ADR3-N's audio Reviews on Newgrounds

[Hold On]

Really interesting to think of this piece as dnb filtered through pop and classical. To better suit the classical instruments, I would approach your panning of the drumset closer to that of an actual live performance. The hihat should be a bit to the left or the right -- your pick, and whichever sounds better.

The clean guitar at 1:38 does not fit the instrumentation at all, and seems written as if for piano rather than guitar. I would swap it out for some more obvious acoustic or poppy instruments, or split it into 2 different parts panned left and right.

Strings sound freaking baller though.

Watch for clipping (crackling) also. This can happen when you don't mix in 32 bit floating point.

ExplosivePickaxe responds:

Tysm for the advice! I'll be sure to follow this in my next productions!
It'll be a little harder for me since I use Musescore, a very unusual and unpopular program. I've been so used to it for the last year

[BeepBox-Song 106]

Man, that organ just sounds badass. I want to steal it. Despite this not being my preferred genre, pretty cool!

DoTeRqwe responds:

thank you! :D
this song was made on beepbox so i can send u the link with this song and u can take whatever instrument you'd like :D

[dj-ICY - Starlight]

This deserves far more reviews than I see it getting. It's all of my favorite dnb tropes from 2007-2014 done right.

[Drift]

Yes. Just yes.

NEON-SKIES responds:

Ty!!!

[dekiru - turbulent trails (day)]

Some washier cymbals on those metal drums, and I think this piece would hit home a lot harder. Even so, I really enjoyed the theme! Could be a bit cleaner on the verb to match the dry snare and kick also. That may just be my personal preference. But I'd love to hear more like this.

[Time Jumpers]

This feels like a piece from another time. Absolutely killer. Besides some minor issues of balancing and my preference for more modern, punchy approaches to drum mixing, this is stellar.

[Drop the Base]

This is not quite my cup of tea, but that doesn't mean it deserves that nasty review you got earlier. My bones of contention are some of the chord resolutions with the guitar loop chosen. It doesn't quite fit the context or the chords/modes of your synth arp.

The guitar is bright and clashes with the key at 30 secs to 42. The synth arp is soft, warm, and perfectly complements the bassline in contrast. Just listen to 1:44, click it a few times in a row and you'll hear what I'm talking about. Two different keys/chords going on and the guitar is the odd one out.

I like the sections where it is not present.

Besides that, interesting approach to transitions!

[Overindulgence]

For the majority of this song, I was wondering why it was placed under dubstep as opposed to dnb. It has many, many more elements in common with the latter genre. So, I hope you don't mind -- I'll be moving it over thattaway.

Besides that, pretty cool switchups throughout. Though I was thrown off a bit at first and couldn't rhythmically follow what was going on at 1:00, it later made sense. I wish there were just a bit more of that.

Your master appears to be compressed well, but the waveform isn't as loud as it could be. You can try Audacity's amplify function, and it'll handle that for you in post production with zero clipping.

Otherwise, nice sound design, funky themes, and quite a pleasure to listen to. I only wish soem resonances were tamed on your breaks. Some freqs are pretty peaky in my cans.

CommanderFrost responds:

Thank you for the thoughtful feedback!

[i'm alive but only ironically]

I can see why this inspired bomb threats, because it's bursting with flavor. Very nice job on those glitches and SFX. I'm not the biggest fan of the uber fuzzy bass, and I'd like to hear a bit more of the low mids and "air" on your drops, but besides that, I can't complain.

[Last Night! Lights Out!]

This piece is pretty busy throughout, and it's hard to make out the kick and snare, which should ostensibly be the loudest elements in the mix.

I would recommend paring down sections before hitting your "drops" so speak, so that they have more opportunity to shine. There's a theory I latched onto from House of Kush that goes something like, for each section, instead of adding one new thing, add two, and/or take two away. It really helps me to focus on the important elements of the track at hand and not get too bogged down in details that might confuse the listener.

Besides that, interesting theme!