ADR3-N's audio Reviews on Newgrounds

[(NGAUC '24 KO Round) Carbon, Hydrogen, Oxygen, and Nitrogen]

The only problem I have with this song is the bass feels squashed up and overly tight. The finger picking sounds FANTASTIC. You should do it more often.

But yeah, give the bass some more body in the low range so the kick doesn't stick out like a sore thumb as the only thing in that range, and this would get a near perfect ten from me. I might also swap drums to something with more snare body as well.

Excellent lead writing and phrasing.

[Deep Down]

This is great! Only real improvement I can see to be made is the volume of the master to be more competitive with other songs of the same genre.

Farmobus responds:

ik but d't think it's a big problem 🤔. of course, i've tried to normalise it, but it d't leads to a good result hmm.

anyway, thx for your remark!

[melting into goo]

I second @SicraMusic, Audacity is miles harder than any other DAW I've ever worked with (easier now, but having to compose entirely in another DAW is the hard part)

If you think Ableton is wild, Mixcraft might be up your alley. It's uber simple in terms of UI by comparison. I'm giving a 5 for mixing in Audacity on NG just for sheer effort this must have taken. Also, for using soundfonts and making them sound good.

[~cC~ Hands Up, Alien Overlords!]

I really think that sax lead could be swapped out for another more obvious synth instrument and seriously improve this piece. Your key solos in particular were great. Any sort of synth would do, even a stock sine or saw lead, because it isn't your writing that holds this piece back -- it's the dadgum articulations on that sax! I just can't get past it. I 100% think that a different choice of synth would take this to the next level!

CelestialChaos responds:

I really appreciate the review! I agree that the sax was a little rough, unfortunately I kinda forced myself to include that instrument and use the best sound font for it I could find. I was happy with the way the solos came out so thank you for the kind words!

[desolation]

Вау, интересно звучит -- а вокал атмосферный. Жанр колеблется между хип-хопом и … не знаю, может быть ло-фай. Вот ощущение печали просто кайф. Я бы проверила эквалайзер на мастере, чтобы исправить немножко плоский АЧХ, но в основном, трек хорош.

cantbemyself responds:

Спасибо! Да, у меня со сведением и мастерингом проблемы, мягко говоря))

[Forest of Eternity]

Crazy that you made this with the JV-1080. One of my favorite synths -- as it was used for many of my favorite soundtracks coincidentally. It definitely has its limitations though, when it comes to realistic instruments in particular. The extra hard attacks of the double bass no matter what, the attacks of the strings and brass -- for an orchestral score, I would almost never use something like it.

Where it shines ofc, is perc and synth sounds as we see in your outro. I wish I would have heard more of that (and I would love if I could reach out to you for samples sometime, but that's besides the point!)

As a composer, you're fantastic. This song took me on a walk, a run, and a flip on the trampoline. Great voice leading, walking bass lines, and resolutions. I think if you had better sample banks at your disposal with more articulation/realism, this would smack!

BigBlueBazooka responds:

Thanks for your insight. I actually like the sound of the sampled real instruments, it reminds me of the many video games which used this machine and, other like it, immensely.

[Belong (NGUAC 2024 Version)]

Really interesting choice to bit crush all the accompaniment. If more was done to make up for the spatial and clarity issues that bitcrushing causes, especially to double/spread/pan instances of the ukelele, I would score higher.

I particularly feel that as the song develops, more stringed instruments such as guitar could be brought into the fold on the sides. The side presence is really where I feel the song is suffering.

Vocal performance is good. Just need to get things meshing a bit more. Modulating the amount of reverb is an idea you can try, as well as experimenting with gentle panning.

AveragePhoe responds:

Hi! Thanks for the feedback. I agree with pretty much all of it. I'm working on a single version that sounds much better already. It's hard to focus on mixing when you've got a deadline, really.

[Solivagant [NGADM] [NGUAC]]

I see you took my words to heart about master comp and bass presence -- I still would mono bass below about 117 hz rather than letting the chorus spread it about.

The overall level of the master is good, but it sounds louder in the right channel than the left toward the end -- actually throughout.

My favorite section is 22 sec to 1:01

I think the bit crush on the keys could be softened with a second layer of analogizer plugin to roll off the highs. I use Cymatics origin for this purpose, occasionally in 2 layers with different sample rates, one harshly bitcrushing and saturating, the second at a gentler bit rate with the pre and post filters turned on to limit harshness and the freq gently rolling off until it's just a bit less shrieky in the high register.

Your treatment of drums in the first half is nigh perfect. There is a bit of a hiccup at 1:30 or so where I'm feeling just a bit few many milliseconds of swing or lack thereof not quite meshing with the other instruments. Do I know these samples? They sound like an old 90s drum sample CD by Dave Ruffy I'm very fond of.

I would recommend bringing kick and snare more to front and backing off saturation/clip very slightly. Alternatively you can turn up transients -- but watch that cymbals don't start acting wild and exotic in terms of volume.

With this level of crunch on the entire mix, you have to watch that your reverbs and pads/strings don't get muddied up. A plugin like Pancz on your drums can shorten and dry up the note bodies for them, pulling them out of the way of the "air" of those synths -- an issue I hear toward the very end. Subtle sidechain also works well for kick and snare against all other aspects of the mix for a crisp, tight sound.

Also, I think the strings and pads could be balanced more left to compensate for the right keys

In terms of experimentation though, this is a great step outside what I typically hear from you and a massive improvement in competitive LUFS/mastering standards.

Overall, I'm torn, but I'll have to settle for an 8.5/10

[Mr.Must3rd; Meowtronica]

That is the most insane transition into midtempo I've ever heard in my entire life.

What stops me from rating 5 is that master is quiet, especially for midtempo and adjacent genres, and the track lacks a strong center channel, particularly for the bass which sounds very spread out. These two factors suck out the power from your drops. A little study of mix/master and some references to test against and it won't be a problem for you for very long.

Great work, seriously :)

MrMusterd responds:

this is actually something I just recently learned to do without COMPLEATLY destroying the mix. this one is Mastered to -14 LUFS, which isn't optimal but I didn't trust myself to push it further because I started noticing some distortion. As a broke 16 year old jit in my bedroom, I don't have any mastering plugins which would be cool, but the Kilohertz limiter is decent enough to use and catches most intrasample peaking, but its not perfect. I was able to push my last song to -13 LUFS which is an improvement, and I'm glad I was able to pull that off! if you have any advice or criticisms, please that stuff is like gold to me! :3