All 42 audio Reviews


Detious - Divinity (VIP) Detious - Divinity (VIP)

Rated 3.5 / 5 stars

Pretty nice. I think the only thing lacking here is a stronger kick and snare presence. If I were you, I'd try to make the bassdrum so present you feel it in addition to hearing it. It's kind of too weak here to my tastes. Exaggerate bravely. If it sounds bad when loud, then EQ it until it does. Or change your sample.

It usually sounds quite amazing after mastering.

But the sound design, man it's fun to listen to. You're starting to get there, I don't think I have much to comment there.

The overall frequency content feels like it's leaning too much in the highs. Some low-mids seem to be missing to make it sound a little bit more meaty and powerful. Or it's just the weak bassdrum which gives the impression.

- X


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DetiousMusic responds:

Thanks man, yeah its the same kick from the original, I really didn't do much to it!

I really, reeeeally tried to cut back on the highs and boost the mids, I brickwalled everything above like 18.5hz just to get rid of all that white noise plus some mad dithering. Maybe I'll remaster it.


Respire. Respire.

Rated 2.5 / 5 stars

It's a solid idea. The arrangement is very nice, every part flows together nicely. I could see this style working out rather well, although it really reminds me of so many other tracks that sound almost alike.

Let's break some details down. There problems arise mainly in the mixing itself, composition is fine as is.

==

0:33 - I immediately notice the apparent overcompression.

This weird "wobbliness" in overall volume makes music kind of uncomfortable to listen to, for me at least. Either use much faster release on your master compression, or try to avoid cranking up your instruments so loud that they could go above the limiter's threshold way too hard.

For an example, at 0:58 and 1:03 I can easily hear that the sub is way too loud, overtaking everything else in the track and pressing them down in the mix.

It sounds like there's only one limiter doing compression in the master channel, so I recommend you try out multiband compression at a some point to get around this issue, apart from mixing your stuff properly first. This way you arrive at a more stable sounding master compression, as it allows you to use compression like an EQ.

1:29 - Maybe the mix is a bit too noisy here. Way too much mid-frequency action, sounds kind of washy rather than energetic. Try to have your focus a bit more on the higher frequencies, and pave your road on the mids. The shizzle is what you want here.

1:53 - Ouch, my ear! Jesus, this piano felt like it pierced straight through my eardrum as it emerged.

4:03 - Maybe the ending was a bit oddly abrupt, I would suggest smoothing these kind of cuts to make it feel like it's ending purposefully, not as if you ran out of ideas what to do next. Not saying that you did, but it has that kind of vibe to it.

==

I don't think I need to comment on much anything else, since most of this stuff really comes to you by itself via self-discovery.

Keep listening to a lot of other music and listen closely how they are mixed. This way you get a better idea what kind of sound you could try to aim for.

Also make your kick and snare stand out more. They bring depth and punch to your music.

- X


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Ilrell responds:

Thanks a lot for the feedback and all of those tips, Xtrullor :D
really helps, man ;3;/


Supercell Supercell

Rated 3.5 / 5 stars

Nice work here mate. Solid arrangement, solid idea, albeit a little bit generic today. The section with a piano was a pleasant surprise as well.

Just a couple things came to mind that you could do better here. The mixing can always be better of course, but what I would definitely improve is how the drums pierce through the mix.

Let the bassdrum be loud as fuck, man. You'd be surprised how much you can crank it up, after which it makes everything sound much punchier in general. Having a loud kickdrum gives a lot of depth to the track, which is kind of amiss here. Try experimenting with an unusually loud kickdrum in the mix; it will sound great after you master the track.

Also let the sub region stay more sterile and empty for the sub bass. Highpass other things harder to make the sub stand out better, it also can be louder than you think.

I don't think I have much else to comment on here, as everything will adjust themselves when you just keep doing more tracks over time. It's a matter of developing the ear for it really. Just keep attentively listening to other tracks and whatever.

- X

PS: I like your first 2 seconds of the track, if you know what I mean ;P


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VisceralSounds responds:

Thank you so much!! I've never dreamt of you suddenly popping up on the review section of one of my songs!

I will follow your advise as much as I can!
Also, I'm sorry about taking the impact soundeffect from Terran Era (I actually took from the stems), it's never going to happen again, I hope you understand (this is really embarrasing).

