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prophetik music

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Everything posted by prophetik music

  1. i didn't vote on the original, so i'm coming in clean. it's so mushy. the opening 25 seconds are some fun chippy stuff over a bucket of guacamole. it seriously sounds like the bass is next door and it's being recorded through the wall. the chips have some really fun performance parts, and there's some really fun ideas with the arrangement chirping up here and there. but the guitars are very lossy (and panned pretty far left), and the bass is just very low-heavy. the drums suffer a lot because you can't hear the kick or head impacts hardly at all, and the high end seems to be pretty cut out. i'm echoing the others here. this needs to be brighter by a lot. some serious notching to shelf in your different non-chip instruments will help a lot too so there's not so much in the same area. NO
  2. track is very short, about 2:05 in total. opening is marcato strings, flowing into the melody in winds with harmonies in the strings. the background is pretty static. there are some crunchy notes in here (the quintal harmony in the brass (?) at 0:29, the ascending harmony has a wrong note in it right after that as well), and it's fairly simple backgrounds. there's a significant tonal shift and a really fun/funky breakdown of the background at about 0:54. it's much less blocks-of-sound here but i like a lot of the interesting sound design going on here, especially the sliding plectral instrument. this kinda just keeps repeating, though - at 1:27 i expected something to happen, and it kinda just keeps grooving along. there's a bit more at 1:44, but it feels just layered on top and not properly balanced into the rest of the mix. then the track ends with a flourish. from a mastering perspective, the middle has a much lower RMS than the rest of the track and it felt pretty light. also whatever instrument comes in at 1:44 is not really fit into the soundscape, but just put on top of it, so it sounds very crowded suddenly. this is a tale of two halves. the orchestral opening is pretty boring, honestly, and the non-chord tones don't sound intentional. the melody's very static and plodding with no real humanization in there, so it sounds pretty fake. the second part, with the drumkit and stuttered guitar parts, is way more cool and does some fun stuff. it definitely sounds underdeveloped though - even going through the melodic content again at 1:27 and then doing your section from 1:45ish out would have added enough content that i'd call it good. but as is, it's a tech demo that's barely two minutes long. this needs more content, and more attention to the orchestral opening section and the last 20 seconds. NO
  3. hey bloominglate! you're right in that staff have lives too, and stuff happens or doesn't happen in those lives occasionally ­čśâ we're still voting away busily over here! and dave keeps going through his checklist of site updates when he has time.
  4. classic tune here. also, you went with polygonjohn instead of polyjohn? missed opportunity filtered drums and some sfx start this track off, along a very bass-heavy bass and some quiet bells. the melody comes in at 0:35 with some nicely-sequenced gliding synth. this does a nice job sitting back on the beat which fits the background well. there's a silence break at 1:22, and a fade-out for the last 25 seconds of the song featuring a bit of noodling on the A section of the melody. aaaaaaaand...that's it. the melodic content takes up less than a minute by itself. so this isn't going to pass since there's nowhere near enough development here to call it. things that i liked included the general vibe of the drumloop (more creativity and fill use there would help a lot as the track's duration progresses past where it is now), the automation on the melody (i'm a sucker for glides), and the approach overall of a more relaxed version of the original track. i did not care for how bass-heavy this is. there's a lot of overlap between the bass synth and the chorded bell tones - those need to be squared off with an EQ so there's not so much mud in the low end. adding a bit more highs overall to both instruments would actually help i think - it's very low/low-mid focused, and while that can help it feel relaxed it also makes it harder to tell what's what. i also don't understand not including the B section of the melody on a track that is so short. even just a single run-through of that bit would have helped lengthen the track by 20 or 30 seconds, which is approaching what i'd consider the minimum. on the topic of arrangement, this definitely feels like a demo. mixing it up in instrumentation, chords, or style with a second run-through of the (entire) melody would add a lot to the track and help wrap it up into less of a demo and more of a finished duration. overall this is too short to really consider. there's some really nice ideas but it needs more content. NO
