Quarl's audio Reviews on Newgrounds

[A Colossal Oh No]

Disclaimer: without the score sheet in front of me I may review this a little differently than I did in the fever pitch of trying to score everyone else fairly in two weeks. This review is just an elaboration of why I may have scored the way I did and everyone I'm reviewing today will receive this little disclaimer, kisses.

As said in private message, I'm starting to recognize your unique style and funk from the previous contest. There will be times when the integrity to maintain a distinct style can harm your standing in competition. Judges might get tired of it eventually but you don't have to worry about me today. I'm loving the technicality and composition. At times your style is a little too sporadic which may turn off others but the evolving melodies and tempos are still in my opinion lovely and wonderful. Your progressions are heroic. Probably my biggest complaint is going to come for that tiny jazz kit. With some basic drum engineering tricks you could create a unique drum sound that matches the energy of your style...

Don't get me wrong, the inventive auxiliary percussion was exactly what I loved but I was still missing a potent kick or snare drum. I wouldn't say you necessarily needed some big ass Excision or Koan dubstep drums but there are some dubstep producers lake that out there who are processing some interestingly inspired percussive sounds. Lets try some IDM drums? I'll give you some technical ideas to get unique tones but first a few classic artists I love to name drop are Square Pusher, Aphex Twin, & The Flashbulb. Certain nuero and breakcore producers have tickled my ears with unique drums, Noisia, Unknown Error, Receptor. Even hiphop producers have been making drum kits that can snap with unique potency and funk. I'll talk about layering samples to get new sounds but always start with drum samples that sound good in their own right. A bad sample is a bad sample...

I like to merge and layer complimentary drum samples from the drum machines into fidelity units. Specifically I'll use two or three kick drums and three or four snare drums. I merge signals like kick samples or snares then send them to a graphic equalizer, then a compressor, maybe a stereo imager, maybe a distortion unit (bypassed until wanted), and then to a mixer. I suppose you could give every individual drum sample a string of fidelity units like that but it's quicker for me to just send all the snares to one place and all the kicks to another. This will still give you a lot of tonal control over your drums. Color the graphic EQ with automation lanes to program cool tonal switch ups. Aside from engineering a unique sound, another benefit of layering is that you'll have a handful of extra drum samples laying around. I love using one or two layers of the snare drum for introductions and break downs only to pair them back up with the bigger drum samples for hooks & chorus's.

For emphasis: this track was wanting at times for much bigger, snappier drum samples.

I love bending the pitch of snare drums and hi hats via automation lanes to match the energy of a track or melody. Snare drums can quickly bend pitch and become their own fills or rolls. Climaxes can have snares or hats that suddenly sing higher or lower. This style of drum programing would handily compliment your zany melodic and tempo switch ups. Automation lanes are your friends, experiment with them. One more time, I just wanted to compliment that creative auxiliary percussion. Think I heard a wrench, a spring, some change? That kind of creativity is needed for the primary aspects of your drum kit too! You have such a nice little unique style growing here. Pair your melodic style with equally heroic drum programming. What do kids call the style these days? Future bass? You can be the lord of future bass!

My computer crashed while I was writing the first draft of this review. I didn't have to bring it up, I just wanted credit for writing this review twice. I'm not sure how much more I could say but good luck! If the style of my review sucked at all please let me know and I'll work on my cadence, tempo, and tenor. Thor's blessing Zechnition!

Zechnition responds:

Thanks a lot for your words! I've been frantically taking them into consideration, and made sure to include the Flashbulb as one of my references for my next piece early on :)

also, who knew intense pitch bending snares sounds soo cool!

[DANC_EXE [NGADM 2022 Round 1]]

Disclaimer: without the score sheet in front of me I may review this a little differently than I did in the fever pitch of trying to score everyone else fairly in two weeks. This review is just an elaboration of why I may have scored the way I did and everyone I'm reviewing today will receive this little disclaimer, kisses.

So without the score sheet in front of me I'm willing to venture the guess that I took points off from "production." If I blast my headphones past the 15-50% volume I usually work at there's a small chance of creating risk to fatiguing and damaging my own ears. I've been reviewing tracks all day, if the other judges are like me then I might want to point out that some of us are working at lower volumes for endurance. At lower volumes I couldn't initially hear the next issue but as soon as I pushed the volume I started to notice slightly obnoxious high frequency sounds. Your mid to high frequency sounds are going to punch painfully in a pair of Audio Technicas. If any of the judges are working in Audio Technicas, they will hear a different sound than something with more sub sonic emphasis and the loss of those subby lows will hurt them. I hate Audio Technicas because of that, such a flat response they kill certain genres of music but since they are popular headphones I would recommend picking up a pair just to help master your music. Know what your peers are hearing.

Mastering issues will drive you crazy. There is nothing I loathe more than taking a song I worked hard on and hearing it on someone else's sound system or car stereo only to notice things that could have easily been fixed or avoided with some extra work. This track is very dry on my Sennheiser's, I know for a fact it will be painfully dry if I swapped brands right now.

I'll take a second to point out how silly that snare drum is, the envelope sustains all day. I've always loved a crunchy snare drum but a new layer with some more mid emphasis might balance those crisp tones some. You could get some cool dynamics playing with the envelope a bit, short bursts at times and longer snare drums for the climaxes? More snare diversity would be a nice trick to help reduce fatigue. You changed up the style and cadence of the song a fair bit and I loved that but sometimes you can use a new snare drum from section to section to evolve the rhythm a little more. A pitch bend on the snare channel is another trick that could create interesting diversity in the rhythm's tones without having to introduce new samples.

