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prophetik music

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  • Real Name
    Bradley Burr
  • Location
    Rochester, NY
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  • 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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prophetik music's Achievements

  1. opens with sfx and rhythmic elements. opening section is very quiet, maybe too quiet based on the breadth of dynamics in the piece. there's some string sweeps and bells far off, and these continue to accompany foley work until we get to the 1:00 mark when we start to get more instruments. i'm not hearing a ton of source in this opening section, but there's some very tenuous links to the bells and some melodic content. there are definitely nontonal elements around 1:26 which is an issue due to the very long reverb. 1:39 is kind of where things get going. this is very meandering. i can hear the B section of the melody in here, underneath some of the wandering ideas. there's some really odd note choices though (plucked/filtered bell instrument...is that a piano? at 1:50, 2:03, 2:08), and the verb tail is still really long which makes it even more dense. the low mids through here are very dense as well - the fundamental of the aforementioned bell/piano instrument is right next to the bass, and it's pretty muddy here as a result even before the low sweep synth comes. 2:16's a big shift. there's a significant reduction of backing elements in here so it's immediately less dense, but you've still got low strings, the piano instrument, and a bass instrument next to each other in the same range, and a distorted synth comes in later in the same range, so it's still dense. the melody's clearer here, which is good, and there's some fun ideas in the percussion and in the pizz strings that aren't in the basement. the piano gets more noodly as this section goes on, and the lack of clarity on the attack as a result makes it difficult to hear what's going on. 2:53's a shift to orchestral instrumentation. there's a lot of sustains here in the brass especially - it feels very over-orchestrated as a result. this is a super common mistake among people using orchestrated elements in edm and rock, and it's amazing how much body a piece gets by removing elements. cutting out a lot of the instruments sustaining notes would make it feel less mid-heavy and let the melody and percussion soar over the top. the big, blocky melody works really well with orchestral instrumentation, though, and this is a great transitional section to pin together the section before and after it. this would be a great opportunity to get after modifying the melody a bit if you wanted to. there's a tambourine that's used earlier but more heavily at 3:35, and it's very resonant and ringy - it'd be great if we could tone that back. the drop at 3:50 is a neat idea to change the feel a bit and mix it up. i think it could have been prepared a bit better so that it's not just a knee-jerk change. there's a note issue at 4:05.5 in whatever bell instrument comes in there, and it happens again a few seconds later. the additive crescendo from the pads and other instruments coming in sounds neat, but they are in general all lower instruments and it means that again it gets very dense very quickly. there's a bell instrument used at 4:27 in a percussive manner that is very piercing and was hard to hear. there's an ascending pattern to build tension - and then the instrument fades into a more meandering thing alongside more foley. there's some musicbox elements, and it's done. i know this track has been a journey! it certainly has changed a ton for the better since the last time i heard it. in general, it's still too low-mid dense (this is an instrumentation issue, not a mastering issue), and there's a lot of leaning on instruments with long tails (either by reverb or by design) that result in clashing tonalities. i think both can be mitigated by taking a surgical approach to each instrument and carefully either adjusting the range it's playing in (for pads, plectral instruments, and pianos) or trimming the long sustains and resonant freqs (on bell instruments). i personally didn't care for or get the first minute plus or the last 30s, but that's neither here nor there. i do think that having a clearer ending statement that's more rooted in the original and less interpretive might be a more effective way to close out the arrangement, but that might be personal preference from me. keep at it! you can do this =) NO
  2. opens with detuned piano and some neat sweeping effects. that's a really neat effect at 0:27 on the filter, like gravitational lensing. there's some really delicate and pretty string work when they come in before 0:30 there. i also really like the snare when it comes in, there's a layered richness there that i really am into. 1:07's an escalation - it's still a little dense there (your bass instrument appears to have some overtones at ~96hz that are causing it to feel a bit dense, or maybe that's the low strings) but it's clearer than it was before, I think. there's some fun sfx after the 1:30 mark, and some neat rhythmic elements to keep it driving forward. the strings here started to feel a little copied in, given the repetition of the riff at 1:35 again at 2:00 or so. there's a staggered cutoff into 2:02's outro, and then it's done with some pingpong filter effects. this is a surprisingly broad adaptation of a completely different genre. there's a lot of little bits and bobs here and there that really add color to it. nice job. YES
