Gario Posted January 17, 2017 Share Posted January 17, 2017 ReMixer name: Solkrieg Real name: Ryan Watson Website: https://www.youtube.com/user/OfficialSolkrieg/videos UID: 30563 Name of game: Silent Hill Name of arrangement: Not Tomorrow Name of individual song(s) arranged: Not Tomorrow Link to comment Share on other sites More sharing options...
MindWanderer Posted January 25, 2017 Share Posted January 25, 2017 Interesting approach to add synth drums and energy to such a quiet, minimalist, acoustic source. It would need an actual title, of course. The piano sections sound really strange to me. In addition to the dissonance (which might be intentional, given the style), it's very mechanical, hitting with the same timing and nearly the same velocity every time. The violin, too, is very mechanical. 3:46-3:54 is especially problematic, given the quick notes. The arrangement is pretty good, with lots of interesting changes to the soundscape as it goes, but still sounding like a cohesive piece. Very difficult to do given the constant arpeggio needed to tie this in to the source. I like this, but given how important the piano and violins are to this, their robotic nature is really bringing this down. Either work on humanizing those, or possibly redevelop this using synths like the first 56 seconds (I was totally on board up until the end of that part). NO (resubmit) Link to comment Share on other sites More sharing options...
Sir_NutS Posted March 11, 2017 Share Posted March 11, 2017 I was really digging this from the intro, but after the track starts evolving I start hearing issues with humanization, they start subtle but by the 2 minute mark it becomes too apparent. Everything sounds so mechanical, and the beat gets on autopilot for far too long. I dig the atmosphere you're building here, and I think the arrangement can work. You have a good sense of pacing, and I specially enjoyed the music box section and its eeriness. But this needs a major pass on humanization before we can send it up. On an extra note, you may want to watch the reverb, as it's creating quite a lot of mud and artifacts, you may want to dial the release or the wet signal down a notch so you get a cleaner mix that mantains the eerie characteristics you're trying to execute. NO (resubmit) Link to comment Share on other sites More sharing options...
Nutritious Posted March 23, 2017 Share Posted March 23, 2017 I also was really digging the first minute of this. Liking the beat and the elements behind, though somewhat basic in design, were clicking with me. With so many elements in play with a lot of reverb, the mix gets crowded pretty quick and parts start stepping on each other (good example is 1:30 before the break; 2:30 with the big stabs on top of the piano; 3:12 with piercing strings, music box, piano, and lower strings). By the end of the 3:12 section, I'm feeling some ear fatigue with so many reverbed parts in play at once for so long. Humanization is an issue as well. The piano, strings, & plucked lead could use variation on velocities at the vary least so they're not so robotic. I will acknowledge that given the context of the style, this piece isn't going for the organic/realistic approach, but it will still be enhanced by better sequencing for those elements. Arrangement-wise, this relies a lot on the connection of the repeated backing pattern to the original track. I hear what you're doing with interpreting the melody is well, but it felt like it was pushed a little too far away from the original, like at 1:42. I'll admit, it's possible I'm missing some connections in places or melodic writing behind the reverb wall. But if not, you may want to make some of the melody connections a bit more clear to the OST. Also gonna mention the repetitive nature of the drums in both the slower and fast section. Even if you're using a loop, there are ways to slice it up to rearrange for variation in most cases. Good start here for sure, keep at it! NO resubmit, please Link to comment Share on other sites More sharing options...
Recommended Posts