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prophetik music

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Posts 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 the significant attention paid to rhythmic elements throughout - you've got a ton of interesting polyrhythms in here with how you're layering duple and triple meter alongside the deconstructive/detuning elements. it makes for a track that feels really thrown together at first but then comes together on repeated listenings.

    i also really like the hyper-compressed sharper synths that come in right at 1:00. it's a huge contrast to the supersaw you're using for the main body of the mix and it adds a lot of vibrancy to the sound. the entire 'big' section is pretty interesting and i love the sfx and timbres you're able to pull out of everything. sitting on the fake static at 1:55 is also a pretty big leap of faith as well but i really enjoyed the timbral changes throughout to the ending section.

    my biggest complaint is that it just isn't long enough. if this was ten minutes long (yes, ten!), and featured some more transformational arrangement, while still maintaining the cyclical identity you talk about in your intro writeup, this is probably a yes from me. the level of exploration and development shown in barely three minutes is great. i think that really, really pressing into the identity you have created here and using a level of subtractive arrangement that you see in, like, strobe (deadmau5) with your instrumentation would make something so incredibly unique and moving.

    as it is, the arrangement precludes me from OKing it. but there's a lot of opportunity here.




  2. 17 hours ago, The Damned said:

    Oh, people, if you have Steam or PSN or whatever, don't forget to include your IDs in case you happen to have stuff on your wishlists. And your amazon as well. 

    you can add at least steam, xbl, and psn to your OCR account as well.

  3. 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 drums repeated patterns start to grate on me as well. i don't mind the lack of dynamic contrast as much since there is some variability there overall, but the background being essentially the same for 2:20 is not a great feature. the ending is also pretty much not there...you set it up well but then didn't actually end it. i'd avoid ending a track on anything other than a downbeat, especially one that's so rhythmic as this one is.

    i think overall that your arrangement is decent and i enjoyed your synth choices. the track needs more variance in the backgrounds, though, and another look at the second original section. once those are dressed up i think this is an easy vote.




  4. 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 and D fifth, which isn't as big of a deal because it's effectively an 11th in a properly-voiced chord, but it sounds weird since it's all stacked on top of each other and there's no seventh or ninth to help get our ear there. the second/sixth measure is more egregious than the third/seventh but both are strongly dissonant. my suggestion would be to stretch some of the jumps and pitches a bit to make them fit in the shape of the original but use new notes to make them fit (ie. make the Eb an E, the Bb in the second measure a C, and the Db a D, and then live with the extra 11th in the third/seventh measure, possibly adding a seventh or a ninth in there to voice it clearer.

    this section was enough to NO it in my mind regardless of the rest of the piece, but i'll go through the rest since it's actually pretty fun and i liked listening to it anyways.

    i thought the opening was great and really set the style in my mind. the weird pitchbending synth early on was actually really fun too and i liked it more than i thought i would. the security theme is the first big melodic section so it being so weird was real bad, but the implementation/synthesis of it was great. the transition at 1:18 was a little weird without a crash or anything on the downbeat, but i liked that at this point there'd been several distinct background ideas displayed and it kept changing. around here the shaker in the right ear started to get grating since it was panned so hard and it was also louder in this section since it didn't change volume to adjust to the lighter background.

    the synths at 1:35 are comically loud and crush everything else, so those absolutely need to get fixed. i liked the variety of wet synths that delayed/came in after that, though, and the sfx continued to be used in an effective manner and not too often. you brought in day 2 at the perfect time - the total tonal shift was great. i appreciate that you were able to tie together such a disparate variety of sources without making them feel too broken up. the second half of the mix overall rushes a bit between ideas but it doesn't feel too broken up. i wouldn't have minded a bit more attention to tying them together but it definitely wasn't a problem.

