midimachine's audio Reviews on Newgrounds

[are-you-ready]

UK BEAT
WEST COAST

Spogboard responds:

I MADE UK WEST COAST BEAT

[elbisreverri]

i'm into that bassline even if you're not - love the intricacy of everything in this!

Quarl responds:

Aws, thanks midi <3

[Quality Entry To The NGADM That I Spent 60 Hours On I Hope I Do Well]

#freesnakewine

[Hesperax's Pet]

so i like the iron maiden vibes on this, your rhythm guitar playing is really tight and the solos are fantastic. the way the song takes a journey through different tempos is neat. i don't think your vocals have quite the right sound for this kind of song but your tone of voice and inflection still have this cool garage rock feel, and the scream at the end is siiick.

the drum mixing is super weird! the kick and snare are perfect for the 80s fantasy hair metal sound but they dont pop out of the mix as much as they should. the cymbals disappear under the guitars and it sounds like the toms have been muted and we're only hearing the reverb bus. the guitar solos are great but the washy reverb makes the tone feel less vibrant and accentuates the midrange in a weird way. idk if you multi-tracked the vocals or not but they feel like they've been stretched out a bit, like there's been a really fast delay effect added to them. the vocals are also just not loud enough - they need to be as loud as that guitar solo because they are just as important!

as far as the composition goes there isn't too much to complain about. the intro is definitely bloated, could probably just start on the first drum hit at 0:50. the transition from the slower breakdown section is cool but takes way too long to get to the point - like ok i get it the tempo is getting faster haha. the payoff for all that building up is just a weird sounding tom fill straight into the solo and you probably could've gone straight into that 16 bars earlier without the gradual tempo thing. also the fadeout ending seems lazy but it seems like you know that already.

anyway despite the criticisms i think this is a cool song with a lot of potential, and i'm glad you were able to get something in even though you didn't have much time. keep it up!

MercyfulDeath responds:

Thank you for your response man. To start with the vocals, eh, well, I have an idea on how to sing it now, but I was stricken with strep throat for the past fucking week and my bro came to pick up his mic and interface so W E L P. I am going to get me an interface and mic soon, as this experiment has been wholly successful and the improvement over a shitty PC mic for vox recording has been jarring.

To tackle the iffy spots; man, I'll be honest, drum mixing is probably my most troublesome area, partly because EZdrummer doesn't make it easy sometimes. I see the cymbals needed to be boosted along with the snare and kick, cymbals a lot more though. Toms are a different matter entirely, for some godforsaken reason I can't get them to stop reverbrating like crazy. Eh man, idk bout that reverb on the leads, I thought it sounded cool and oldschool, but I'll experiment with different 'verbs to see if I can get a cooler sound, also I'll be honest, I'm very midrange biased, if something boosts the midrange, even if it's weird, I'll keep it, because mids are love, mids are life. The vocals had a very short delay put on 'em, maybe 20ms or 50ms, not sure, gotta check, but I got it once I was doing some vocals for some older song I made and it sounded stupid cool and like Ozzy on the first two Rhoads albums so I've kept it for the rest of my recordings, will note to boost the fuckers too.

As for the composition, well I wanted it to burn in at the start, maybe add some high heel clacks and mischevious female laughter but since I lack females for the latter then that was out of the question, wanted to create a foreboding 'hot' sounding atmosphere see. I'd argue the point of the speed up is for that "FASTER, FASTER, RIDE ME FASTER" kinda feeling, so that's why I put it in, idk my dude, I experimented with it being 16 bars shorter without the speed up and it kinda felt strange and jarring to suddenly shift into overdrive like that. Yes, the fadeout is lazy, I'm sorry, I really am. I thought it would sound 80's as fuck but goddamn yeah it's pretty fucking lazy.

Thank you very much for your input, I really appreciate it man.

[9-2-5 Routine]

sounds like u got some mastering tips from some idiot recently :^)
the octaved guitar sounds so hot! love this style

icantpronouncethis responds:

thanks so much for that. Still needs some tweaking for sure, like the kick seems a bit too loud and I want to emphasize the mids a bit more towards the end. Just had to finish up what I had before the deadline.