  5. yeah, the lack of room verb or body on the piano is really obvious right off the bat. there's some wrong notes in it too that can't be attributed to the style - like the second note at 0:34. this kind of burlesque playing loves purposefully incorrect notes but they've gotta be leaned into. clashing notes in the background are just wrong, not quirky. i'm at 1:20 and i still can't shake that this is the background and half the instruments are missing. i like the idea of an approach that's less a large ensemble and more a small group, but it feels very empty throughout. the ending is odd. it sounds like the instruments start to fade out, but there's a clearly defined ending that actually wraps it pretty good. i don't know if the dynamic shifts are intentional. there's some interesting ideas that can come from small-ensemble work like this, but this still feels very disjointed and like it's missing too much to string it together. a key component of small ensemble writing is that all parts need to be equal contributors, or at least roughly equal, and that doesn't feel like the case here. as a result it sounds like piano and random sfx instead. the keys sound odd, but the arrangement needs more to tie it together beyond the (admittedly pretty good outside of the unsupported wrong notes) piano writing. NO
  6. i'm going to preface this by saying that i really am not into lofi despite liking downtempo and other styles. i find the reduced freq range to be tiresome. that said, i think this is a fairly good adaptation of the original into this style. the beat sounds consistent with the genre, and the bass is interesting and adds some fun to the track. that said, i'd consider this to be more of a cover than an arrangement. there's essentially no adaptation of the melody or chords throughout at all, no personalization. the bass groove is fun and the few synths used are thematic and fit, but i'm landing on the not-enough-arrangement side of the line by just a little. maybe if it was longer and could explore the ideas laid out here more i'd be ok with it, but the melodic content occupies less than a minute and a half of the track. it's just too short to really explore anything. if it was a minute longer (with a minute's worth of exploration and development) i'd be cool with it, i think, since it sounds good. it's just too close to being a straight cover in a new style otherwise. NO
  7. kick has a lot of reverb. i'm guessing that'll cause issues later in the track. opening synths are interesting but quiet. already by 0:28 there's a lot of heaviness in the lower mids because of how oofy the bass is and the amount of sustain on the kick. the melody coming in at 0:55 is nice, though, and i like the handoff between the two synths to make that initial arpeggiated line. the melodic content is definitely pretty repetitive, and that's just the nature of the original here. that said, there's a lot you can do to expand it out, with one really obvious idea being updated chords. a fun thing is that when the melodic content is highly repetitive, you can essentially put whatever chords you want under it and it'll still sound right (within reason). i'd recommend looking into some easy progressions like I-vi-IV-V or I-bVI-bVII-IV to get some movement out of the second half of the track. the break at 1:49 was needed. i think you had a chance to branch out more in your sound design here, also, to make it even more separated from the main section. the ending drop to just synths is a nice idea to help wrap it up. needs some extra blank space at the end to allow your ending hit to fade naturally, it's clipped now. overall the bigger issue here wasn't the repetitiveness, as emu said (although it's definitely repetitive and should get some more body to the arrangement itself), it's the mastering. it's very boomy because of the bass and kick both having long sustains that aren't trimmed, and because both clearly have a ton of spare freqs flying around. an EQ pass and trimming down the envelope for both the bass and kick will help immensely, and open up a lot of room for some of your more interesting mid parts to speak easier. NO
  8. some fun fm-style synths to start out the track. the melody is recognizable right away, and the drums are nice and tight early on. the first presentation of the melody is a bit weird, because there's this huge sub-bass, the drums, a melody, and a moving countermelody, but no real obvious pad or anything to help hold it together. it feels a bit empty as a result. also at this point it becomes obvious that there's only really one drum loop being used and then a different one for fills, and that's it. there's a break that's needed and we get back into it at 1:40 or so. there's some more complexity in the mids here which helps. 1:56 is the melodic content again, and again this is very 'hollow'-feeling, with no supporting pads in the mids and the melody several octaves above most of the other synths. there's another break at 2:54 for a while, and there's a bit more exploration here before it comes back up for a final bit at 3:15 that sounds more like a transition to a new song in a set more than anything else, and then a fadeout. this ending is pretty not-great for a standalone track. from a mastering side, the cymbals and highs especially in the drumset are very bright compared to the rest of it. the bass is also very present, but it's worth noting most of the beef is in what i'd call sub-bass frequency so it might not speak on everyone's headphones or speakers. overall i think this one needs a bit of workshopping. i liked what it was doing - there's some fun countermelodies going on, i liked the feel of the drum groove initially, and the synth choice is fun. there's a bunch of simple-to-fix missteps, though, like not scooping the mastering so hard, or filling out the middle of the frequency range a bit with some pads, updating the drums so they're not the same loop for 3.5 minutes, and adding some body to the lead synth so it's not quite so thin up high where it is (or dropping it an octave). this has some fun ideas but it's not there yet. NO