    3:45's transition was another good one, calling back to earlier in the mix while continuing to bring in new ideas.

    this last minute or so sounds like a big recap section, which was pretty copy-pasted. i wouldn't have minded if you'd layered a few of the sources in a bit more thoughtful manner than just pasting a few bars of each together. the ending is also very abrupt and doesn't make much sense.

    overall this is a pretty fun listen with a lot of fun ideas. for a positive vote from me, this needs to have the security hall section cleaned up, some volumization done, and then the last minute or so would need some arrangement work to make it flow better (and to have an ending). this is a great start on a unique track though. nice work so far.




  5. 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 sound great together, and earth kid does a great job mimicking your articulations while adding her own stylistic techniques. i don't like that snare or cymbals at all - both have no dynamic/velocity variance, there's a machine-gun effect for both, and they stick out very loudly when they trigger. the subsequent banjo exploration/solo part is great, although i'd have liked to hear the accordion drop back in the mix more through this section to allow the banjo to be bigger.

    the transition at 2:28 is quite abrupt without a fill, and the loud snare sticks out here again quite a bit. the change is great though and again the recorder performance is excellent.

    overall this is a pretty nice piece. there's a lot of little things that i'd love to see changed but aren't dealbreakers in their own rights (loud snare and cymbal, detrimental altered chord structure on the B section, some volumization stuff) but overall the track is an enjoyable listen and features some fun ideas that we haven't seen before for a popular track. nice work.




  6. 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 over-energizing the opening few minutes would be welcome.

    from a mastering perspective, the track sounds great. there's a few questionable choices in the arrangement (I didn't get the part at 2:30 at all, for example), but overall the arrangement's fun, it's just hollow.

    this is close but not there. if you changed nothing besides adding another voice for the first three minutes, you'd be in a much better spot, i think, and i'd probably vote yes on that.




  7. 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.




  8. 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 told me they weren't, so i'll update what i said and removing the advice about recording, since it's irrelevant.

    right off the bat, the drums feel very flat. the lack of a present kick was an issue to me, along with the very ringy, loud cymbals over the top. kit volumization and EQing is hard to do even if you've got a really standard band to accompany, so in a more sparse aural situation like this you're going to need to do some seriously careful notching of EQs to make sure that you get a snare sound that's still bright and springy without allowing it to be all snap and no body. same with your kick drum - even if you just want beater and no bass tone, you'll want to make sure that your implementation is such that you still get a clear tone that fits in the mix without being as nonexistent as it is here. the toms sound pretty good, the hats when they're used sound fine, and the snare is real dry which isn't my preference but i can see being yours, but the cymbals definitely come through very loud and the kick is essentially not there.

    /end edit.

    so next up is the bass. your bass tone is pretty consistent - guessing it's compressed in the initial chain itself? i agree that it's a very treble-light tone, and that lends to making it harder to hear. personally when i play i prefer a brighter tone so that i get more of the finger/string sound, and i find that actually fits better into a soundscape than the bass-only tone you've got going on here since it makes it easier to understand what the bass is playing. i didn't mind the higher parts, either. in terms of what it's playing, i like your rhythms, but i'd definitely stay away from playing pentatonic scales in a song that's very firmly in major. pentatonic scales feature a flat third and flat seventh - both of which do exist in a major song, but both are going to sound weird often. the first lick you play (5 4 b3 1---) is a great example of this. you're playing a minor third (G natural) against the IV chord (A major). that's gonna sound weird no matter what, since A major doesn't have a G natural in it. this comes up numerous times, but in general if you're playing in E like this song is in, don't play G naturals or D naturals unless you're borrowing chords and those are the roots (or like what you're doing at 1:10, which makes sense to have the D since it's a walking line). the whole section from 0:26 to 0:35 shows that you've got the ear to stick it for sure, so it's just a matter of changing how you're listening to the rest of the parts and fitting into them.

    same with the guitar leads that come in later - they're almost wholly in pentatonic scales, and it sounds very wrong next to all those nice normal major chords. it works when soloing next to power chords in a rock song but not where the individual pitches are so clearly laid out like this track. it's a fun solo and i like the concept, but you can't call a G natural next to an E major chord anything but a wrong note.