I'll point out the energy via the visualizer, your track goes 100% the whole time. This is a song writing tournament and the judges all have their own nuances. I would have personally liked to hear a longer, more ambient intro or breakdown, any sort of rest from all the high action. Hearing that constant energy led to me being more critical of things like ear fatigue. As I listen to the track on repeat it's easy to lose track of where the song starts and stops. There were some great transitions in this, but I couldn't listen to this all day on repeat. It's wearing me down very quickly. I feel like it's worth pointing to DJ culture that compliments most EDM genres, this track would probably compliment a mix nicely, but many EDM songs have a softer intro, breakdown, and outro for beat matching and cross fading tracks. Though an expert DJ could rip this up and spin it just fine, on its own I felt like it was lacking a little atmosphere. Maybe I took a point off from "composition" for delivering one constant energy level?

The vocal sample "let's do it" was a little strange, it got old too. I've done similar things, used Captain Falcon like he was the amen break for years. The vocal samples aren't always bothersome, sometimes they were modulated expertly but I think you went a little overboard while flexing. Perhaps the most obvious offense is at 1:44? I get it, you're really good at modulating that one sound. Respect. IMO, it stops being a flex after a while, fight me.

I've decided to go against the disclaimer and check my score sheet, morbid curiosity.

Honestly, I was probably too harsh on "Emotion." That lower 7 was probably entirely for that singular energy level assaulting me the entire time. I love noisy genres, but the flaw is apparent when the track loops and I hardly noticed. A longer intro could have gently introduced a motif and given me some more space to appreciate musicality chops that you didn't display (still gave you a 9/10 for musicality, generous). The intro and outro could have explored some acoustic sounds or atmosphere. For a dance track this would fit ok in a DJ set but on its own I got exhausted. Transport listeners to diverse soundscapes, tell a story that says something emotional or just anything other than "DO MDMA, JUMP UP AND DOWN, DO MDMA, JUMP AND DOWN, DO MDMA, JUMP UP AND DOWN" for three minutes straight.

Alright, I think I conveyed some ideas to help bridge the scores a little. Again, sorry if the scores bothered you at all. I only regret taking one extra point from emotion. 7/10 was rude of me but it can't be changed now. Sorry dearest. I'll be rooting for you in the next round despite brackets.

[ADM Round 1 - Vibin Out]

Disclaimer: without the score sheet in front of me I may review this a little differently than I did in the fever pitch of trying to score everyone else fairly in two weeks. This review is just an elaboration of why I may have scored the way I did and everyone I'm reviewing today will receive this little disclaimer, kisses.

Woot, loved the technicality on this. I could easily hear this track as the menu music for some video game like The Sims or an old television game show. If I took a point off for that metric (which I doubt I did) forgive me. I'd be surprised if I took points off for composition either. Perfect little progressive jazz ditty. I might have taken a point off for production, you could have pushed the bass a little harder. Sounds are just a little thin. Nothing in this mix save the kick drum is really low enough to battle the bass for the lows, go louder. You might have been able to get a little braver with your pan data but sounds are crisp despite relatively static field locations. Great dynamics from everything. I'm genuinely getting curious how I scored this...

TO HELP GIVE YOU THE FEEDBACK YOU DESERVE I HAVE OPENED THE SCORE SHEET only to realize that you got a near perfect score from me. You're making me work here, I just spent half the day writing two reviews, you really wanted to know what my score was about? Your music is amazing but to be brutally honest it's not quite perfect nor totally unique. I don't like handing out perfect scores. In the spirit of that while trying to be fair I may have been a little too harsh? Something that would have helped net you gain my last "spunk/personality" point may have been to include some kind of introductory studio recording atmosphere? Someone else introduced their track with the sound of an exhale into their microphone. You could have recorded a small conversation in the background to make it sound like a band was coming to an agreement about when to start the beat. Trying to emulate that live gig sound would have gave this just an extra inch of spunk in my eye. This track is so perfect, it's almost "too perfect." A one off vocal sample coming from the background is something that can happen in a live studio. Sometimes the drummer will give a small woot and their voice will get picked up off a drum microphone. It's so fucking extra to even mention that you should have done something like that but I'm trying so hard to give you some helpful feedback.

While looking at the scores I'm quick to notice that it was the other judges that were more critical. I was very kind to your track but IMO, it was deserved. You went really hard and killed it with something I can totally appreciate. I'm sorry that the other judges didn't hear what I heard but being aware of their production habits, I will tell you that they are all EDM nerds. Like the metal heads, EDM nerds go extra hard nailing production quality and fidelity, eking out sounds that paint the entire spectrum. That's going to result in a bias against genres that don't take full advantage of sub sonic frequencies. I can almost guarantee that is what happened. Don't take that personally, last year there was a judge with literally zero music qualifications or music written. When it comes to Newgrounds you have to be the change you want to see and volunteer to judge when contests roll around. It sucks not getting to participate but I think it's more rewarding to have to listen to what else everyone is doing, taking note of the community in its entirety. There is so much diversity in music here but Newgrounds raises some blood thirsty hard style advocates. You felt torn to write a metal song, I'm going to advocate you do that next round. If there were some more jazz heads on the judge panel this year you'd probably have done better, I've seen perfectly written bebop get voted down in the past. In 2013 camoshark wrote "SuperCollide" and I still listen to that track from time to time. If I remember correctly, he was eliminated from round 1 of the deathmatch with some low scores BUT IT WAS FUCKING PERFECT JAZZ IN EVERYWAY. I will never forget that song nor how much I loved it. I will always look to it as an example of why you got to play to "cliche" Newgrounds genres if you want to get past round one of the deathmatch. In the future, Dubstep and Metal it is. Don't tell Sequenced I said that, or he'll throw a fit. Know your audience, know your judges, play to their favorites, win more often. It's just a theory I'm working on, DON'T TELL ANYONE I SAID THIS.

