samulis's audio Reviews on Newgrounds

[(ERS) Tyren's March]

Unconventional, but engaging.

Very dark and has that nice off-kilter (3/4) feel for devious marches. :)

Is that an anvil I hear back there? It really needs more reverb. Don't be afraid of adding some really deep strings under there too as a drone, that'd make it stronger... even a timpani roll could do that too. Another nice idea would be a loud bass drum to hit on the 2nd and 3rd beat to counter the timpani. Don't be afraid to bring your percussion louder (esp. timpani). At 0:52/0:54, I was expecting the song to widen up with some serious instruments.

During some periods, it might be nice to hear a trombone counter-melody. You used them (or something that sounded like them) extensively, but a quieter variation could be used to great effect with quick walking-bass-esque phrases under some string parts. (eight notes, climbing the minor on the first 4, then turning into the 5th, so A-B-C-D-F-E; then changing for the next chord and so on in the background a little). It's good to see someone else who works with the sixth chord a lot. :)

1:24 was especially lacking that deep element I was talking about before... I could feel a need for a descending bassline there with measure whole notes to accent the changes. Lastly, you should consider looking into various types of endings and find one that works. The old 'fade out' doesn't cut it for marches unless you're going for a feel.

Really a great piece, Perhaps I'll check out some more of your work in the future. Keep it up!

-Samulis

Tainlorr responds:

Thanks! That was probably the best constructive criticism I've ever received on Newgrounds. Props! Most people would just be like "make it more epic" or "add more drums."

["Exit to the West" Loopab]

Excellent

Normally you find two three types of work in the Classical listings... the first is what happens when MIDI becomes a relative term and you end up hearing some techno beat in the background. The second is some random person playing some heart-warming song on a baby grand that has a mic hooked up to it. The third is a piece that offers a true feeling of orchestral classical, the classical I look and strive to see and/or produce myself. This is most certainly of that third category- good instrumentation (although expensive, gosh I wish I had enough money or my folks agreed with my idea of budgeting XD), a flowing and harmonious melody, and the perfect chord progressions. It almost flows from the speakers like ocean foam on the beach... that's the kind of classical that belongs here. Keep it up!

XayberOptix responds:

Thank you for such an uplifting review! I am glad that I have met your expectations. :) I will be posting another song that is an orchestrated composition at the turn of the new year. Stay tuned. ;)

[Calm {Chair Oh Key}]

Great tune

Normally, I would say something bad about the quality of the instruments, but the melody and progression put that aside. The one thing I find off is how the melody is not the cleanest. One big tip would be to spread out the instruments' pan location so they give a more spread-out sound. There are bits that could be improved, but other than that, it's a great piece.

If you would be willing, I would love to see if I could work with the MIDI and some VST instruments to make a cleaner piece.

SquattingDog88101 responds:

Wow thanks a lot! That was just the kind of advice I was looking for.

[Lunaticks]

Has a gifted feel

The odd mix of old-feel instruments and modern feel is an odd but very nice mix. I would certainly not call it the best thing I have heard, nor is it very close to my cup of tea, but it shows knowledge of music theory and the FEEL of the song is very clean and surprisingly structured. It's like how Wagner always made his songs come out of a mess of woodwinds and strings into a beautiful light, you managed to 'hit the nail on the head' with your off-beats and hits, if you get what I mean.

Keep composing and arranging, sounds good.

Short-Factor responds:

Your review is slightly confusing but I take it to heart. Thanks.

[Hill Top Cruise]

Great job recomposing!

Recomposing is one of those tricks that one has to learn through practice and experience, not through any guide or class. You did a good job and kept it flowing, even the ending was good. I've tried and played around with chords I have taken from compositions and such... what do you use for your samples, Soundfonts? VST? They sound pretty nice.

Short-Factor responds:

Custom synths, some custom samples, and a little bit of soundfonts. I also like taking apart drum riffs by slicing and reinventing percussion sounds. I did that somewhat for the drums in this.