    the part writing for the trumpets was real fun, and i liked the interplay. there's some EQing and especially volumization that could be done to make it so that they're a little more balanced without their dynamics fluctuating so much between solo and ensemble play, but they're well-performed and fun to listen to.

    for the sax parts, i liked what was being played throughout. several of the little bits and bobs you popped in throughout add a lot of character, so that's really fun. there's several times where your vibrato gets wide enough that pitch was lost, and that's usually a result of not tuning with the embouchure you're going to use when playing, concert E is a hard key for the alto since there's so many notes that don't sit in-tune that are in that key, but a more controlled vibrato would do wonders for making your tone have a more full core.

    so that's a ton of words. ultimately i think this is a fun ditty. it has a peppy feel that drives it forward, and while the track does feel a bit repetitive by the end since it's mostly the same idea twice, it's still something i'd like to listen to again. i think that there's so many little things that'd really improve the overall feel from a performance standpoint. i also think there's a ton of mastering techniques that can be used to really make this have that professional sparkle to the sound without requiring professional gear or a special room to get it. you've got the arrangement chops to make this work - now just go back and make those revisions that will make this track take another step, and we'll go from there.




  9. 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 there and it's almost impossible to hear.

    i agree with LT that throughout the track does feel pretty light/empty. there's a lot of ideas you could flesh out or expand upon in the background and supporting parts which would give it more oomph throughout, and i think that's needed before we call this one good enough. i do think the opening and ending are great as-is though. along those lines, the supporting acoustic instruments aren't great and could use some love as well to make them sound more realistic to contrast to the synths better.

    from a mastering perspective, there isn't really any. this needs a leveling pass to keep some instruments from sticking out (like the sitar at 0:43) or being buried (like the drums everywhere), the drums need a clear EQ pass so you can notch in the snare and kick a little btter, and then it needs compression.

    i think this one's actually pretty fun overall. i like the perky synths and the ideas you flesh out throughout. i also liked the arrangement and think it's good enough at least in terms of melodic content. fill in the backing parts a bit more during the middle of the track, and fix the production, and this is a great addition to the site.




  10. 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 lower synth. that C chord is borrowed, and needs an E natural to really sound right and lead properly into the following F chord. try and get rid of the D and Eb that's playing there.

    overall i like the feel, but it needs more melody and especially something to help it feel like it progresses from start to finish. dynamics can help, as can variation in your instrumentation or drum programming. right now though i don't think this hits the mark yet.




  11. lmao wtf, reuben :lmassoff: 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 will probably need to do that via automation vs. trying to use a tool to do it for you automatically.

    the arrangement itself is fairly simple, and i wasn't a fan of the second half being essentially the same as the first part. i'd love to hear some more noodles here, or at least some more creative interpretation of the melodic content. i also noticed that by roughly halfway through, the repetitious background was becoming more and more noticeable.

    from a mastering perspective, the drums sound flat, the bass sounds very flat and lacking in treble, and the kazoos are honestly too loud overall (if you turn the master volume way down until you can barely hear it, if you don't hear a reasonable mix and just hear the lead, then it's too loud). the drums are blah enough that it's hard to even notice them in the mix. they need a a volume boost, some compression, and probably some more attention paid to EQing them so they notch into such a spare mix better. along those lines, the accordion and bass are hard to hear when the rest of the instruments are playing. some EQing can help there too.

    this is a clever and fun idea, and the execution is holding it back, along with some overly repetitious backgrounds. i'd love to hear more creative backing material to compliment such a fun idea, and then some real attention paid to mastering it so it's not so all over the place from instrument to instrument in terms of volume.




  12. 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 for me to really consider that part of the music. the mastering is also a missing some brightness in the highs. it's short but i still felt a little tired in my ears after listening to it.

    with that in mind, this is really short for what's essentially a few runs through a short melodic line and then some closeout at the end. i don't think there's enough here to really say "yeah, this is a complete arrangement". if it had a melodic recap at the end i'd consider it to be enough, but as it is there's just not enough actual arrangement for me to consider it as complete and ready for posting. i love the sound, and the first 1.5 minutes are great - a bit more body to the arrangement at the end and i think this is where it needs to be.




