JandreParis's audio Reviews on Newgrounds

[The Castle In The Sky]

Not bad, not bad.

EQ needs a little bit more work here. Instruments need far more separation as they're getting lost in each other.

You did an odd thing around the one minute mark where you lowered everything as the vocals came in. Then brought everything back up. Still highly jarring to hear that happening and it's not a good way of controlling volume and loudness as it changes everything overall. It would be best to have everything set at one volume level (it really does just sound like you're messing with the Master Fader when you shouldn't be).

(I had to turn it down significantly because it was causing an extreme standing wave in my room. Not cool when your ears hurt.)

Vocals sound distorted in comparison to everything else. The EQ set for her also doesn't present her voice in the best possible light. She's got more mids and bass to her than she should, which could just be a factor of the absolutely wet reverb you have going on there. Or the volume itself.

Saw synth and bassline are extremely overpowering. That's only second to none with the vocals being above and beyond everything. They drown out nearly everything else in the piece. I know there are nuances there only because I'm struggling to hear them. That piano... that poor piano has no room to breathe.

Mix needs a bit of an overhaul, in my honest opinion. Nonetheless, it's not bad, but because of the way it is, it could be better.

Keep on, keepin' on!

-J.P.

ChromaShift responds:

Thank you again for an honest and detailed review. Yes, the reverb is very wet and I noticed that when she starts singing, the other parts of the song got lower and less defined. Couldn't find the problem, but maybe it's because of the reverb. So I'm not playing with the Master Fader around the 1 minute mark, it's because I maybe made her voice to overlapping. Also in the chorus/refrain of this track I played with the Master Fader and because of that this part is louder than the part before it. Must correct this mistake too. I didn't noticed a standing wave when I played the track a few times. Maybe because I didn't work with vocals before, I must learn how to integrate them in the best way possible, so it's something which comes with a better experience in music or with working more with vocals. I hope I can fix this volume killing thing in my track because it bothered me before I released it, but couldn't find a solution myself. So thanks again for the review/criticism, it helps me out a lot!

-Shift

[Pride (2015)]

Interesting.

Pretty good, pretty good. Highly dynamic, each phrase is different to the last and increasingly growing in complexity and intricacy as the song progresses further.

I feel the only issues I have with this is your beat and your main-stay flute (the low one) . They don't change, and while everything revolves around them (which works well, don't get me wrong) I felt as if they could use variations of themselves as well. They should progress as much as everything else around them, or at least to somewhat of a lesser extent. Different notations on the flute, an extra beat in the kit or another rim here and there. Things like that.

Also feel that the flute is lost among everything else that is happening. Especially during the one to three minute mark. Gets a little washed out here and there because of its range (Just me, though).

Some cymbal work would also be nice. Not talking harsh crashes or anything too over the top, but some small hi-hat hits or low-key crashes from a China. Get some of that high frequency content going, besides all or your string/choral work. It would give the drum beat a little more liveliness.

All that aside, I like this piece. If you've ever played Dark Cloud and listened to the dungeon theme of Muska Laka, this gives me some memories of that. Pretty awesome.

-J.P.

Retsamehtmai responds:

wow thank you for these tips! and I totally agree about the flute O_O I more have that repeating flute in there to keep the song from getting too quiet when the other instruments are taking a break. I'm trying to develop a better way (that I like) to either change the melody or blend volumes better as I go. I shall keep everything you've said in mind as I continue to fix up my songs...hopefully I can make it work! :D Thanks again!

[Transformation - WIP]

Highly thematic.

The title is a very good description of this piece. Got some great accentuations here. The build up for the intro was just right and lead in to your next phrase very well.

Through from there onward is all build up - strings on top of strings, your brass hits and your percussion give that marching kind of feel. There's no "real climax" signifying that the transformation has occurred - though I could see this since the mood changed at 2:00.

I still think you should have another phrase where it's highly bombastic, 'cause what this is missing some cymbal work. Make full use of your orchestration.

Composition is great. I've got no complaints since I love cinematic pieces. Quality is top notch, gotta say. A great job!

-J.P.

[Free2Play - Lazy]

Ooh.

Less like mainstream Dance, more like Nu Disco. It's certainly got that kind of feel. If you've listened to the likes of Televisor or Mystery Skulls, they pull the kind of things that you got here, but at a bit of a quicker pace.

The fact that it's not mastered is actually fine. As it stands, it sounds great.

The low end isn't something to be beating yourself up over. In fact, the way it is now, the low end has a lot of warmth and fullness to it. If you plan on reducing that some (which is probably a good idea to do - everything in modulation) try not to remove those key frequencies in the low-mids and sub-low.

Generally, the EQ is fine as it stands. You shouldn't be trying to compensate for heaviness in one area, but more on filling it out as a whole. More instrumentation that can be put into the higher end of the spectrum can really round this out (Such as that harmonica-like sound near the end).