  9. oh, that's a gorgeous texture up front. the washes of sound are really nice, and i found the vocal 'pad' to be really nice too. there's some very fun percussion being used in here as well. i agree that the panflute isn't a great sample, but it's not egregious. the song felt like it was done at 1:40, so i was surprised to see that this was only the halfway point. it picked back up though and had more interesting exploration of the arpeggio. there's some odd notes in here (2:05, 2:07, and a few others), and the winds aren't particularly realistic in their orchestration. the outcome is interesting to listen to though, and i liked the later application of some plectral instruments to complement the ongoing harp work. the song hangs on longer than expected - there's another natural fadeout/ending and some fun double-time stuff - but overall the arrangement is really interesting and does a good job expanding on a very minimal source. nice work. YES
  10. this soundtrack is so much fun. props for picking a more complex track for the remix. big hit to start. the tonal shift at 0:15 is just instantly recognizable despite the new instrumentation. the guitars at 0:52 are really aggressive and i love the pitch mod on them. the build towards 1:27 is really solid, and 1:27 is also great. i like the approach of having multiple leads on the melody to simulate the original synth that played the melodic line there. 2:05 drops off in tempo and volume, and there's some fun sfx and a heavily-effected bass noodling. very atmospheric throughout here. the wooblesynth you've got doing the higher pitched parts at 3:00 is fun but it cuts itself so it sounds a little weird considering it has a longer attack. either way the rest of the background here is excellent, lots going on but still identifiable. the drop at 3:38 is very intense - there's a lot of energy there without losing the build you just did. 3:55 brings that back to the forefront. i like the focus switching between guitar and synth in this section. this took a little longer to build up to supermax than i expected, with a little more repetition than i expected, but it kept getting bigger and eventually maxed out for a big wall of sound ending. i like the ending and the repetition used there. normally i'm not for abrupt endings but this was in keeping in the rest of the track's style. excellent track. very impressive work. YES
  11. 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'd suggest the workshop to get some additional ears on this before your next submission. NO
  12. well, i love the instrumentation concepts. the guitar, piano, ep, and drums are all great sample choices (although the drums are a bit more underwater than i'd like). the soundscape build around 1:30 through 1:40 is really nice (with one caveat, see below). i agree with emu that the track sounds heavily quantized but it's not the worst thing, in my opinion. there definitely was some room there to be more flexible with your realization. there are two major issues that i see. the first is that this is super heavy in the mids. there's essentially nothing in the lows, and the highs are muted due to the style - probably too much - so everything in a tight band in the mids. it's cluttered as a result. this is really noticeable for most of the section between 1:15 and 2:10. your ep, piano, guitar, cello, strings, and choir-replacement burbles are all kind of in the same place. it would probably require some notable EQing to fix that, and also likely some rearrangement to get notes out of the same registers. my second issue is that this is really, really conservative of an arrangement. if everything was rock-solid outside of the arrangement i'd consider a borderline yes - that's how close this is to not being enough for me. there's a ton of opportunity for personalization here. the stepwise motion of the melody means that altered chords would be easy to substitute in. an altered time signature would really mix it up as well. additional countermelodies or harmonies, some more variation of instrumentation to get it away from the original, more dynamic variation...any of those would help a ton. as it is, it's so close to the original that it's hard for me to say that enough was done for it to be a transformative arrangement. NO