  3. opens with a big city beat and some similar synth swoops and string elements. the backing elements sound almost like they're just the original downtuned with the beat over top. in fact, they sound like that so much that i don't think there's any arrangement here at all. unfortunately i don't think this fits the Standards as a result - there's no transformative arrangement at all here. section 4.2. calls out this track's arrangement technique specifically as not being what we host here. it's a cool beat! but there'd need to be a lot done to make it fit as a result. NO
  4. opens with some very verby choir and organ synths. acoustic comes in soon after, aping fingerstyle. the attack on this guitar vst doesn't really sound super realistic for this (it's a weird combo of hammer-on and nail picking), nor does there seem to be much velocitization on it. there's a resolution at 0:59, some bells and sfx, and then drums building into 1:23 where we get some distorted bass guitar and rhythm guitar. the drums here are very verby, which lends to an arena feel. the bass again doesn't have much in terms of velocitization on it, which makes it feel very robotic. the rhythm guitar is panned pretty widely, or is stacked, and either way doesn't quite have enough distortion on it to cover up that it's not super realistic. the lead guitar comes in with the melody soon after and is really loud compared to everything else - it completely wipes every other instrument off the map and needs to be turned down a lot. there's a bit of a break at 2:10 for a few seconds, and then we get some ensemble rhythmic stuff as the lead does some runs around Light of Silence. these runs don't sound super realistic mostly because of the attacks - there's no mix of picking and hammer-on. if it's possible in your vst to do that, you definitely want to look into varying that up. the vibrato that's put on the lead in a few places, like 2:35, sounds weird because it starts at the attack instead after a bit - set that lfo to start after a bit so that it's not modulating the attack right after it's picked. 3:10's a palate cleanser with the world revolution chords, and then we get a recap of the manoria cathedral melodic material. it sounds like the lead here is repeated from earlier based on how it's handling vibrato. this section is arrangement-rich and really fun. i love the stacked chords at 3:55 and how impactful that is. 4:28 is another manoria recap - this theme is getting a bit played out by this point, but you do keep it different by passing it around between instruments which is a good choice. 4:52 is the start of a ritard that causes some really weird transformations in the audio - is your reverb tied to steps instead of seconds for duration? i'm wondering if that's what's causing the modulation - and then at 5:10 we've got a recap of the opening section, and it's done. this is a great arrangement! there's so much going on and i love that. despite never leaving 4/4, it has a real proggy feel to it. that said, the instruments absolutely are letting you down here. this track is screaming for live guitar, and while normally i wouldn't say "you need live instrumentalists to make it on the site", this track 100% will benefit from live guitar at least if not also live bass and drums. i know you're in tight with some great performers, so i'm wondering if you'd be able to work with them to get some real instruments in here instead of the fake stuff, because quite simply a guitar vst will never do what you're asking it to do without mentat-level abilities in industry-leading tools, whereas half of the guitarists in the community could do this in their sleep. with that in mind, i'm not going to spend time talking about mastering, since i do feel strongly that this will change a lot when you revisit it. as it is, the instrumentation isn't good enough to pass as real or fake enough to pass as synth rock as-is, so i'll not pass this yet. but i'll definitely pass it when it comes back around and slays me with sick guitar riffs =) NO
  5. opens with some sfx and a gliding synth that really apes the CAoS track well. starts to get some more body around 0:30 and again at 0:54 as it starts to get some beats. beat hits at 1:18 and there's a really fun ambiance going on - the 4/4 influence is clear, but there's some playing with time which is a neat idea. i like the way the bass is used throughout this entire section. 2:14 is a more aggressive feel - continues being pretty spacey in the backing elements, but the bass is more aggressive. the extra distortion edge that's showing here in the bass is really nice. 2:38 is an extended break and feels so metroid - something about the arps and chorused bass really just piques that memory. there's a nice build through 3:35 into 3:45 to a chorus section. there's some extra metroid melodic material as it drops off a bit going into 4:15, another key change, and then we get some outro elements as it trucks back through some source material to get to the end. this is a layup. the CAoS melodic material is indeed meandering, and your idea to use it as a verse with the Prime track being the chorus was inspired. there's a bunch of subtle production techniques being used throughout which is really fun to hear as well. overall this is a great example of the inspiration that can come from a short timeframe to work on the bones of a track. nice work. YES