Focus more on sculpting your sound and your style before trying to fix it. You'll find you'll have a much more fun time with it when you're just letting loose. Then back away from it and give it some time before you listen to it again - that is when you can really scrutinize it with a fresh pair of ears.

Vocals are nice. (Almost thought I was listening to the lead singer of Fall Out Boy, hah!)

For your voice, they're not bad. Since you're not a vocalist, I will say try and keep being consistent. Lots of people I've heard falter when they hold notes or modulate a little too much. You've got that kind of Pop Singer voice - lots in the highs and the mids but not so much in the lows, which is great for this kind of track. Just, be a little kinder when you use reverb and delay. They're muddying it up a bit much.

I'm sure there's lot of tweaking to be done, but have fun with it! Tweak as you go along composing!

Great job here, sir. Great job.

-J.P.

Free2Play responds:

Haha, I have that pop singer voice because i don't know how to sing! (oh snap)

Also nice shot with the inspiration, I actually have been a good fan of MysterySkulls lately.

A lack of highs in general both composition wise and when mixing tends to be a fault of mine. I'm really trying to improve by adding more high heavy synths and boosting those highs, but I don't know sometimes I don't get the right balance or I just personally find it ear piercing.

And totally I've learned that its best to just feel a song out and not get overly technical until later.

Thanks for your great comments these are definitely the kind that help me grow!

[Dont]

Hm.

This pretty good. I don't like dubstep myself, but I quite prefer this flavor of the genre more-so than it's harder and more grimier variants.

Melody is good, though a little too loud. It's sat right on top of everything. Also, bit more EQ in the higher ranges of that synth. Could be smoother.

In fact, your vocals should take that place here, as they sound like they're a tad bit further back. Vocals should be taking precedence here with everything following closely behind.

I also feel like you should push those vocals a little more creatively. Instead of your general vocal build, you could have done some pretty wacky things that would have caught interest more as it just... seems a little underwhelming as soon as it drops. (That's just me, of course.)

Funnily enough, I feel the basslines could be a tad louder as well. They're good. Wouldn't hurt to push it just a couple dB more. Also not sure if it's not me, but sub needs more warmth.

Composition is well made. Piano work is sweet and chill.

Ending is a tad abrupt as you don't let the Piano resonate after that last note.

Nevertheless, this is great. I can dig it. Well done.

-J.P.

Pandasticality responds:

much appreciated critique, thank you sir! oh and their not my vocals, their my colleagues.
- Pandasticality

[The Time Has Come - ChromaShif]

Hmm.

The cymbals at the beginning are quite grating on the ears. Sounds like a ride/bell type sample, and if it is, it should have less color and timbre so that it isn't as intrusive. Remove some of its tail so that it doesn't ring out.

Sounds very epic, as Ceevro stated, from this point onward. Don't quite understand the odd volume change 'round 0:30. Made for an interesting drop, nonetheless.

The kit itself could use a little bit of cleaning up. Kick needs more strength behind it. Definitely could use a deeper sub. You attempt to compensate for it 'round 1:20, but it doesn't work so well here as it does 10 seconds later due to the different polar qualities between the samples. Something is interfering with the sample, which is probably due to another sample in the track.

Snare has too much release (at least for my tastes). It's producing extra noise that you don't particularly need, and it makes it sound a little more artificial than it actually is. It is stylized, but it'd probably work far better if it wasn't so "in your face."

The signature change was welcome, albeit a bit sudden @ 1:30.

Piano work is pretty interesting midway through. Could use some dynamic variation as it stays at fortissimo the entire time that it's present. The chops afterwards though aren't particularly as enjoyable they don't change much throughout and don't see real progression until 5:30. As Ceevro stated, it can definitely stand on its own without the extra instrumentation in the background.

Compositionally, it's good. There is just too much repetition in-between. State your phrases and transition accordingly with a different theme. You can use continuation as a means of referencing back to the last phrase, but it shouldn't last much longer than 8-16 bars, y'know?

Be succinct and trim the filler.

All of these points aside, I enjoyed it for what it was - a fairly epic and thematic track with some cool accentuations.

Keep it up!

-J.P.

ChromaShift responds:

Thank you too for this honest and detailed review. I edited my track and uploaded it here, maybe I managed to make it sound better. Also trimmed the length of the track. I hope it's better now, thanks also for being a fan now ;D

-Shift

[Summer of '69 (Sad Cover)]

Hmm.

Ah, I remember you! I reviewed a piece of yours that I thought was pretty jolly.

Articulation in your vocals is much better (well, as it should when family isn't 'round, eh?). The reverb you used felt a tad bit too much for my tastes. Though, seeing as this is a classic rock piece, it felt more like a simulation of a stage, as if you were putting on a live show, right here, right now.

The only thing is that there's a disconnect between the guitar and the vocals. The reverb on the acoustic is much more tame and subtle as opposed to the vocals, which sound much more lush and have more warmth. They should be, in all technicality, occupying the same space, so there should be the same amount of reverb. Technically.

I think in this case, less is more - matching the verb on the guitar with the vocals since they sound a bit too spacey. Just me, of course.