  13. for the first minute plus, the track is much heavier in the left ear. a little too much panning - you could use half what you did and still get a good clarity of soundstage, i think. noticeable again around 2:30 through 3:10ish. agree with emu on the source usage. the chords are definitely the same, and that's solid, but there's simply not enough melodic source to call it the same track. unfortunately jazz combo's a tough sell for a track on the site simply because the norm is thirty seconds of the head, ten minutes of ramen, and then back to the top twice for a recap. fantastic tone on the clarinet, especially the upper left hand stuff, really stellar. i've always preferred a clarinet tone in jazz that has more pitch variation (vibrato, lipping, etc) - i can hear you doing some really fun stuff around licks, but maybe consider it on your sustains. your tone is so clear that i don't think a heavy goodman-style vibrato is a good idea consistently, but some color at the end of your sustains would add a ton of vibrancy to what you're playing. this is a rubber stamp unfortunately. there's simply not enough source to pass this. as much as i want to lean towards the "this is pretty good source for the style!" argument, the reality is that the standards are genre-agnostic, and so we need to be as well. NO
  14. 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 there are any. i can't say that i like the vocaloid application on this track. vocaloid can be remarkably convincing when used carefully, and i don't think that enough care was taken with the phonics on this instance. there's some effecting going on there as well that just sounds sloppy. the other judges seem more bullish on this than i am. i think this needs some serious work before it's ready for primetime. i think workshopping this would be a great idea. NO
  15. 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
  16. 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, nothing to keep the attention on these sustained tones. some variety or change would have really helped. there is also very little personal influence into the melodic line here and it really could have used it to keep it moving. the guitar solos start out fun although they could have used a bit of verb to fit them into the soundscape. the one at 2:47 was in the wrong key - sounds like the adjacent melodic minor, or more likely lydian (based around the 4th note)? it worked but there's a lot of odd notes there. same thing happened at 3:19, you sit on a G over a Bb chord (6s never sound right), and then step in a scalar fashion to an Ab when the Bb's the root key and not the V. would have worked if you were in lydian or something but sounds odd here. the part at 3:40 where it's trucking through the chords is pretty nice. i like the simple movement in the guitar to keep it moving at about 4:15. the ending was great until the last note - i think i get what you were going for but it's a real letdown after a piece that was pretty low-key intense the whole way through. i think ultimately i'm on the other side of the line as emu. i think this one is real close, but there's too many little things that came together to make me want to say no. opening synth volumes being so strangely loud, several solos in the wrong key, some real boring melodic programming in the first half, the letdown ending...none of them are dealbreakers by themselves but together i think pull this down just a little too much. i think this is a great track that could easily get posted if there's a few more changes made. NO
  17. 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 tremelos that help make it so unique quickly become baader-meinhof artifacts. the rest of the instrumentation sounds similarly overblown as it enters at 1:14. overall the heavy compression is very offputting. i can't hear any direct application of the original chords to this either. a breakdown may make it less obfuscated, but this isn't close to passing based on the mastering by itself. as the resident "this is a tenuous at best arrangement but i love it" guy, i can't hear any correlation between the two that's more than passing adjacency. maybe with a full breakdown i'd hear it, but right now the lack of a clear link between original and remix makes this unpassable. the overblown sound design is a separate negative that likely would preclude passing on its own as well. NO
  18. 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) - it's so loud and in the forefront that it's hard to hear anything else, despite that clearly being a backing instrument. i'd suggest another pass entirely. turn everything down a bunch and focus on what's important with each instrument. applying a bit of stereo separation and some significant EQing to prevent instruments from spilling into each other's faces will help a lot too. this definitely isn't there yet though. NO
  19. 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 that the entire rest of the track is original, or far enough removed that it doesn't matter. i'd pass this at 3:45 while complaining about the volume of the last minute, but it's not functional in this state. it wouldn't be difficult to add melodic content to the area between say 3:10 and 3:50, at least enough to make it viable at its full length. i will note that the track is again comically quiet after 2:30, and it's entirely possible to use compression to allow for a quiet tail that isn't utterly incomprehensible at normal headphone or speaker volumes. this is a consistent problem in rebecca's music and it's one that needs to get fixed here if it's to be passed at full length. NO