  6. opens with classical guitar. this isn't particularly realistic nor does it attempt to sound idiomatic, but does fit the original's style. this entire first section through 0:42 is, to my ears, direct from the midi. we then get a great variations sections that focuses on the eighth-two sixteenth pattern, then steps down through the circle of fifths in a descending pattern. this section is awesome from an arrangement perspective! i love the variations concept here. 1:07 returns to the midi and goes almost completely straight from the midi again, and we get a repeat of the previous variations section from 0:42. 2:14 is a new section that's essentially 0:42 in major, which is a fun turn of idea. there's a repeated fanfare section to end it on a cadence, and we're done. this is a really fun idea! i can't imagine that this isn't doable with performers - it'd just take a bit of patience learning to arrange it, but it should be eminently doable with live artists. that'd fix my number one issue here, which is that it doesn't sound real at all. you do a lot more with dynamics than i'd have expected, but ultimately the lack of idiomatic playing makes it pretty clear. separately, the arrangement has great ideas but isn't ready for primetime yet. the repetition of the first minute or so in its entirety is too much copypasta, first of all, and the inclusion of the original midi for the first 40ish seconds with no changes is probably a standards violation right there. if you were to instead add some countermelodic or contrapunctal elements to that first 40s, then change it up further when you repeat the first minute (both the theme and the variation), that'd be more than enough arrangement for me! but as is it's not enough. this is such a fun idea! i'd love to hear it with a more realistic depiction of classical guitar and a more involved arrangement. NO
  7. can definitely see how these themes fit together. opens with the chord progression from A Truth Revealed in some very fake choir samples, but quickly fleshes out the arpeggio with some better writing. the guitars come in with some elements of Zanarkand before shifting to the KH2 track. there's a much more active lead guitar part through this entire section than i've heard in the past from you, and i can't say that i think it's a positive development. the counterpoint part in the guitar seems needlessly complex and isn't really doing melodic stuff most of the time, so it's hard to pin down what it's playing around. for example, at 1:55 it's clearly outlining the Zanarkand theme, but it's hard to clarify that because nothing's actually playing the melodic line. this gradually builds in intensity until we're at full-on blastbeat at 2:29. this section is more in keeping with how you've represented themes in the last and this is more approachable and consumable. there's a bit break at about the 3:00 mark, and the chords from Truth Revealed come in. there's still a reliance on the choir samples here, but they're written much better so they're more listenable. there's a chord change at the end that is kind of awkward at about 4:07, and the time changes into a triple meter here as well. there's some creative chord work in here that doesn't sound 100% in line with itself, and i will admit it's hard to keep track of what's happening here. this needs more clarity in the writing. 5:20 opens up the beat to 5, which is an interesting idea, and then explores more of the melodic elements in this new time. 6:13 or so goes back to the intro for some of the ensemble work there, and it noodles around until we get a complete drop at 7:06 for the ending. overall this is a lot more uneven of an arrangement than past remixes have been. it's much harder to track the melodic material through the very complex chord elements you've added, and i found myself straining even in sections that were clearly FFX (which is an OST i know very well) to identify what was going on where. i think the idea makes a lot of sense, but in execution there's major sections where i just have no idea what's going on, and the added contrapunctal work in the lead guitar in several sections just sounds needlessly complex. i think this one needs some more work to clarify the harmonic backdrop and improve the clarity of the arrangement. NO
  8. really wide panning right off the bat, with virtually no room verb/sound on the guitars. drums are pretty far back in the mix and don't have any body to them. they're playing fun stuff but i just can't hear the kick at all. bass is essentially unable to be heard as well. you've got a ton of mud in the 100-200hz area that needs to be EQed out, mostly in the lower guitars. scooping them harder will help a lot. overall a lot of EQ is needed. the track doesn't technically clip but it's clear that it's right up against the line repeatedly, that's something else that should be addressed so that it's not the guitars pushing it there but rather a combination of elements. the arrangement is also too short. there's not really a ton here aside from the adaptation to the style. we require more transformative arrangement than what's shown here - adding more of your own flourish to the track will help a lot, as will finding ways to extend the duration of the track without having it just be repeated material done the exact same way. there's not even an ending here, which could have helped extend it. i think that DoD's environment would help a lot to up your mastering game. the workshop discord/forums here also would help a lot for identifying how to get more meat out of your guitars and drums and better balance the individual parts. NO
