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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

18,213 profile views
  1. 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
  2. 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
  3. oh, this is really neat. the entrance of the bass is just filthy...it sounds fantastic. the build up to the melodic content at 1:29 was well-paced and sounded beefy without being overblown. the FM synths sound just great, tons of blurps and buzz with that trademark digital feel. i agree with rexy that the arrangement as-is is great, tons of bits and bobs pushed around into an entirely new-feeling track. i didn't have a significant problem with the mastering other than it indeed being bright in the high end. this is essentially a rubber stamp. this is clearly over the bar and is a great li
  4. interesting concept for this one. i agree with jive that it starts out wonky until the hats come in to help frame out the beat. once it starts, though, i like the sound quite a bit. there's a good overall tone to the track, and the bells in the background echo the first few bars of the original in a nicely-adapted manner. the melody sounds great once it starts up too, the amount of grit and wobble of the intonation sounds very stylistically accurate. after this we get more of the bells/echoed bells section, and a break with winds and mallets. the break is well-timed as it was getting fairly re
  5. another comically quiet arrangement from RET. a few small spikes keep it from needing at least 6db to make it to normal. the opening is very pretty and features some push and pull in the tempo that is really nice. the countermelodies at 0:34 are nice and well-handled. the strings that come in around 0:45 are pretty fakey compared to what's happened thus far unfortunately. the marcato section that follows that however is very well-articulated and sounds great. there's a wrong note in the ascending bass/piano line at 2:09 - the chromaticism demonstrated there isn't reflected in the upper li
  6. tons of melodic content right away, so that's clearly not going to be a problem here. there's an absolute brick wall for a limiter on this, but i don't hear any distortion as a result, so i'm inclined to give that a pass. the initial section with the whole band at 0:34 was real solid and fun to listen to. starting at 1:42 there's a repeating pitch in the right ear that's really annoyingly loud compared to everything else and it keeps going for nearly a minute, which i found to be really not something i liked. i did like what else was going on during this section, though, notably the variety of
  7. right off the bat, the lagging guitars caught me off guard too. i like the idea, but it's significant and notably distracting. the rest of the build is pretty nice. 0:54 is a significant change, and it sounded pretty good. rexy's right that everything's pretty vanilla, but it's put together in a fun way that is better than the sum of its parts. i loved the build from ~1:40ish to 2:15, but the payoff wasn't near as good as i'd hoped. the backing synths (notably the mid-range synths and some pads) were quite loud, the kick and snare weren't nearly loud/EQed properly enough, and so overall it los
  8. it is! i didn't expect it to get there for another week. glad you like it =)
  9. i can hardly hear the leads throughout. it's hard to call this a valkyrie profile mix if there's no melody. the performance are rock-solid and i thought the arrangement was fine. you do a good job of keeping the track moving with different variations, although it's a little stale by the end with some of the repeated licks. the band itself sounds great too. the harpsichord and organ are essentially unable to be heard, though, so that's not passing. this needs a volumization pass and a better organ patch to help it cut. NO
  10. most cities are totally hosed right now when it comes to postage delivery. it'll get there probably =)
  11. this presents pretty quickly, like jive said. we're through several layers of intro and to the melody by under 40 seconds into the song. i'd encourage you to pace yourself a bit more - you said a lot right up front, and maybe either spreading that out a bit more or moving some of those parts to later in the song would let the track breathe a bit from a musical content perspective. separately, i also agree that overall everything's got too much lows on it, and it means that a lot of content is getting layered over instead of having its own window to speak clearly. i personally really like
  12. what a fun original track! right away there's an interesting approach taken in your arrangement, lots of lush orchestra and bells. the heavy swell on the string sustains is real off-putting, but the rest of the scoring is pretty if simple. the transition at 1:00 is nice since it gives the mix a bit of a different feel to let it breathe. the choice of using some leading tones in the piano at 1:24 is likely what jive's talking about, and i agree it sounds kinda funky because of how sustains work, but it's not the worst. i'd want it to have been prepped in other instruments ahead of time to avoid
  13. oh, great source choice, and great genre choice for the remix. i really love the vibe throughout this track. it's got the high-energy presentation combined with chilled synths that you'd expect from liquid dnb, and faseeh does a great job mixing in the guitar elements without losing that grounding. there's source throughout and it's well-handled each time it comes up. i agree with emunator that a higher-compression mix wouldn't have been a bad thing, but overall this is just a rubber stamp for a great track. rubber stamp go. nice work. YES
  14. the intro does a nice job setting up the feel. i liked the switch between duple and triple meter, and the increasing tempo was well handled. the break at 1:12 is well-timed, and the main body of the piece that happens right after is great. i liked the solo section as well, as it didn't carry on too long and then immediately got back to the melodic content. the ending section at 2:55 was also fun and a good way to help the track wrap. from a mastering perspective, this sounds fine. it's a bit bass-heavy and it's hard to hear the drums in some areas but overall it does a good job conveying
  15. what a thoroughly wretched original track, at least as represented in the youtube link. that wiggle synth is terrible. this starts with some interesting strings work, which while creatively applied unfortunately don't mask that the samples aren't suited for the part writing. once everything comes in it's a little more covered up which is good. once the entire group comes in at 1:14, it's a fun sound, but it's also dramatically louder (ie. lacking compression throughout) and pretty muddy, especially on the fast runs. i like what you're trying to do here a lot, but it's failing on execution
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