  20. as expected, this is great. track starts with a great little kalimba/music box sample, and gets into some fun field recordings. i like whatever you're doing to replace the bassline - i have no idea what that is, but it's a fun sound and a good way to tie your techniques into the heartbeat of this track. i particularly liked at 1:27 when you had the particularly staticky kalimba playing. the melodic content is clearly there throughout, so no concerns there. i found the consistent shifts in feel to be not problematic, and found the A / B feel of the piece (transitioning at 1:45) to be interesting as well. i consistently appreciate your willingness to really get outside the box and see what's going on there. please don't stop. YES
  21. 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 chords when they came in and i recognized them. 3:20 we start to get some payoff for the build we've heard the entire track. the strings add a ton of character to this section. there's some obvious limiter engages at 4:07 onward, and i hear what sounds like unintentional distortion in the right ear right at 4:33 (which is really disappointing since it's such an intense and amazing build). the ending is also great, i love the whispers. i get why we have to review judge tracks but sometimes it feels silly. this isn't 100% perfect but it's a delight pretty much all the way through. YES
  22. 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
  23. 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 the defining features of the original track. there's some really fun ideas here, honestly - i really like a lot of the textures. they're just not EQed together at all, so your limiter is obviously engaging way more than you want. a production pass would help significantly. i think the arrangement's probably fine even if i really don't like the change to that plucked synth. this isn't there yet. NO
  24. 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 those middle synths, making the kick and bass speak clearer will be quite easy. the break at 1:38 was well-timed, and gave it a bit of time to breathe. i liked the build as well, although throughout i just felt that the backing synths were simply too loud. i get that - it you write a fun part, you want everyone to hear it! - but it's just too much. turn your volume way down until you can only hear one thing - if that one thing isn't the melody, you're likely doing something wrong from a mixing perspective. the drop into 2:25 was fun, and i liked the arp that's right in front. there's still not enough bass clarity here, but it sounds real fun. i like the liberties taken with the melodic line here, but the drums underneath dropping and doing more d'n'b stuff was actually kind of disappointing because i just couldn't hear what they were doing. i love the idea but it wasn't really executed well. the ending is fairly sudden but not problematic. overall i think the arrangement is fine - it's certainly not groundbreaking, and it didn't take into account some of the mid/later parts of the original, but it's recognizable and different enough to make it over the bar. i like the synth work itself, but agree that it needs a mastering pass before it really feels ballsy enough to have the punch that you're going for. filtering out the low end of most of those textural synths is a great place to start. i'd love to hear a resubmission but this doesn't pass muster just yet. NO
  25. 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 original - i can still hear the different parts without too much trouble, and i didn't think that the lead synth was a backing part at any point. i do think at 2:27 the backing synths are a bit loud, but it's more an issue with a lot occupying the same octave so it's hard to clearly differentiate between them. spacing some of the parts out a bit would help a lot here. there's another nice breakdown at 3:19, which comes up and goes through a recap. this recap does sound pretty similar to the earlier sections that have similar stuff - admittedly by this point i was hoping for some variation in the lead synth and didn't hear any. the ending is very suddenly clumsy - the synth sounds out-of-time which may be an artifact of how your DAW handles time changes, but it doesn't sound right at all - and then what sounds more like an orchestral cymbal roll leads us out. the arrangement is solid throughout, although i'd have loved to hear more change in the melodic line that's in the lead synth, and there were a few times that parts all overlapped in the same octave and some spacing would have really helped. additionally i didn't have any real issues with production outside of a few nitpicks. there were some things i didn't like (the crash cymbal and later cymbal roll didn't sound good, and the ending really is very clunky), but overall i think this one is pretty competent. the guitar's really nice throughout and i can hear everything without too much fuss outside of 2:27. nice work =D YES
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