You've got a long, long, long "wind-up" there. By the time you get to the "good stuff" the piano progression starts to get old. But the good stuff is good, and the pretty stuff is pretty.
Good job. ;)
Yeah it does stretch itself a bit I admit. I just like the progression too much I think!
But I like to be able to make it so that a flash author can cut up the bits s/he likes, hence the different combinations of instruments appearing and disappearing.
Thanks for leaving a review and listening to this!
The downward-step intro is jarring, but you 'kinda get used to it'. The progression and musical ideas you have in there are nice, and you do the loop transition back to the start really well.
The mixing is atrocious, but the sounds themselves are nice.
For being the "Same old fl studio setup", you still do good stuff.
It's a fully-baked idea that needs some extra love... instead of a half-baked idea without a clue. Props for that.
Aww, Connie wants feedback. ^_^
I dig this. It's much different than most of the tripe that filters down through Newgrounds. It's a very candid piece, and the 'mood progression' is something one can just plain relax to. I write this review while listening to it the first time through and ... hey, I think it's influencing my score!
Figure it out!
lol thanks man :D
This is music!
Been awhile since I've stumbled across something I've liked from the get-go.
This tune is strange. The simple chord progression works well, and your melody is somewhat unfocused, but it seems to fit the meandering, yet structured feel. Nice blend of technique.
On the production side you've done well -- very well, in the mids and highs, not too harsh, not too muffled; smooth, instead. What's gotten away with you is the bass, yet the percussion cuts though perfectly.
If you still have the files for this, you might load it back up, slap in a limiter here and there, and maybe a highpass filter or just some EQ to tighten up the low-end slop.
All-in-all, quite good!
Thank you very much for this review! :D I'm gonna go hunt down and fix this up. thanks again!
Dang son, you're coming out of fricking nowhere with stuff.
Whatever you've learned, whatever books you've read, tools you've gotten, whatever techniques you've discovered -- they're working. Good job.
You've come far!
Your style has come a long way in a short time.
While I don't agree with everything you do in the track, you've proven you know how to lay it down. Looking forward to more!
thx cfx its really nice of ya to come back and review some of my stuff again
For heaven's sake...
The tune is decent, yes, and by 'decent' I mean I'd certainly listen to it again...
But for the love of pete, use a limiter.
And watch out for bass phase cancellation when you really lay it on in the later part of the track.
"Pure loud" ruins this, entirely.
Yeah, It's not quite finished in the mastering area. I just wanted to see what people thought of the actual song first to see if it was worth continuing to work on.
Thanks for telling me!
Pure Saw, Supersaw, more saw...
Short review for a short track.
Mad props for going so saw-heavy and making it work. Usually plain saws are boring, but the ideas you threw into this tune within 15 minutes is impressive -- especially since it loops so flawlessly, too.
The vocals could stand to not be there at all.
You seem like you've done a compo or two in your time. Too bad you don't play with filters!
Well I didnt really work on hard on this track, i was just messing around with it. Ive made tons of songs, with plenty of filters so go check them out, but thanks for your review man.
You're brave. Props.
There's abstract, and then there's abstract.
Clipping, random noises, no discernable musical key, random synthesizer patches, odd, piercing sine arps, dissonant drones that don't change timbre, General-MIDI grade drum hits... if it weren't so trance-inducing I'd show it the bottom of my boot.
If you're going to focus on 'holycrapabstract', try to not make your instruments piercing and use a limiter if you're going to be so loud. Or, if clipping is 'artistic effect', record a clipped instrument, then bring the level down so you still hear the clipping but it isn't maximal volume.
I can't believe I'm giving this advice...
Fair ideas, but execution needs work.
Mainly: What the hell is your bassline doing half the time? It goes off on its own -- which wouldn't necessarily be bad if it didn't switch keys every bar and a half(?) to completely unrelated chord structures while your uppers stay static.
Otherwise I'm entirely too keen on your choice of timbre or effects.
I respect what you tried to do, what it should be, but isn't.
This could be pretty epic if you work on your sound design (synth programming) and audio production skills. I'd love to hear what you do with this track a year from now if you keep going.
You are encouraged to take this review with a grain of salt, but I'd rather give you a list of things that sound poor so they can be improved upon (and sound amazing the next time through):
* Timbre -- each and every last sound is flabby.
With production and effects, you might be able to use the same tones, but while the production sounds 'wide' enough, it's very thin. Don't fatten it with more detune, that's not what it needs.
* EQ -- The sounds are all occupying the same place, stepping on each other.
* Compression -- learn it, use it well. Get some snap in the right places.
* Clever use of reverb -- not to make things echo'y, but to reinforce what's there and place your instruments on a soundstage. Also play with stereo width and panning automation.
* Chord change -- more of them. It's a short track, but it hovers around the same few notes. Break up what you have into at least two phrases. This also gives you an opportunity to create awesome bridges (transitions).
* Dynamics -- More. Make the low-volume stuff more low-volume and hype the stuf that needs to be in front. Modulate them, automate them, play/record them. Give it feeling by making the notes jump and duck. It's hard to put too many dynamics in.
* Have at least one something not perfectly quantized. Everything is 100% "tight" to the beat. Get some human playing in there, or some sound samples to comliment your 100% synth-driven groove
* Percussion. You do vary it, but it never changes 'style'. It's there, it does a job, but it doesn't push or pull the song, it doesn't carry the flow like it ought.
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