Regardless of what I'm telling you, the other judges may have had perfectly legitimate reasons for their scores. I wish I could take the time to leave a review for everyone in the contest because everyone deserves some genuine feedback. It's always going to be an incredibly diverse community here but if you want to help your jazz peers you have to join the judge brackets and promote them a little. I doubt the other judges are as familiar with jazz as I am. I love jazz, it's one of my favorite genres. You may have brought a knife to a gun fight. Whip out your heavy metal dick in the next round, wave it around a little, slap someone with it, make them beg for it :0

For context I'm linking to that camoshark track. Note the waveshape in the visualizer, his bass frequencies are filling up all that extra space. There is a lot of warmth to their production. Take my initial critisism for mix and compare your audio to this track:

https://www.newgrounds.com/audio/listen/545364

OH, ONE LAST PARTING THOUGHT: I'm wearing Sennheiser HD 650s which push better bass frequencies and drown out thinner sounds a little. If any of the judges are using Audio Technicas you may have tickled their ears a little with this mix leading to harsher production crits. I got a pair of Audio Technicas because they were very highly recommended by the Newgrounds community and I wanted to know what they were hearing. The headphones offer a flat response, useful in their own right when mastering against monitors with subs but I fucking hate them. Powerful genres like dubstep or metal are so flat on them that they punch ear drums out without the subs to balence them. Mixing entirely on certain Audio Technicas would lead to completely different mix down choices. I'm willing to bet all the EDM judges have headphones that hear differently than yours which led to harsher production scores. I'm like... 50% certain?

I hope this was helpful and you don't lose sleep thinking about mastering issues. I know I do sometimes. Have a good one Teffy <3

TeffyD responds:

Thank you for a thorough review, and I agree with a lot of the production and composition critiques you mentioned. A big problem for me has always been that it's only me involved with all of it, and 90% of the time it's rushed because I only had 7 days total to make the song lol. It's not perfect in the sense that its "too" perfect, no missed notes (other than my shit guitar playing lol), all on beat, etc. I use ATH-M30s so I understand what you mean by mixdown choices like that. I am very happy that at least my music gets the jist of what I'm trying to make across, like a menu song or something.

Judges can score it how they please, and I understand some might be used to EDM or Metal or any other certain genre that Jazz for example might not be their forte. Next round I'll attempt a metal song to spice it up, and if i survive to round 3 i might go out swinging with a fast fusion song who knows lol.

[Coming Out Swinging]

Disclaimer: without the score sheet in front of me I may review this a little differently than I did in the fever pitch of trying to score everyone else fairly in two weeks. This review is just an elaboration of why I may have scored the way I did and everyone I'm reviewing today will receive this little disclaimer, kisses.

With that in mind, I'm going right in assuming I took some big points off "production." I'll get to what I liked and what you did right in a minute but that fuzz throughout the track is a little annoying. There's no excuse for that grainy white noise permeating the entire track. This song with cleaner sounds would have scored much better. I thought it was the drum kit but after listening a second time I can now hear white noise going all the way back to the ambient intro. I've seen lofi hip-hop producers use white noise generators to emulate record pops and sizzles but something like that can get really old really fast if it isn't doing the surrounding track any favors. Romantic record fuzz needs to done perfectly or else it's just noise that doesn't contribute anything. I actually love all the technical nuances to this song, the musicality is nice but I may have taken off a point or two as my attention span waned very quickly for a short two minute track. I keep focusing on that white noise, it's just too distracting. Spontaneous note, those record scratch samples sounded great in comparison.

As a beatboxer and amateur vocalist myself, I got a lot of respect for anyone that uses their voice to convey musical ideas, rhymes, or lyrics. You had a lot of spirit in that regard. Thanks for sharing those intimate feelings and ideas in your comments section. Music conveys lots of feelings, you got that down really well. That last little section reminded me of some Circa Survive indy rock. I'm sorry if I took off points for "emotion" or "spunk/personality," because you clearly have that in spades but again I'm not looking at the score sheets today. If you want a mathematical breakdown of why everyone got the scores they did, you should join a math competition instead, music is subject to opinion and bias. IMO, the brevity of your track conveyed a lack of inspiration or direction. It can be hard to hit three minutes but that's the undiscussed minimum I was looking for. I have a hard time taking off points for "composition" or "emotion" when people go as far as four or five minutes. Not everyone can write a six minute track, hell at that point I get frustrated and fidgety. A perfect song can be two minutes long but to stay competitive it might have been wise to try to write something a little longer to match the energy of your most competitive peers. There was totally room to write a longer atmospheric introduction. It looks like you have three distinct sections of lyrics, the instrumental parts in-between them could have been longer and more nuanced. I loved that sample play at 1:10 and the lyrical flow before it was inspired. You're lyrics are strong but the delivery is battling with the mixdown of the rest of the track. I'm not very good when it comes to mixing hip hop but I can point out that your lyrics are getting a little over powered by everything else. If I may focus a little on what I think might help, panning high frequency instruments like rides, hi hats, and pads off the the sides a little more might help give you some space. People often don't take full advantage of panning but keeping that sub bass in the middle with the vocals also center but lightly sidechaining the sub bass might give you some added clarity. The more clarity you can get out of your vocals the more "mistakes" we might hear but it all comes together and a good mix down will only benefit your singing in the long run with everything working together perfectly.