[Princess Tune]

Beutiful...

It's a nice piece simply because it starts off quiet, goes through quiet, and ends quiet, but there is a change... there is a movement from gentle to strong. I simply love how the brass comes in and that last chord in the song is simply perfect. If I were to expand upon this (which, unless you have the MIDI, I probably couldn't), I would have the instruments hold that last chord for two measures, add a timpani roll with a crescendo, then have either a pizzicato violin sound take the melody, have a French Horn take the strings, and have your low brass keep on 'chugging away'. At that point, it would be nice if drums came in and the melody picked up. After a few sections of that sort of thing, the song could perhaps transition into some sort of regal-coronation thing through a fanfare played on a trio of trombones backed by Cellos and a strong trumpet solo above.

Just a few ideas. I would love to arrange it, but I don't have reason on my computer. :(

Angelus1818 responds:

Hey man!

Thanks for the in-depth review! I could work on exporting this to midi for you, maybe I'll get it to you in a few days ;)

Thanks again, I'll work on those suggestions you gave me.

-Angelus

[Vengeance 2]

Great

I have to say, I love the climax around 3:40. The instrument hits are great and distinguish the piece from the last one greatly. Perhaps using alternating or changing chords for the singers in the background would add a new effect. I also enjoy the strings, as usual, and how their melody returns later in the song.

Great job, just try to keep on playing with what you have. Think about a theme that you want to bring forward. Right now there are several themes that are underlying, but no 'master theme' (unless I am missing it...).

lanky21 responds:

Thanks for the feedback Samulis. I appreciate it!

[Judging philosophy by Abuse]

Beautiful

What I often see in the Classical section is calming piano such as this- but you took it one step further. By adding in other instruments such as deep strings, you brought your song into a whole new playing-field. Although sometimes the scales of deep notes didn't quite fit rhythmically with the piano part, it still sounds excellent.

With the piano off in the left speaker, it is difficult to call it the focus, but it is simply because it holds the melody. As for errors in notes, there were none I could find, and the song was absolutely beautiful in nature as well as in its chords. The looping was almost flawless, which adds a large amount to the song's worth.

Keep composing!
-Samulis

PhilVille responds:

I really appreciate what you've said here ^__^ This helps alot trust me, I think I will finnish it. Thank you very much I won't let you down.

[Anesthesia (Sonic Numbing)]

Excellent

Like most other great classical songs, the strings play more than a crucial role in the music. The choice of a quartet shows both mastery of the chords and the rhythm, for one off note shows through the song far more disastrously than in a full orchestra- and even more, it would be quite obvious where it came from.

That's why it is a good thing that there are absolutely no bad chords in the piece.

Of the origin, it clearly has roots in a relatively open genre called Soundtrack, which is dominated by what is often called Modern Classical, or Contemporary Classical- a genre that uses traditional influences but adds in modern elements, such as jazz scales and foreign and tribal influences- such as using an Indian Raga or a Middle English folk tune to create a piece of music. The song reminds me of Pirates of the Caribbean, and the marcato notes (not the pizzicato) take influence from perhaps the mid-Romantic style, which is essentially the classical style between Beethoven and Brahms.

The exciting rhythm draws in the listener, and the lack of repeated sections (thanks to the addition of new parts), brings in a new aspect. However, the lack of a complete climax (due to the quartet's status as... well... a quartet) might be found unappealing to the more action-loving listener. Also, the lack of a traditional ending in favor of a more sudden ending is sort of lacking to me, although there is nothing wrong with it. Also, the last chord leaves the listener on a sort of... 'where's the next note' feel. Perhaps changing or adding an additional chord would give a more traditional ending, but like I said before, it's fine as it is.

The pizzicato at the end draws out a new conceptual theme that clearly lurks behind the quick and light-action feel of the marcato strings. By varying the accented parts and rhythms before finally combining them sort of gives the greatest climactic feeling that a quartet can muster beyond a solid chord with a fade-out.