Keep focusing on your voice. Belting it out is very good, just keep with trying to be consistent. I hear some extra modulation from your diaphragm when your pushing to hit the notes.

Otherwise, pretty awesome. Love me some acoustic guitar ;)

-J.P.

Ceevro responds:

Hmmm...weird that the reverb doesn't sound the same, because it's the same track. This was one-take, one mic, that's it. Yeah, I put a bit of reverb on the whole thing, and an echo at about 10%, so its just a little off the noticable-level. May have to review my use of reverb, to see if I'm overdoing it, though. I guess it still sounded pretty-good without any effects, but you're right on the sort of empty-space feeling I was going for.

Thanks for taking the time, JP!

[Restricted Area]

Interesting.

I'd actually feel more prompt to class this under Industrial/Electro. It does have some techno-ish themes, but it feels more Industrial to me. Example: Donkey Kong Country's industrial levels where the music sports some pretty heavy drums, soft basslines, classic bright snare. Some motifs like that are what I hear here.

As far as sound design is concerned, especially with the use of Nexus, it's difficult to tell what's "you" and what's Nexus, if you know what I mean. I'm more one for people creating their own sounds to give their tracks a more personal and genuine feel, but that's not to say that you didn't do that here. In fact, you do you well, hah. That certainly shines. (That's just personal opinion and preference.)

Drum kit: a bit more thump behind it with some sub. Not too much, just could be deeper. Snare could be a little brighter since it's a bit muddy and distant. Extra layer could help with that.

Do like that each section has it's own phrasing, which I rarely hear in many tracks these days. It's usually three of the same sections broken apart by the same build up. Speaking of which, that reverse crash to crash is a bit harsh and could use some toning down. Sounds much louder than everything else when it shows up. You want it to be audible but subtle.

Nit-picking and all aside, swell track methinks. Definitely could see this in a couple of games, that's for sure.

-J.P.

KwanChau responds:

just the review i needed! yeah im super sorry about the genre error. i have trouble telling the difference in that kind of subject. and i will definitely take notes in creating my own sounds with nexus. but i did use a few vsts where i made a few edits to the presets. plus with me just getting nexus, i just heard pretty sounds and wanted to put them together lol. with the drums, i'm guessing i will still need to learn eq more huh? good thing i can always go back into the project and improve on it!

all in all, im really glad you gave me a detailed review and also pleased you saw it as interesting. :)

[(F) _One Last Distinction_]

Ambient is not so much my style. I haven't done it in years and only recently have I picked it back up through some Downtempo.

Despite the sheer length, it is very, very good. For me, the intro was a bit too long, especially with the same beating hi-hat rhythms you have going on with those occasional swells of noise and squares in the background. But it was well worth the wait when it found movement at 4:00 in.

You've got some smooth square pads that aren't at all, in the least bit, intrusive. It makes for some pretty sweet and thick soundscapes. The previous reviewer said it "needs more bass". This is ambient; when you have such large soundscapes, you've got all the bass you'll ever need.

The only thing is I feel some frequencies to be a bit too piercing around the low end when you do your pseudo-bass drop (as I can only describe it as such), but that's probably due to resonance. The same could be said for the high-end when you have squares mixing in together - it's around the 1-3K area of the spectrum.

(That was just half-way into the track.)

Thirteen minutes in and I'm encapsulated in the space. It's very ethereal, and the wind-type sounds accentuate it very nicely. It reminds me a lot of artistic video games that I've played, like FEZ or Monument Valley where you have these huge stages with puzzles and the music is very slow to move, windy and graceful with accents here and there. Only until now have I noticed that the beating hi-hats have since gone, which also reminded me of music concrete - sounds used to make an aural montage.

Nearing the end, the tone changed a bit. It was very light and airy and now it seems a little more ominous. More wind is present and your pads have a darker tone to them, a sign of the night life after hitting mid-day as it would seem.

A very good track, I believe. It's a lot like those youtube videos where you see songs or other things being slowed down by 100-300 times their normal speed and you get this really cool plane of just air, at least in one sense or another.

Nonetheless, a great piece. Provokes some visual experiences as well.

Well done.

J.P.

Fubaka responds:

That was fantastic! Very good feedback indeed.

You seem to have really gotten into the track! I heartily recommend checking out the rest of the album, because you would definitely enjoy it.

[Folk]

Hmm...

Would have to agree with Nyx on the above points. Tons of distortion, very little stereoscopic separation, and the samples aren't the greatest.

The clipping issue is due to the extreme amount of distortion used. The only way to solve that is to not distort everything. Remove any compressors or dynamic processing effects on certain instruments. Your primary obsessions should be improving your dynamic quality and clarity. That means buckling down and learning equalization. Once you got that, you won't need distortion and soon you'll realize that it's just an effect to give a sound a specific timbre.

Composition was actually interesting though, despite the odd time signature. It works, in a sense.

Keep on practicing. Look up tutorials and read that manual. It's your best friend.

-J.P.