some expansion). that said, this is a great example of post-rock without actually having any rock in it. it's enjoyable to listen to, accessible, recognizable as the source, and features some really fun effecting and uber-sustained synth work. it probably needs the last five seconds of silence chopped. this is an easy vote from me. i really enjoyed this. YES
  7. jaunty little tune here - i think everyone who had an n64 played this at least a few times. so from an arrangement perspective, this is fine. there's a bunch of fun variation, it's recognizably WR64 still, and while it's a bit repetitive near the end, conceptually it's fun. there's some significant performance issues here that could be easily fixed up, although some might need a re-record to be really there. from a mastering perspective this needs a lot of work. so let's look at this from a resubmission standpoint. /edit: i wrote a bunch about the drums assuming they were live. rexy
  8. at least 4.7db headroom, possibly more outside of a spike or two. really needs some boost. i've been on a chippy kick lately, so this was a fun stylistic idea to consider. i also really enjoy devolved music (ie. realistic soundtracks in chiptune) so that's a fun idea. i liked the transition in the beginning to crossfade in your synths. i thought the initial presentation of the melody was fine, although i agree that the drums sound real bad here and throughout. there's just no beef to them at all, and i'd expect a lot more bite to the bass and drums throughout. there's some fun writing the
  9. i dug the lofi vibe you had going, and i liked the variations and stutters you added. i'm also a sucker for multi-octave arps, and you used those a bunch too. i do think that the melody got sidelined too much, and that there was a lot more room for melodic interpretation. that'd also help lengthen the track - just over two minutes isn't bad, but it's not great either. i also agree with the other judges that the beats kind of felt the same after a while despite the fun ideas you had in a few places with stuttering or clever patterns. i noticed some wrong notes at 0:49 in the right ear lowe
  10. lmao wtf, reuben i don't know what i expected. this is, against all odds, enjoyable to listen to! it's not good yet but it's fun. starting with the eight-hundred pound elephant in the room, yes, your performances on the kazoos are solid! the pitchiness inherent to the instrument is honestly fine most of the time. there's a few times (0:57, 1:01, 1:09 for example) where it gets pretty bad, and needs to be better, but overall it's solid and close enough. one thing i would do however is normalize the differences in volume that occur when you've got one low and one high in opposite ears. you
  11. there's a lot to like here. the intro is great, there's a really nice rhythm guitar tone overall throughout, the drums are solid if simple, and the leads are fun and well performed. the melody isn't particularly dressed up much, but the backing parts do a nice job mixing it up while holding water for the melodic content. it's definitely not perfect. the end is not good, the leads are too quiet pretty much throughout but especially before 1:12, and the song essentially ends at 1:26 or so. i like the chugs afterwards, but it needed to recap the melody or noodle some more on melodic content
  12. i didn't have these, thanks cyril! i did get the following from another member of the boards: Public Address 1-7 (three one-hour parts each) Hearts on a Shoreline/Thoughts on a Shoreline Spectrum (2008 New Year's Day mix) five assorted tracks (Drifter, Seeker, Traveler, Voyager, and an untitled one) i'm uploading to gdrive my copies, which are 192kbps CBR. i'll update when that's done. edit: link
  13. mak's always got the best submission mails what an aggressive and mean intro. i love it! particularly the snare, i'm a sucker for a giant trash-can snare sound. i also love the use of phrygian dominant mode - it's such a unique-sounding mode and you really get into it regularly. great job highlighting it with the humanization on the synths carrying it as well. i also liked that such an aggressive track regularly had big breaks to allow it to not get too tiresome over and over again. the big B section at 2:50 was also a great way to emphasize the idea under a half-time beat. rexy's right,
  14. this is pretty sausage-y at first glance, and it sounds like it too. the first thing i noticed (after a fun intro) was how crushed everything sounded. there's so much compression on everything and so much mid without highs that it feels very dense and doesn't breathe at all. this needs everything to be turned down and the compressor to be lightened up significantly, and then a solid EQ pass to notch out where everything's supposed to sit. some notable EQing issues include the heavy mid presence in the rhythm guitar sustains and the complete lack of high-end on the drums...i can't even hear if
  15. hey, this looks great! +1 for the lavalamp and the undermount power controller =) definitely a design i'd like to replicate someday. you did a great job optimizing space.
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