If you were to improve upon this, it would only be to turn it into a full orchestration and by lengthening it (thorough the repetition of the old theme and the yielding to a new theme upheld by perhaps woodwinds or brass) to perhaps four minutes. Already, you have an excellent piece that is worthy of my 10 because of its simple appearance but complex inner structure. I can't wait to hear the rest of the Discovery Suite!

WizMystery responds:

That was a nice run through there :P

I was going for a movie feel so soundtrack does fit. We'll be learning more about musical eras in IB Music next year so that'll be something I can use very often to expand.

I do see a system that can take place here. Turning smaller pieces like this into large symphonies is something that could go very well, and something I could really use for a live performance (in my orchestra we played a piece written by our first chair violinist, meaning I have a chance of getting the same opportunity).

[The Journey Begins !]

Great!

Reminds me (strangely) of Night at the Museum. I have a few bits of harder critique for you, so hold onto your hat.

The original wood block/drum rim hits that keep the note remind one greatly of a clock- is that the intent? I find it sort of detracting to the melody when the melody comes in.

A cool effect you should experiment with is having the horn to the left (I think you have it slightly so already) so that you get more of a 'claxon-call' effect (letting the melody thus echo this effect). Also, get the harp in the start in the left and over its scale up and down, quickly move to the right, to give a 'flight' feeling. More along the line, make the chimes (whatever kind you are using...) go up one scale in the left and the other in the right, so they appear to echo.

Another thing that may be cool is making the drum roll more legato. You could do this by reducing the 'attack' of the snare during that part (if possible). That would give more of a rolling effect than the rat-a-tat-tat you get with a normal snare.

Also, sometimes, the low brass/trombones (or upright bass/low strings) overpower the other instruments, and sometimes they are too weak. Aim for mixing the instruments over presenting hard bass- and counter-lines. If you are not already, get the upright/double bass to back up the low brass in a simplified version of their music, not just uphold the chord... or get the cellos to do so.

Because the instruments aren't balanced so well, at points like 0:48 compared to 0:50 (and 0:54 compared to 0:56) are different in make up... though that may be intentional, I find it hard for my musical OCD to grasp. XD

Also, I think the addition of something in the 0:19-0:26 (before the chimes give the lead in to the forte) area would be helpful, even if it is just like a harp scale with a chime roll in it... or a change in chord with the low brass/strings.

The low brass/strings 1:03 need either to be a bit quieter (an extremely small amount quieter) or should be followed by a louder come-up. Same with :49 and :59. That repetition of dynamics gets boring after hearing the song about 10 times... which is what happens in the game.

The middle brass (trumpets/trombones) at 0:55 compared to 0:57 (and 0:48 compared to 0:50) are unbalanced also, leaving a hole in your melody and only giving the strings to hold it up.

All over all, it's a great song with great promise. Here are a few last things:

-If you can do it, adding a bass or tenor section would perhaps help. They would echo the low brass/strings at somewhere around in the 0:20s.
-A reed instrument like English Horn or oboe would be nice too, but it might overwhelm. I think it would allow a new theme to be echoed in the performance, or take on an echo theme to the rather tiring melody of flutes (it gets repetitive after 10 repeats or so...)
-Moving the instruments to their respective places on a stage would give a more harmonic sound and make your recording sound more realistic.
-A tiny bit more decay or wetness on the percussion would perhaps help.
-What kiiryu hit upon was the cymbal crash. I think an additional snare beat right before it would make it a bit smoother. There is a barely noticeable gap in between of the forte melody and the quieter prelude bit.

Well, I hope my suggestions helped a bit. I listened to the song about 30 times, so I think I hit everything I could possibly find wrong... which of course is a very small list. I think you did an excellent job on this and I hope to see more songs on NG like this.

Maverlyn responds:

thanks for your input. but i think im leaving NG. i might come back to ng if they make t so you have to comment to vote. till then, take care.