7/4, Snover and Out: Route 216 ReMix (Pokémon D/P/Pt)

[AlmightyArceus]

This is a bit different from my other stuff. Instead of sticking with the normal time signature of 4/4, I went with the more difficult way and decided to convert the song into a new time signature. I LOVE working in odd times, so I chose 7/4 as the time signature to put the song in. And personally, I am diggin' the results so far.

However, this obviously needs a lot of work--primarily, EQ-wise. I am planning to fill out the background chords a bit more, because I think that is definitely what it needs, but I am posting it here to seek EQ tips and tricks and stuff from you. I need your feedback to help me improve this song! So please, give it a listen!

(Btw, the very ending where you hear a voice on the fade out is just me being stupid. Don't pay attention to it; it won't be there in the real version)

Link: http://www.box.com/s/ctpyp3caqojt9pqnxti6

Original:

[AlmightyArceus]

A bit more EQ on the latest version:

http://www.box.com/s/775gsklxrb33vkyjfuhh

[AlmightyArceus]

So this is a MUCH better, remastered version, thanks to/featuring a little signature of TGH at the end. He helped master this piece (made it a masterpiece, if you won't stone me for that pun). Hope you like it! PLEASE give feedback

http://www.box.com/s/b59be6vsvvi8j2im3p3y

[evory]

I think it was rather brave of you to attempt writing this in 7 4, but to my ears it sounds more than a little disorienting. Your drum beats in the front hint that the stress is going to be on 2 2 3, but the melody comes in on a strange offbeat, doesn't seem to adhere to the stress patterns, and the drums start to lose their fixity.

Harmonically, it doesn't sound as gratifying as it possibly can; the chords are less common which I think gives the potential to resolve to a nice major chord as you did with the E Major chord at 3:10, to create a neat shift in mood I think you could exploit a bit more often. Around the 1:11 mark, I also hear an F standing out a little too dissonantly, and the G# bass at 1:08 when you try to progress in semitones is a tad jarring as well. At the same time, some minor dissonances like the A B D F in major thirds, and the fourths (I think) at 1:37 work really well.

Personally, I think the low synth around 2 minutes in goes a little bit too low for its timbre, and sounds more forced and muffled than it should be, but that could be more subjective than anything.

That being said, there's quite a bit of nice soloistic writing going on like at 1:30+ and near the end, although it may be a little too frantic at times. Try to balance some simpler parts that fit more tangibly into the odd meter, to make it easier for the listener to follow, and to let the running notes stand out more rather than fading into the general texture of the mix like they seem to do.

Still, it's a really nice take on an interesting source, so good work all the same! Hope I haven't been too harsh with anything I've said above, if some parts need clarification do let me know.

[AlmightyArceus]

So I will be submitting the latest version. Feel free to post critiques etc down below!