[Anthem For The Millenial]

big chemical brothers vibes!
low key favourite song in this ngadm round, worst title tho :')

RedSoul92 responds:

yeah sorry bout the title

[Obelisk]

this is music for ppl who like undertale too much

but it slaps <3

[Puzzle]

great to see another vocal piece from you! i love the almost vocaloid quality that you get out of it - still nice and clear despite all the processing. this kind of vocal tone compliments the broken up melody line perfectly. the builds and quiet sections in this are pretty flawless, love the smokey feel of all the quiet drums and the epiano. the structure is really good, the track doesn't overstay its welcome and each section has enough time to provide the appropriate tension and release. the guitar sounds great too!

the main saw stack synth is very ehhhhhhhh which is unfortunate since that's where the meat of the instrumentation lies in the chorus sections. it has this weird midrange presence and lacks top end air so it doesn't sit nicely over the bass. and yeah as TL said the bass is too quiet but with a more deftly shaped tone for the main synth it probably wouldn't be as much of an issue. it's also just too loud! the kick and snare should be as loud as your saw stack is, and your saw stack should be where the kick and snare currently sit. it sounds like you have a ton of headroom so just do that volume swap, crank that master limiter with a slow-ish release time (like 100-120ms) and the whole song will sound much fatter already. the filter sweep on the main chord on the last drop is a great idea but you need some unaffected layers in the saw stack to keep pushing the high end energy while the hihats take a break. also the stack feels pretty narrow in a stereo sense, so a couple layers on either side of the center will help a lot to fill out the sound as well. also there's a lot of sections where hats and cymbals are kinda just totally missing? idk just feels underproduced overall - throw in some 2nd snares and extra percussion stabs/fills here and there!

just one little thing with the vocals: i do love the tone but the little breath and mouth noises that still come through break the vocaloidy illusion. i don't know if you used a noise gate or not, but just slice the breaths out completely and use a noise gate with a really low threshold to force a very slight attack (2 to 4ms is plenty), just in case there's clicking or popping when the voice clips come in because you might not be able to zero-cross every cut for every breath.

anyway this is a really solid basis for a track, it's absolutely dripping with potential in terms of mixing and production and i'd be really excited to listen again if you did anything with it down the line!

icantpronouncethis responds:

This is an amazing analysis. Thank you for the clear feedback. I've been trying to find a way to get a decent saw stack sounds with what I have currently own, and this lets me know that I still need more work on it. Thank you for some tips about the saw stacks. I was wondering why it felt weak at certain parts. There were a lot of moments where I was stuck and didn't know what to do. I guess I need to listen to a lot more music. Just for the future reference, what exactly do you mean by headroom? Thank you once again

[Prismatic Skies]

yo! there's definitely a sense of vastness and adventure in this. there's a lot of well thought out development and movement, with clever use of ostinatos in the back end of the piece. the main theme is a great emotional hook and the climaxes are satisfying and epic.

it takes quite a long time to get anywhere, and when it does there's a serious lack of depth to the mix - feels like all the bass has been phased out to another dimension! for the most part, the drums have little impact, like the transients have all been trimmed with a chainsaw. the cymbals are far too distant - their placement relative to the listener is fine for filling in the top end of the mix but they need to be more accented when they first come in with each big drum hit. when the fast, high piano part comes in at 1:23-ish the hammer noise is unbearably loud and carries more low end energy than everything else in the song. the drums need to be pushing that part of the mix forward but honestly it sounds like i'm listening to them through a 100% wet reverb bus. even with the drums so far back there are still a lot of string lines that get lost at the end.

finally, and this is just a lil' nitpick and not a critical failure on your part: there's a highpass filter sweep (or reverb wet->dry sweep, hard to say) on the female vox from 1:45 to 1:47 and i think it just pulls in a little too much into the lower harmonics of the voice, losing all of the nice airy quality that they start with - i think the idea is fine though but just needs a slight adjustment so that it doesn't push the loudness so much.

i dunno, the song is already pretty well realised but is completely spoiled for me by bizarre mixing decisions. in spite of that, this was still one of the best pro-am entries from this round of NGUAC. when i listen to this on my phone speaker i can imagine what it's supposed to sound like and it's honestly unreal. please make more stuff like this but don't suck all the energy out of the bottom end next time haha <3

[Forever Jazz]

i think it's really cute how kwing is like "omg this is MIDI music??!" - like how do they think DAWs work lmfao

anyway this is cool. in a weird way it feels kinda repetitive even though every instrument does a lot of noodling. the big slow down into the last section and the 90s-sitcom-scene-transition ending were really dope though!

please use less reverb - simulating a hall with a close-mic'd drum, bass and sax sound is kinda unintuitive. the particular reverb algorithm used emphasizes the mids in a weird way so i think bringing the wet mix down a little on that one and mixing it with a tighter and brighter small room sound would help make the mix sound less like a .mid file played out of a karaoke machine.

great work, congrats on your 3rd place finish :)

AzulJazz responds:

thx for the review, the tips and the congrats!