Aside from hiding the vocals a little that sub bass was awesome, nothing else to say about it. Loved those chromatic pitch slides.

It's obvious that you're over compressing the track while making it quieter, if only accidentally. There is visible space in the wave shape via the Newgrounds player. That is negative space in the mix that you're not taking advantage of. It took me a long time in Reason 4 to realize that there was a preset limiter on the master out that needed to be bypassed, you might be dealing with a similar issue here? I'm not looking for a huge brick but you can compare your audio to someone else's in the contest and see what I'm talking about when I say your wave shape is visually smaller in comparison. There's room in the stereo field being artificially taken out of this via some kind of mastering/fidelity tool. It's robing your music of much needed power and stereo space.

I'm actually not hearing any note worthy panning. Briefly if I may say, learning how to creatively balance sounds left vs right is a game changing nuance. Over ten years ago, Rig mentioned to me that panning sounds can create the illusion that they are louder than they actually are so you can pan a sound then turn the volume down a little which helps create space in the mix for other sounds. You can get really experimental with your panning data, sometimes people will use a stereo field to emulate live dynamics. I like to program drum fills that move through the stereo field starting on the left side and moving to the right side with each tom drum in it's own location. It creates an aggressive illusion of movement but you can emulate that with almost any instrument. Imagine a vocalist using pan data to create a back and forth conversation, a statement in the left ear followed by a rebuttal in the right. There is definitely style in how people choose to pan but when I don't hear much sensitivity to pan data I like to try and point it out. Good panning aids fidelity as much as if not more so than anything else.

Sorry if I didn't hit on everything you wanted to hear about, once more I'll point out that I'm not opening up the score sheets today to verify anything, my opinions might be more nuanced today while writing reviews. This should be more than enough to help you identify how judges might approach their opinions. We all have our own styles and ideas, never forget that the people judging these competitions are your peers regardless of their taste in music or cultural backgrounds. You have the same potential as anyone else here, just have to keep an open mind and keep moving forwards while learning new tricks everyday. Have a good one AkioDaku and continue to cherish your music like a good father <3

SkankyMojo responds:

Cheers for getting back to me that's all really good to know. I just wanted to understand the low production score more than anything, cos that threw me a bit, not that I think I'm the shit or anything. I just like to know where I'm failing, I fully appreciate your disdain for the noise, I'm just a sucker for noise and run a lot of things through my digitones saturation for that reason, so don't worry I've not drawn offence or anything. I'm just relieved it's a taste issue more than a glaring error I missed. I will be careful not to over do it in the future though. As for the headroom in the master, it's rendered out at -14LUFS with a peak RMS of -1.1 to meet streaming standards. So that will always leave a gap on the NG player, would you recommend treating a master for NG like mastering for CD in said case and just hitting a -1dB full-scale? Seriously though, thanks for thanking the time to go through this all with me, its really helpful and appreciated. <3

[Summer Courses; Had No Time]

Disclaimer: without the score sheet in front of me I may review this a little differently than I did in the fever pitch of trying to score everyone else fairly in two weeks. This review is just an elaboration of why I may have scored the way I did and everyone I'm reviewing today will receive this little disclaimer, kisses.

Yo, this track is killing me because it was clearly heading somewhere technical and amazing. I probably took heavy points off for some of the scoring fields for the simple fact that you didn't have the time to put your heart and soul into this. Life is more important than some music competition on Newgrounds so I'm actually really happy that you decided to focus your attention on something that actually matters. If I was asked to judge you for things like how you decided to allocate your time you'd get a perfect ten. That diploma is going to drain you of cash but I've been to University, earned a Bachelors degree and can sympathize entirely. Much like therapy, what you get out of a college depends on how much you put into it and how you handle your time afterwards. Your honesty was immensely appreciated. It didn't help your scores but I have a lot of respect for you right now as a result. Thank you.

That intro had a lovely NPR Tiny Desk Concert sound, wonderfully clean Rhodes keys. Decisively blowing into the mic at the beginning was a romantic touch, a human element that's easy to execute but helps you stand out. I have a small sample folder of recordings that I took while breathing into a microphone to use much in the same way you did here. Anytime someone introduces an element like that I get the feeling that you're writing with more than just a mouse and keyboard. I decided to try to judge for "technicality" and it's hard to be fair if I don't know what tools someone is using. Make use of the equipment tags on the submission page to communicate your studio space to your audience. I actually pay attention to those tags and will bias a little towards people that share more about their creative process because I used to be an audio mod here. Listing your equipment is a badge of authenticity and it's a declaration that you aren't just kiddy scripting a bunch of bought samples into a sequencer. Some musicians are gear heads that will enjoy seeing what equipment people are using. That includes the cheap stuff because we all started somewhere. I learned how to compose in 2006 using Garageband, I smile when people list that program because it takes me back in time more than a decade and a half ago. Don't be afraid to share your gear, even if it's embarrassing. The equipment tags can be saved as a template, it only takes a second to select the template on future projects.

