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prophetik music

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Everything posted by prophetik music

  1. hoooooooo boy. i'm going to start off with saying that there's not enough arrangement or interpretation here to call this a remix. so it's going to get NO'd from that. the arrangement is essentially two or three times through the melody with some background movement. it has no supporting structure to prop that up, and it isn't transformational enough by itself to stand on its own. so that's not there. this is an extremely explorational arrangement that features some great technique-driven composition, and isn't afraid of really settling into the story behind the music. i really like
  2. you can add at least steam, xbl, and psn to your OCR account as well.
  3. i'd love to participate. these have always been fun.
  4. 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
  5. damned is a professional arguer, don't mind him =) nice video.
  6. 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
  7. one of the best tracks on a fantastic soundtrack. i love this track. the marcato style of the intro section was a little puzzling to me but well-executed across each instrument. there's a few chord choices i'd not have associated with this theme (D major for the start of the B section instead of Dm, using C natural as the penultimate note in the melodic line instead of C# like you do in the banjo earlier) but they don't pull away from the overall piece, so i'll call that arrangement instead of wrong notes. the entrance of all the parts sounds really great. the accordion and recorder
  8. 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
  9. 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.
  10. 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
  11. 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
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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
  17. 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,
  18. 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
  19. 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.
  20. my original vote called out the arrangement as being solid while the mastering was Astonishing-era Dream Theater guitar and drums in your face and nobody else matters level of not great. so let's take a listen to this. this was a fantastic submission arrangement-wise and was so fun to listen to originally, but everyone who voted encouraged the band to go back and remaster it a bit because while it was good, it was hard to listen to long-term. the band did us one better and even did some re-recording and updating of synth profiles to get a more cohesive and overall significantly better tra
  21. ooh, this hits great right off the bat. excellent production values, a percussive opening with space, an early breakdown/filtro? i love it. you use a lot of space in your synths, and i 100% approve of this - what a great way to get a really meaty sound that hits solid and has contrast. the dub break was fun as well - not too long, showed some fun ideas, didn't lose the beat. and then you copypasta'd the entire next minute =( no melodic variation, no altered chords, no rhythmic changes, no synth changes...there is another fun dub bass solo, but then it ends, at just about 2:30. i would sug
  22. there is a distinct compressor engage at 0:59. you may want to lower your knee or adjust the fade a bit so that it's not so obvious when it comes in. this happens again around 1:34, but there i think the issue is the release being too tight so it pumps a bit. this happens again much more distinctly at 2:12 for quite a bit, nearly 20 seconds. beyond that, the realization is beautiful and emotive. your performance is excellent as expected. the arrangement is fairly straightforward, but it's a fun adaptation of the two themes. i like how naturally they feel like they flow together - the enti
  23. i laughed out loud at the waveform wes posted - i had exactly the same initial thought, which was "i need some onions for this sausage". this track is traumatically overcompressed and really relies a lot on copypasta at least in the melody and most of the drums to keep it moving. that said, it's got a lot going on that's actually all pretty clear, and it has some nice sound design that's fun to listen to. the ending is pretty nonexistent, but the main groove you have is nice to listen to, just to repetitive. the thing that's interesting is you do have 'breaks' worked into your track, but
  24. this is much closer to a cover than an arrangement. i need to echo darke's vote in that this feels like there's nowhere near enough transformative arrangement done here. i'm going to echo my vote for your hollow knight track, where i said that it has to say something. i definitely don't feel like this one is doing more than saying what the original did, with lower-quality sound design. there's some strange note choices as well - the scalar into chromatic gliss at 1:39 is an awkward choice to my ear, there's what i can only call a mistake at 1:56 in the backing mallets, and there's what i
  25. rubber-stamping this one. emunator highlighted the problems with the lead guitar in a few places, and i also agree that the mixdown is messy and the clipping needs fixing. sounds like it was done on some closed-ear headphones that are more for listening vs. mixing - there's tons of beef in the middle and much less low end, and the highs are just cymbals. the drums actually sound pretty good considering it was a single mic that handled it all. i think my main complaint is that the guitar volumes seem to be all over the place, and EQ is very mid heavy. it gets quite tiring to listen to pretty fa
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