  9. i didn't vote on the original but did listen to it, and voted on the resub. my complaints were around the over-simplification of the track (ie. not enough to call it a remix) as well as some technical issues. interesting sfx elements in the opening, outlining the chord structure of the original. keys and an original-adjacent bass element playing the arpeggiated opening section, in one of the minor modes. i like the approach at 1:29 with the very nice higher keys. separately, this entire opening section through 2:15 has some timing elements that are mildly irritating to me - the keys and bass synth aren't always in sync. 2:15 or so has some much larger chords that really stick out of the mix. they filled up the soundscape a lot but didn't feel much louder - lot of mids there. there's some pretty strings after this that do some fun ideas to outline the melodic structure. there's some timing stuff in here that's a little confusing to my ears. there's a reversed cymbal hit at 3:15 that does a superb job transitioning into a last runthrough of the melody before we're done. i think there's a lot to like about this track. there's a fullness of character that wasn't in the last two versions, and most of the issues i had with those have been alleviated. nice work. YES
  10. opens with a fairly dry piano that's more in the left ear. flute comes in at 0:17 and really feels like it's in a different place - totally dry and doesn't fit the piano at all. there's some drums and other elements that come in at 0:32, as well as static and a choir. the overall feel is still very dry despite the big drum and choir tones. melody comes back in at 0:45. there's some fun arp stuff going on in the right ear, and some rhythmic static elements that are probably too panned in the left. taiko and choir comes back in at 1:03, and this feels like more of the same that we've heard up to this point. we get some new material at 1:34 with a more synthy lead (sounds like it's played exactly as the original does). it's hard to hear the exact notes being played here. there's a bit shift at 2:00 on the button, with a very treble-driven drumset coming in. there's a lot of the same here - same taiko, same lead still - but there's some fun new elements like the guitar coming in. i like the idea of the drumset but it's very treble-heavy and not pleasant to listen to. this continues on a bit of a loop for a bit until it hits 3:22, and then the same piano and static elements play us out. you've got some really neat ideas going on here. i like very much the layering of organic (piano, choir, taiko) elements with electronic (the hyper-compressed drums, the static, the mellotron flute). there's a very specific feel being evoked and that's hard to do. overall though there's not much delta on this piece. you've got the same piano being played the entire time, the same mellotron lead playing the same stuff the whole time, same taiko, similar ideas with the static in the left ear, etc. there's a nice shift at 2:00 but it becomes clear quickly that this shift is still doing the same thing overall, just with mildly different window dressing. i'd love to hear more focus on the guitar, on shifting away from the elements that drove the first minute, and expand out a bit from the original method you used to represent it. from a technical perspective, the track is panned very widely, and that's hard to listen to especially on headphones. the taikos are also completely crushing anything in the 100hz range so the low end is pretty dirty. there's more balance later in the track which i think sounds better, but reducing some of the super-high content overall and especially in the left ear (there's a spike around 3khz that's really bright to me) would also help. i think you've got a lot of good ideas here! i'd love to hear more development and less reuse of the same elements over and over for nearly four minutes. i'd also like to hear a bit more attention paid to EQing of various elements to help notch them in next to one another. but you've got good bones here. the workshop forum and discord channel would be a ton of help fleshing this out, i think. NO
  11. such a creepy original. opens with some very verby, quiet piano playing the arpeggio. there's some new bass and chordal content as well. melodic material comes in right away in a very delayed glide lead with some nice envelope on it. some (again, very wet) percussive elements come in at 0:36. the long tails on every synth start to bite you a bit at 0:45 as the chromaticism in the melodic line get banged up against the sustained chord elements. there's a bit of a break at 1:05, and we get most of what we already heard again. this isn't quite copypasta but it does sound like the same patterns in FL were used again in slightly different timings. bass instrument drops by maybe 1:46 for a bit, and then we get the descending chord pattern once more as an outro. there's no real ending, the patterns just end and there's some natural fade from the reverb. i think this is an interesting idea! lavender town wasn't particularly gloomy in game, but it's a neat aesthetic to attempt here. unfortunately there's not much arrangement going on that i can hear - it's mostly the original melody and arpeggio played straight through with the descending line in the bass. beyond that, most of the synths sound dull rather than creepy or engaging, and the track overall is pretty short to demonstrate the level of transformative arrangement we normally look for in remixes. i'd encourage you to take the time to really expand on the interesting chromatic elements that this track provides - that is, to include more leocb in the arrangement and less masuda - and to then find some new ways to represent them within the track. this definitely is a great start! i think you'd find a lot of help in the workshop forum or the workshop discord channel as well to find ways to expand this. NO
  12. Artist Name: leocb I remade the base tone and melody on FL Mobile, mixed and changed the instruments to make it as gloomy as I possibly could. This is my first submission, feel free to reach out if I missed something. Hope you like it! Games & Sources Original composition based on Pokemon Red/Blue Lavender Town.