That was a really gentle kick drum. A favorite contemporary jazz drummer of mine is Loise Cole and he intentionally amps up his kick drums. I do the same thing, a powerful kick drum is staple in EDM genres but that doesn't mean you can't capitalize off of one while writing jazz. You didn't need something massive but a layer with a little more power every other meter might have created some lovely dynamics. Given that most music today revolves around a pulse, that initial note can hit a little harder. As a drummer myself, subsequent kick drums will hit more gently than the first one, but each initial count in a meter matters to help define the pulse. I like to fake drum dynamics for things like rides and hi-hats by using an automation lane to quickly draw a few peaks and valleys before copy and pasting the automations everywhere else. You can also go into the MIDI to individually play with note velocities but I doubt anyone can tell the difference between those two techniques. The drums you started programming were very robotic in a manner that didn't benefit those lovely organic keys. You may have started to program drum dynamics but I couldn't hear them.

This review also hurts to write because I'm not terribly familiar with your body of work or when you are at your best. I feel teased, like I should go through your catalogue right now just to verify that you're an incredible jazz composer. You may have gotten some low scores in this round but it had nothing to do with your actual chops. I can hear so much that I love but compared to everyone else it would have been unfair to give you a pass into winners bracket for something that doesn't even last a minute. Hopefully you got some more space to write something amazing in losers bracket for round 2. I personally wouldn't take off points if you decided to finish this track for round 2 but every judge has a different idea of what they are judging for. It would be risky without bringing it up with LD but I'd love to hear where this material goes.

Whatever you decide to do in losers bracket, don't take the scores personally. Everyone has potential, I was watching Marc Rebillet woo audiences in his boxers on YouTube earlier today. That guy's career is so strange but he's killing it right now; touring the world and collaborating with celebrities while wearing a silk bath robe. His fans now show up to events and festivals wearing bath robes to show support, it blows my mind. You could become the next Marc Rebillet or the next Bo Burnham, anyone on Newgrounds has that strange potential and I can hear so much of it inside of your short 45 second funk.

I hope this review came across well and you understand the points I'm trying to make. If you wanted a mathematical break down for why I scored the way I did, too bad. I'm not even looking at those sheets today because I'm in favor of giving out my honest feelings. You got funk and style, lets hear you kill it next round from the "second chance bracket" >:3

[Menu Groovin']

That initial drum fill is the hottest thing I've heard all day. Loving the groove.

[Say My Name (feat. Robin-Kei)]

I remember the way a friend described using the voice as an instrument when we were in high school. We were talking about throat singing in metal genres and how while a vocalist can't always be understood there is still musicality to appreciate. The human voice can be used as an instrument that compliments the sounds around it in a song despite a message or language. In regards to hip hop, when I hear a language I don't understand I get excited. Hip hop is originally black American culture. In the past the music world has adopted things like the European twelve tone system, sampling, synthesis, and to hear the ideas of hip hop artists permeate across the globe has been a fascinating aspect of my life.

I went through a big Anna Tijoux phase for a minute for these exact reasons. You kind of got a similar flow, cadence, and chromatic range. The melodies lack impressive range but lends itself to that folk story telling style from older hip hop artists and writers.

It would take a certain kind of ignorance to hear some swedish hip-hop and get upset. I loved this one Benji :3

Benji-G responds:

That's awesome to hear! I'm happy that people can still find it enjoyable to listen to this despite it being written in a language they don't understand.
Thank you very much Quarl, I greatly appreciate it!

[Ōkami]

Quarl AIM 2022 Review
Composition/Structure (0-10), Production (0-10), Emotion (0-10), Relevance to Artwork (0-10)
Kettako, Okami:7,3,7,7 (24/40)

I have a lot to think about with this one. It takes me back to a high school day when I would basically jam with anyone willing to pick up an instrument and hang out. The most critical thing I can say about that time period is that the audio recording fidelity by and large comes down to what you can scrounge together for free. There's also the fact that no one at that age has any noteworthy experience mixing music. Full stop, I just looked at some of your older tracks and now I'm super confused by the huge shift in audio quality. Giving out scores in this contest is hard for me because I often have to justify jumps in logic to bridge conceptual ideas. In other words, what are the artists thinking? The Pillows is a fun group that strikes at the hearts of many Newgrounds users. 99% of the older users have probably watched FLCL at some point in time. I just wish I was more into this song from start to end. It hit very amateurishly which is strange coming from you when compared to tunes like "Leena's Song" or "Recolonize."

I can hear some really good ideas in the melodies and rhythms but the fidelity comes across like it was recorded through a tin-can, which is an actual recording technique but I don't even know what that technique sounds like. So I went over to YouTube and watched a few videos about home made tin-can microphones, your audio is comparable to what I found. In a contest like this, you'd have benefit from posting your audio equipment. I love knowing what my peers are up to. I modded audio here for a little while back in 2009, things were very different. Back then I had to interview new users and try to weed out those that were uploading unethical music (mainstream copy written material and unoriginal tunes). I have no idea how they do things anymore but tagging your equipment is a great means of proving your authenticity. I noticed you've included equipment in your past songs, what's different about this? You've posted so many pro tunes but this recording feels very out of place. Feel free to gush about your music, your amongst peers that love to know more about who they're bumping shoulders with. What kind of guitar are you playing on? What are the drums doing? How tough was the switch up from your other writing styles to this one? I'm sorry if this all sounds like work but you could have said it with very few words and with very little effort. To be honest, many users in this contest failed to say much about their work. You said more than most. If you had posted the lyrics in Japanese I'd have used google translate to figure things out.

