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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
  • Steam ID
    prophetikmusic

Artist Settings

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

Recent Profile Visitors

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  1. rubber-stamping this one. everything's too loud, it's all over-compressed, and it all desperately needs EQ. also i agree that the kick drum sounds time-warped - try layering three or four different kicks in to get the sub-bass freqs and attack sound that you want. edit: emu end edit and jive laid out some great steps that will help you get going in the right direction. your arrangement is fine, which is the hard part for a lot of non-musicians! now you just need to learn a bit of mastering technique, and vary up some of your instruments attacks some, and you'll have a really nice track. i
  2. the lack of verb on, like, anything really kills this right off the bat. nothing sounds like it's in the same area, and there's no volumization on any of the instruments to balance them as the ensemble changes. the guitar solo is pretty slick, but even when it's playing the band doesn't really sound 'real', mostly because the band mixing is so dry, and because the overall dynamic range of the track stays exactly the same for the entire length of the song. the drums need serious attention, as well - there's very clearly one rhythm beat with one fill beat used, and i can't even hear the hats if
  3. this is super fun! and too short. echoing what was said, this is less than half what i'd consider to be my minimum length for a remix that isn't absolutely knocking my socks off with every other aspect of it. explore it some more and i'd love to judge that. NO
  4. the intro has some fun delay effects but the drums sound pretty robotic. i agree with emu that the opening synths are real loud - sounds like they are volumized for later in the track and the remixer just didn't adjust them in the beginning. the choir sample is also pretty robovox. when the guitars first really come in at about 1:10 though it sounds pretty great. layering strings with the lead synth helped that a lot too (although i admittedly wanted to hear complexity there). around 2:05 i noticed that the lead synth didn't have any real personalization to it - no lfo change, no vibrato, noth
  5. audio is consistently quieter than expected - looks like it maxes at around -2.8db for some reason. this is a beautiful original track with minimal melodic content. this sounds like a hard track to remix honestly. listening to your version, i noticed right away how overblown the piano sounds - it's heavily compressed and sounds more like a techno track's piano than anything that's more acoustic like this comes across initially. separately, the backing pad is really interesting, but it's smeared liberally throughout the entire first half of the track and is super loud, and the tremelo
  6. this has a pretty fun concept going on here, with some creative instrument choices. i agree with gario that there's some significant issues with balance throughout. in general everything feels like you turned it to make it easier to hear rather than using EQing, panning, and slotting in instruments. an example is your kick drum - it's got a great electro beater sound, but it sounds like you just kept turning it up to get more bass instead of layering in a variety of sounds to get the profile you wanted. another example is the chorded synths that show up in various places (for example, 2:18) -
  7. the opening is beautiful, but i agree with rexy that there's a lot of mic pressure noise (ie. you recorded wind contacting your mic instead of what wind sounds like) that needs to get cut out. the melodic presentation is competent and well-handled. the phrasing and instrumentation reminded me of some of the desert tracks from FFXII, actually, in terms of how they use melodic content and move through instrument groups. the brass that came in near the end of the first melodic presentation was also really nice, great use of contrasting timbres to keep it interesting. i agree with rexy t
  8. opening is great, so much excellent atmosphere. the echoed bells at 1:14 are really fun, although they're a little more forward in the mix than i'd expect (they don't appear to be in the same sound space there). the transition at 1:38 is fantastic, and the instrument choices and usage right after that is just so evocative...the sliding bass, the plectral instrument with sustained tremelo, the attention paid to the percussion at ~2:05...just very, very good. there's so much building energy through here. the subsequent fall-off around 2:30 was also great. i got chills from the majora's mask chor
  9. rubber stamping this. the switch to 6/8 is such a great, simple change. i agree with gario that it sounds solid as-is. i particularly like the break at 1:21 and subsequent transition at 1:34. the solo at 2:10 is great and i particularly like the lead tone. the ending is indeed kind of weird and unexpected but it's not a game breaker. nice work. YES
  10. yeah, gario hits this one on the head.the hard limiting that shows up often (you can even see it clearly on the waveform) is really noticeable. most of the time it appears to be due to wide pads with tons of air in them being chorded - you want to avoid that wherever possible, just separate the air and the pad out and chord the pad only if you're going to do that. in terms of arrangement, i can't say that i find your changes to the repetitive plucked synth for example to be positive - stripping out the octave shifts makes it much more bland, and that's never something you want to say about one
  11. oh, right away i really like the slower pace. that's a really fun way to add some difference to this track. i agree with jive right away that the synths have little to no volumization to them - it's a lot of layering synths in similar ranges on top of each other. the first full hit at 0:48 immediately had me bobbing my head - what a great feel. the drums have zero low end to them, which is unfortunate, because i love what they're doing. jive's right that there's a ton of noise in the lower ranges in the synths that needs to be cut before the drums speak out and feel right. once you've isolated
  12. i like the intro a lot. the initial feel is a lot like what blue man group's music from their first album sounds like - if you replaced the initial synth with tubes, i'd think it was them. the guitar especially sounds a lot like it. i like the tone of both the slide and chorded guitar a lot. the breakdown at 1:10 is a great break as well, although i noticed that the crash cymbal doesn't sound super great here (it's very high-freq and doesn't sound very real). at 1:36 things pick up a bit. unlike jivemaster i didn't have a problem with the balance here as compared to what's going on in the
  13. the opening piano has a lot of uncanny-valley playing. there's a lot of attention paid to dynamics, but it sounds like there's no pedal used at all (0:19 is a good example, the left hand is very non-idiomatic for a piano) for some parts, and then too much sustained in other parts (the sustained left hand at 0:27 in what sounds like another piano just sits there and muds everything up). another thing i noticed is that on most rolled chords (ie. 1:00), the roll starts on the downbeat instead of leading to the downbeat, which causes it to sound strangely out of time when the rest of it is overly
  14. this is a fun adaptation that features some unexpected turns. the opening's very light and airy, which is great. the bass drum is quite blatty like jive said, but the rest of the instruments fit well and do a good job balancing with each other. when more of the ensemble comes in at 0:42, it's still pretty nice balance. at 1:03 or so, we get a bigger, more instrumented orchestra, and the flute starts to sound a bit weird since it has a very light timbre and it's somehow singing over everything else, but it's still well-played and sounds pretty. the addition of violin is nice, and the great time
  15. evocative title and backstory. the delayed keys in the beginning is a nice starter, and the guitar sounds great when it comes in. the drums sound pretty good (snare's really poppy which is not what i expected for this style of guitars, but it's so crisp that it fits really well), but i agree with jive that a bass guitar isn't immediately evident, maybe due to the detuned nature of the guitars? there's a decent amount of bass in the guitar but no sub content specifically, but it sounds pretty good even with that. we get one real clear playthrough of the melodic content before a solo break.
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