  13. Artist Name: Hitrison This song was made in Ableton Live, and attempted to keep some of the ambient feel with the main ostinato being played on piano, but most tracks I work on end up being a bit noisy and/or intense and this is no exception. There were no samples from the game or any other media in the song, but I did use Sonic Bloom's Mellotron (https://sonicbloom.net/free-mellotron-live-pack-bundle-10-packs/) pack for the main melody flute and choir as well as some Taiko drum samples (https://www.subaqueousmusic.com/free-taiko-drum-rack/), and I recorded a few guitar tracks: an ambient noise track in the background (basically just rattled a bracelet on the headstock of my telecaster) and a melody track in the second half. The first half of the track is an ominous buildup, and the second half a trebly explosion. Games & Sources The song is "Lower Brinstar" from Super Metroid, composed by Kenji Yamamoto and Minako Hamano. It's a somewhat slow, almost minimalist ambient piece.
  14. there is a version in the submission comments from 4/13. make sure you're listening to that version. @MindWanderer @Chimpazilla just fyi as this is from after your votes.
  15. several seconds of silence to trim off the beginning. opening is a really delicate synth arp and pad with some cinematic orchestral celli. the iconic whistle lead is represented at 0:17, and there's a synth bass in there under the celli as well. we get a beat at 0:31 and some more cinematic orchestra stabs. there's no rolloff here so there's some mud down bottom that's a little distracting. lead here is played by a flute, and is played as the original is with no personalization. i hear the ghuzeng in this section at 1:25 but it's not particularly idiomatic - it's used in a western method through here with no multi-articulations and no vibrato, so it's basically a steel harp or piano here. there's a few of the pitch wiggles at the end of phrases though which is a nice add. there's a falloff at 1:49 that isn't particularly prepared, and we get the same feel as back at 0:31 for a bit. the same flute lead section as back at 0:47 plays with the ghuzeng from 1:25 layered on top. this felt pretty copy/paste until the riff at 2:28, and continued feeling like that after this section until 2:48. there's a very patient outro after this section. i liked the more atmospheric feel of this outro. overall i think there's a lot of repetition in the last half of the piece. virtually everything between 1:53 and 2:47 is repeated content with no changes outside of a two-second descending riff in the ghuzeng. that's too much. i like the overall feel of the track, and the groove you have going is a neat idea. hearing no personalization on either major melody line along so much repetition, however, is tough. i'd love to hear more BronxTaco shining through on most of this track. it feels like all the best parts are cribbed exactly from the original. i think your instrument choice overall is neat, and i'd love to hear you explore that more - just like you do in lower brinstar in the game! adding more personalization and breadth to your approach will only improve your arrangement here. i feel like this is really close, and i understand if other judges don't feel the repetition is as big of a deal. for me to pass it, i'd want to hear more personalization throughout, and for that repeated section to not be a straight copy of the previous section. change some instrumentation, add some new countermelodic material, mix up the chords a bit, change your approach a bit, just do something so 30% of the song isn't the same as another part. NO
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