"I hope you like it," 気にいるといいな.

You're getting a decent score for relevancy since that is the easiest category to justify. It even looks like you got the artist's permission, "thanks Graskip for letting me participate with your work." It used to be a rule in this contest to reach out and contact the artists. It's hard for me to take away points from people that have such good form in that regard, hence the high relevancy points. I also agree with the tin-can sound working with the illustration style but something is very jarring about the recordings. It might be how the guitar overpowers everything around it. A good mix can sound like it was recorded from a tin can but still sound great. I think Yoshii343 managed to nail that sound style perfectly. If you are not familiar with him, please go listen to his competition tunes. His recordings all sounded very small but they nailed that high school indyrock peak so many of us older users might remember. I'd also recommend going and listening to "Meat" by Droid. He managed a song using that old punk rock sound but damn did he mix it very well. That tune pushed bass frequencies perfectly and as an EDM producer I was legitimately impressed with that punk tune.

Panning data is solid magic that this song is missing out on. You'd have benefit from experimenting a little more with finding unique homes for every sound in the stereo field. Everything sounds so mono but panning is a technique as old as dirt and can boost fidelity to new heights. My sonic arts professor at Alfred University tried so hard getting us all into mixing in surround sound but stereo is still the golden standard and you can accomplish so much with only those two channels. Vocals & bass will sound great in the middle, kick drums and snares benefit the mix in the middle but little things like hi-hats can be pushed off to the sides then turned down a little. Auxiliary percussion can combat each other with alternating cymbals in opposite ears. Rolls that begin on one side of the stereo field can end on the opposite giving off a cool illusion of movement. A guitar can sit somewhere on the left and be balanced by another on the right. Mixing is an art form, you can be very sensitive to the entire process and write some great stuff but I'm not hearing a whole lot of panning data in this. In fact, I'm not sure I'm hearing much stereo data in your other catalog songs but at least those hit the spectrum in a way that sounds pleasing. This tune in comparison is lacking a ton of bass.

This is gonna sound really stupid but I'm kind of surprised you were inspired by a cartoon wolf girl but you didn't take advantage of some wolf howling samples. Something like that would have managed to make me smile. I'm not getting professional vibes from the singing but I have a lot of respect for anyone that learns to use their voice as an instrument. Your voice lacks power, presence, and confidence. Honest, a terrible vocalist can own the mic with some high energy and stupid levels of confidence (look up Clap Your Hands Say Yeah). It sounds like you recorded vocals twice, once holding down the bass and another hitting a slightly higher register. I know I said "vocals...great in the middle" but with two separate recordings like this a very slight pan would have created a great illusion of space. These two voices are right on top of each other, this mix-down is massively claustrophobic and does the recordings no justice.

I'm sorry, I don't want to come off as massively critical. I tried writing reviews for everyone in this contest because you all deserve to get some real feedback every now and then. I found this track a little confusing to be honest but that doesn't mean you should toss in the towel and never do it again. Come back in the future with some Indy rock that hits as romantically as Hybrid Rainbow. I just gave that old Pillows tune a listen since this song put me in that mind set and honestly, that vocalist sang with soul and experience. I think you may have set your goals high with a genre and sound you weren't as experienced with? You know what, on further listens I've come to the conclusion that the baritone voice recording is taking away from the other vocal recording a fair bit. Muting that lower vocal track, pushing a heavier bass tone, and finding better spots for things in the stereo field may have been all the elements you were missing. It's hard to say but I hope this review was in any way helpful to you. I want to wish you the best! Keep toying with this music style and blow people away with it. I believe that you can now that you have some experience with it. gg Kettako and salutations!

Kettako responds:

Firstly, I apologize for the reply you might have seen earlier, my account was hacked and unfortunately it got to this comment before I did v.v.

I appreciate your thoughtful commentary on this song. It clearly showed a lot of contemplation and the confusion that was included is super genuine which I appreciate. Even the reference to my other work's mixes provided a lot to chew on it seems lol. I'm also flattered you checked them out at all for context ^^

I want you to know I appreciate how much thought went into trying to deconstruct the fidelity of this project, but if it helps to bring any solace, just know most of it was very much intentional.
In fact, you hit the nail on the head right out the gate, that feeling of jamming in middle/high school...Working in 8 track and audacity, and how I FELT trying to recreate Pillows tracks at 12-14 years old on a much shittier setup was a lot of the reason for...Well....Everything you're hearing.

The sum-to-mono mix, the awkwardly set vocal mixing, even an unnecessary 3rd guitar that is strumming open chords with a flanger on, just to completely destroy the low-mid end. Incorrect notes during the solos, and irregular form on the last pre-chorus and chorus. I'd say the only thing I didn't "intentionally" smear was the pronunciation/awkwardness of the words. Japanese is not my native tongue so I didn't need any assistance screwing that up.

Believe it or not, all of the recording was done with a Fender P-bass, Fender Telecaster, and sm57 / Sm7b with Cloud lifters all run DI through an RME Babyface fs Pro. The reason I didn't include it in the equipment tab was mostly because I usually only include "samples" or VSTs because it doesn't come "directly" from me.
And I figured it wouldn't have mattered as much here. But I appreciate why you made a point about that. For future contests I can definitely see value in letting the judged know.