  13. 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

  14. mak's always got the best submission mails :lmassoff:

    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, the ending's really cheesy, but the track's arrangement is great so it doesn't bother me.

    from a mastering side this is great. i didn't mind the guitar-forward feel of the track mainly because the synth lead was high enough that it'd cut through whatever you put under it. there's a lot of presence, it's meaty without feeling crunched down, and the breaks don't feel like i cant hear them.

    excellent work as always. easy vote.




  15. 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 there's cymbals there at all, actually. it does sound like whatever pad you've got layered over the guitars has a lot of verb and a slow attack, and that's causing it to really swell over time and take over the soundscape as well. right now the mastering is significantly hindering the mix.

    from an arrangement perspective, this track is more of a cover than it is an arrangement for OCR. there's little to no real arrangement here as much as there is re-orchestration of the original into these instruments. emunator hit it on the head when he pointed out that a real breakdown would do wonders for this track to alleviate the heavy driving feel throughout. the melody has a ton of room for some real fun variations and fills as well - it'd be great to hear you really explore that some more. lastly, the drum arrangement is pretty straightforward outside of a few ensemble fills - it'd be great to hear the patterns mixing it up even within each section some more. sometimes an extra snare hit or some mid-section cymbal hits is all that's needed to keep it fresh.

    this has a fun sound up front and i think it'd be a great track after some fixes. i believe that a significant mastering pass and some more playing with the arrangement will really make for much better submission next time around.




  16. 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 track. this is exactly what we hope for when we ask for a resubmit. i can't get enough of the section at 3:30. the unison leads at 4:12 are so great. the last minute is 1000% better than the original was in terms of listenability.

    if i nitpicked at anything, it's that the bass guitar still isn't as clear/visible as myself as a bass player would want it, but it does its job undergirding the mix and keeping it rooted, so i'm not going to count my personal preferences as a tick against this.

    superlative job, megalixer. easy vote.




  17. 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 suggest combining your two bass solos (since there can only be one highlander, two just makes things awkward), and then fleshing out that second section some more. a synth solo (not a bass one) with a melodic recap would add some duration while keeping it moving, and some more personalization in the melodic line via rhythms, pitches, new synth timbres, or some updated backing chords would really freshen up the second half so much more.

    right now this is too repetitive, which is too bad because the production value is dope and you've got some really fun ideas in your backing parts that just get reused too much. give me more variation and this is a DP.




  18. 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 entire piece has a Beauty and the Beast forest soundtrack vibe, and features some great conceptualization of what you were going for.

    if you can fix the compressor so it's not obviously pumping so often, this is an easy yes. i believe this is easy enough to fit into a conditional.



    CONDITIONAL (fix pumping)


  19. 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 it doesn't feel like it. 2:43 was a perfect chance to tone down the volume slightly and let the mix breathe going into the guitar solo, but it's just as crushingly loud as the rest. give it some room to stretch out! lowering the overall volume in areas like that will reduce the pressure and make it feel like a more cohesive whole.

    this is a rubber stamp from me agreeing with the other judges - this needs some dynamic breaks, a compressor with a lower ratio and the gain turned down a bit, and some more arrangement to mix up the sameyness of the track. once that's done, though, this'd be an easy vote for me.




  20. 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 think is an incorrectly-triggered attack at 2:13 right before you change tempo again which causes the bass/cello pizz to sound very out of time in context.

    i probably sound like i think this is terrible, and i don't! there's some really fun sound design - especially all the reedy, windy instruments you use, which are a personal favorite of mine. mirroring them with xylophone is a great way to add some oomph to them and you use that technique several times. i also like that you're pretty adventurous with some of the NCTs you're using - 5:09 sounds a lot better than the notes on a page say it should, although it could be prepared much better than you did.

    there's definitely some fun ideas here, but there needs to be significantly more Rebecca and less Masayoshi Soken for this to pass.




  21. 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 fast.

    cleaner mix and this is a pass for me.




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