Thank you very, very much again!


Goblins from Mars - King Taco Goblins from Mars - King Taco

Rated 0 / 5 stars

Remove this submission immediately. It is against Newgrounds' rules to post music that you did not create yourself originally.

Best regards,
- X


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Luminox - BOMBA Luminox - BOMBA

Rated 0 / 5 stars

Remove this submission immediately. It is against Newgrounds' rules to post music that you did not create yourself originally.

Best regards,
- X


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xKore - Domination xKore - Domination

Rated 0 / 5 stars

Remove this submission immediately. It is against Newgrounds' rules to post music that you did not create yourself originally.

Best regards,
- X


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Finale Finale

Rated 3.5 / 5 stars

Hearing a lot of potential here. I liked to listen to it.

Just the mix is a bit off.

Considering your mix of bass sound design, let it be the main focus of the track in the middle of the stereo image. And to make it sound powerful and bassy in the mix, instead of boosting it, do a steep cut from around 100Hz or onwards. Try to find ways to make sound design sound cool WITHOUT being bass heavy. Sounds counterintuitive, I know. But just follow me here:

Make sure NOTHING else in the mix goes into this <100Hz territory, because it shall now be the the holy temple of sub bass and no kind of bassphemy is allowed in there. Make sure it stays fully empty.

After that compose a clean simple plain sine wave sub bass into the bottom of the track, and crank it up in volume. The point is that the lower you go in frequencies, the simpler the signal should be to ensure a powerful sounding mix. This goes long way, believe me.

If you want the kick to have these sub frequencies as well (I pretty much always do), just sidechain compress the sine bass with the signal of the kickdrum, so the sine will dodge in volume when the kick hits. This way the holy temple of sub bass will always host only one instrument at a time, ensuring it's simplicity which is the key to a powerful sub bass mix.

Stereo-imaging wise, keep lower frequencies in the middle and the higher you go, make it wider. Keep bass in focus, and let everything else starting from mid-frequencies take care of the three dimensional arena of sound.

Which reminds me, make everything else than the drums in the orchestra drown in reverb, effectively blending it into the background. Try to make it sound like it's very far away - lower the volume, make a cut in 500Hz with the EQ (this is weirdly important) and listen to professionally produced orchestral tracks to have an idea how much reverb there should be. Compare them together and ignore the difference in skill level, you came here to learn stuff and only that. Reverb is THE most important element in orchestral mixes, so do it well.

I don't have anything to say for composition itself, because you seem to be going in the right direction by yourself. Just give it time and you will figure out the master synergy between the orchestra and electronic music. There's no one who really does this stuff much, so it's up to us to pioneer this kind of music here.

Although in my opinion you should add more cymbal action your tracks to excite the high frequency domain. That's where the energy often comes from. Use a crash that sounds like a continuous noise when put after one and an another. Don't make it too obvious though, let it be like a support in the high frequencies. Changes everything.

That'll be all.

Enthusiastically,
- X


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NeonRage responds:

Wow... Thanks... I'll try to implement these suggestions and not fail miserably later in the music section of my life.

I'll give it two years ( ͡° ͜ʖ ͡°)

ok,
~NeonRage
_________________
Song maker and video game player


Detious - Telluric (Original Mix) Detious - Telluric (Original Mix)

Rated 3.5 / 5 stars

Solid work man.

Something inside me demanded getting more crazy with sound design, but nevertheless it's a solid track.

Let's collab.

- X


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DetiousMusic responds:

I kept the sound design at a minimum for sure, focusing on harmony ;D

FUCK YEA.


Arctic Wraiths Arctic Wraiths

Rated 4 / 5 stars

Goddamn, the inspiration is HUGE with this one.

Just you wait.... I'm going to do something.

Amazing stuff mate.

- X


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The Step of Death The Step of Death

Rated 3.5 / 5 stars

Freaking great. I very rarely write any comments to stuff, but I felt like doing it because this shit is dope. You've got the right idea about dubstep, man.

The only complaint I'd say is that you use reverb a bit too much. Even though it sounds pretty cool once you get used to it, the idea of a more in-your-face bass would be a very tasty idea in my mind. Just ease it off a little bit, so things aren't so washed out.

Other than that, good shizzle. Just get some compositional variation going on and you're golden.

- X


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MafiaPineapple responds:

Thanks!