And I suppose in a way, that was really the challenge for me. I wanted good equipment to sound like it was recorded through a tin-can. From the standpoint of a judge whose criteria is clarity/quality, I completely understand the grade you gave, so rest assured you made the right call. I would agree with you 100%

That said, the vision of this song, for me was unkempt, dirty, youthful, simple, unprofessional, and a reminder for me of what it was to be a young writer who didn't understand how to record a guitar to save my life. So just know, I didn't take anything from what you wrote poorly. I think it from a technical perspective there is a lot of good advice in there. A lot of good advice I used in other tracks.

I just chose not to use any of it here.

If I could end on an anecdote. When I was 12, I would download music from groups like IOSYS, Sum40, The Pillows, etc from youtube at 144p, using the lowest audio settings so I could fit as much as I could into my Ipod shuffle.
I loved this music so I showed my dad, who was a musician and audio engineer in his own right, and his response was "Wow this mix sounds like trash". I still loved it, but he ignored what I loved about it and the rawness I felt towards those CRUSHED TO DEATH MONSTROSITIES (lol)
in favor for a technical perspective.

This track, I want to believe, represents that trashy mix I showed him lol.

If it's any consolation, any future j-rock j-punk tracks I do won't likely do anything like this again haha

[As Screaming Shadows Consume Us]

Quarl AIM 2022 Review
Composition/Structure (0-10), Production (0-10), Emotion (0-10), Relevance to Artwork (0-10)
LD-W, As Screaming Shadows Consume Us: 9,9,10,10

Oh god, I skipped ahead a little to write this review when the judging was going on because the image and the song juxtaposed next to each other made me laugh and smile. It's like a Rorschach ink drawing, those demonic moans and noises at 2:11 made me quickly look around the room and say "mom is that you?" Listening to this song while looking at the image, I have no idea how you got these maximum sounds from that minimal illustration but it worked really well. I doubt you expected me to laugh though. Something about this juxtaposition was nostalgic and reminded me of an angsty childhood. I'm now a fan of linda-mota and I'm actually surprised you didn't choose one of their other illustrations with comic book text. You essentially went ultra hard mode with a queer illustration to convey music with. I was also very happy when I saw how much you chose to share in the authors comments. A major criticism I lobbied at people was how hard it was to judge music that doesn't speak for itself. If there aren't some concrete connections to the visual in the song than I'm working on scout's honor that the image inspired anything at all. Since I've already typed it almost 80 times, I was asked to judge "emotion" and sharing feelings can only benefit the cause and even lends itself to authenticity. At the very least words are posterity; a breadcrumb trail for others to pick up and chew on as time goes on.

You know what, I'm going to pretend this song and the image are the embodiment of that zero-bomber you mentioned. This cacophony could be a wonderful theme for the satanic zero-bomb suicide cult. When they show up to zero bomb your music it's their misanthropic way of saying that they love you! You just don't understand their gifts, HOW COULD YOU? You'll have to forgive me when I decided to take points off of the structure. It was very musique concrète. Powerful on a second play through but the first time I was a little weary because I wasn't certain what to expect. I know you can write some massively wonderful tunes but this one explores and wanders. It's terrifying but something must be wrong with me because I'm smiling manically and enjoying it. This song is like a massive nipple twist, your either gonna love it and beg for more or cry and feel emasculated. I fell into the first category, t'was a good ol' nipple twist. I'm sorry, this is the worst review I've written by far but I'm going to make up for it with massive "emotion" and "relevance" scores. To honor the production point taken off, I felt like the mix was a little thin. I just gave "Pico, Guns and Flesh" a listen to compare to, that track was mixed much better with more bass and mid presence from the climactic action. I don't always mix at my best and I think you're experiencing a little of that with this massive song. yOu'Re GeTtInG oLd LiCh, you just can't hear those finer frequencies anymore. It's time to retire and live off of your welfare, it was fun while it lasted. Honestly, I know I've lost some hearing over the years and it drives me nuts. If any children stumble upon this review: protect those ears, treat them like gold. Play music at safe levels 99% of the time, damage inducing rock and roll decibels 1% of the time. I recently got an e-drum and gained the ability to turn the volume down on my kit, power moves.

I think I said everything I needed to say and am just rambling, feel good about your work here LD. You have a wonderous sound which would go well in a Tim Burton Batman movie or BDSM dungeon. At this point I'm only finding stranger and stranger things to say. Good luck with all things in life, you're a gem <3

LD-W responds:

Thanks for the big review!

I would of liked to of dived further into the 'mentalstate' which helps me with generating ideas for sections/passages for these kind of projects, although it would potentially dive into some areas I'm probably not-so-keen of shouting about in public without significant context tbh. I could probably elaborate further in DM's at some point!

The production-handling of this project (and associated template) would look like pure agony for anyone looking at it from the outside due to these situations:
- Utilising different ensemble and solo libraries together which may have things recorded in different traditional positions
- Utilising solo libraries together which may have things recorded in a studio enviroment and would need manually repositioning on an X/Y plane instead of tilted panning
- Utilising different ensemble and solo libraries together which may have things recorded in different halls/chambers through different potential hardware and it's associated signal harmonics (and have them present in the signals, even when turning lib-reverb values to 0 to try and get it as dry as possible)

The coherency challenge here was enormous, since the ensembles adds up between libraries/players to an IRL emulation of just over 500 people being digitally crammed into a custom hall preset of my own design in Eventide UltraReverb, and then all of the solo sections repositioned in 2.1 Stereo (instead of Binaural) in dearVR MUSIC. Plus all of the mixer channels having SSL 4000 G console instances on with unique TMT values assigned and a 'small-to-moderate' amount of console harmonics/saturation baked in at different intensities dpending on what I think required boosting. At that size, it ends up being a very fine-balance of being 'enormous and squashed', or 'thinner and roomy', which is where this project ends up gravitating towards the latter. Perhaps I could of reduced the wet% on the reverb settings on each channel to potentially increase the fullness of many parts, although it's definitely a fine balancing act haha

Compositionally, I ended up sticking to a mixture of Atonality, but also going to the efforts of trying to create two of my own nonatonic modes. It turns out that one of the 'modes' that I thought I made up from scratch, was actually Messiaen's 3rd Mode of Limited Transposition after Colin poked me about it over in the NG Audio Pub haha. Otherwise I kept things in a mostly half-structured state, with the earlier and later parts having more conformity, while the entire middle sequence was the main course of freeflowing non-conformity, composing that section by 'gut feeling' and ignoring time signatures etc.

I took some big risks going with a modern Avant Garde piece, and it seems to of mostly paid off at least! I'm planning on shoving into an album at the end of the year: this track, an updated version of last year's NGADM Finals Track with a mix update sorted out on it (The Tridecahedron Blood Summoning) and the *big project*, which will be the 25-30 min long planned avant-garde monstrocity large enough to make this track seem 'simple' by comparison. I am thinking about making a small community event for the *big project* for fun, as the later half of that will need a custom choir of screams, shouting, moaning and whisper swarms doing, which I think a fair bit of the audio community might find funny/cool enough to donate a few recordings to! If you're interested in contributing towards the cause, stay tuned for when I put the thread up around late-october ;)

[AIM - 3am Waltz]

Quarl AIM 2022 Review
Composition/Structure (0-10), Production (0-10), Emotion (0-10), Relevance to Artwork (0-10)
Zechnition, 3am Waltz: 5,10,10,5 (30/40)

Very romantic concept right at the beginning Zech, I just wanted to take a second to express that I loved being able to hear the keyboard compressions on the instrument that begin to play 12 seconds into the track. It's probably not going to affect the score much as I continue my review but my initial impression was to ponder memorably on keyboards of my past. I currently play on a weighted electric piano but I totally remember that soft sound that a keyboard makes when you play with velocity. You're tearing me apart with that little audible Easter egg.

I can totally agree with Random-Story in her review (this is the first review I'm writing while seeing another judge's opinions) and it does sound like you had a little too much fun making unexpected choices. Some of the decisions seemed brilliant but I had trouble on subsequent playthroughs because I never knew what was going to happen. It was so jarringly structured that I couldn't fall in love with much before you changed things completely. Any of the sections would have made a fine motif for this character you've defined but all of it happening at once was "masturbatory" writing. It was an incredibly written song in some respects but at the same time, only a parent could unconditionally love it. Throw us a bone and give us a rest from all of the unpredictability. If this scene is actually meant to be contemplative, don't make such a distracting piece of music. Let us look at the moon and chill a little, some breathing room to meditate. Musicality is impressive when a band can come together and perform it as a unit but EDM actually benefits from a hook or anthem.

An old jazz adage goes "it's the notes you don't play that are just as important as the notes you do play." Though great artists like Mozart and Thelonious Monk are regarded for defending the notes they did play. Sometimes you have to buckle down and write something less manic to suit a commission or competition. You won't always be writing for yourself.

The night sky is often silent and frozen but your melodies and rhythms are on fire while seemingly belonging in some other scene or moment. If the entire song sounded like that part between 2:40 and 2:52 I'd have been a little more satisfied, THEN YOU SEGUE INTO A HAPPY MEAL JINGLE AT 2:53 THIS SONG IS SO RANDOM but don't worry Zechnition I still love you. There are elements to this song that I love a lot, you have some serious spirit and thank you for taking the time to mention how you felt. You didn't write much but you wrote enough to sway my feelings a little. Too many people failed to take advantage of the author's comments to bridge conceptual gaps, you nailed it using so few words. I have no problem handing you a perfect score for emotion and the production was actually surprisingly clean and well mixed. I have nothing to say about those elements but the other aspects that were brought up are too jarring.

I'm sorry if this review is a let down because you have some killer sounds. While you can continue doing you, I might recommend a "less is more" approach in future contests. You can always write the way you wish, you may do so to your heart's content but keep in mind that to stay competitive you might have to write something that you don't love as much. You have a good one Zechnition and I'll be looking out for you in the future :]

(An extra note added at the time I'm posting this review, with complex ideas it can take time to grow on a listener. I'm liking this track much more one month after initially hearing it. Being a performing artist, sometimes you have to learn the ins and outs of a complex song before it can grow on you. That's a risky maneuver for a competition where the goal involves sharing the spotlight with the illustrator. The illustration was gorgeous but very simple. You're music overshadows the art, maybe pick something with more complexity next time to better compliment the style you love to write? In any case, cheers and love!)

Zechnition responds:

Thanks for taking the time to write this review, it makes me very happy.

I'm also happy that you liked that deliberate little detail about the piano. I don't have easy access to pianos that aren't broken (yet), so I'm also a bit jealous of your experience :3

One of the main things I don't understand about music is patterns. When writing a piece, it feels like I'm trying to tame a beast. I wasn't satisfied with this piece after submitting it, mostly because I failed to tame the beast. And now I know why.

:: also, that was not meant to be the happy meal jingle but I totally hear it! I think the last interval is off by a bit though