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Recent Movie Reviews

6 Movie Reviews

I was liking the visuals and I was following along with the song until I got distracted by a typo on your end. "That we walked in different places," should be "paces." My biggest gripe is that it seems you didn't do your due diligence in analyzing the song while animating. Based on the lyrics, it isn't about losing a lover through a death, but rather it is a mutual understanding that lovers eventually drift apart, i.e. merely a break-up.

well done. great execution in story telling

You really got me cracking up on this one!!!! LOLOLOL Fat Greg is great

Recent Game Reviews

1 Game Review

Clever. Everything ties together pretty well-- nice uniformity.
The riddle was the easiest for me, because I hate anagrams and since the game is dark it didn't seem hard to come up with the answer when the mind is already there. Loved the last answer. I wouldn't have cared for the story so much if it wasn't for that reveal. I also liked hearing the reversed music. Thought it quite fitting when the writer was talking about how others called him/her devil.

LucidShadowDreamer responds:

Thank you!
I'm pleased to hear that the consistency is appreciated.

Yes, I was actually hoping a bit that the riddle would be given away by the mindset one was in. A bit of an experiment in one way.
The last answer is the first one I came up with; the whole game is based around that. I thought the idea so good that I just had to realize it in some way.

Heh, to be honest, I actually borrowed something from you for the sake of unifomrity. While I wrote some of the final, perhaps a bit more cold-hearted letters, I listened to "Return". But what I did was, I analyzed all the emotions in your track, and tried to revome those emotions from my writing, as that part is about loss just like your piece, but from a very different perspective. Thank you for that!

I've always had a thing for reverse music as well. Thanks a lot for playing and reviewing, Phonometrologist!!!

Recent Audio Reviews

308 Audio Reviews

RIP for me. So much detail here, and everything works beautifully and cohesively. I'm glad I didn't go with the electronic approach. The tones and beat kicks ass. I admit defeat. Love it

Tomhson responds:

Thank you very much! I am very honored. Although I don't think you are done for this round yet! There is quite a lot of potential in your track!

I like the melodies in this one, and the harmony is bitter sweet. It's catchy and the arrangement is good and it's reminiscent of some love themes within a 90's adventure film I've heard in the past. I mean that positively as this writing isn't done in today's cinema. You show moments of light immediately resolving into despair that makes this fit the description accurately. This is tough to pull off in realism. You would have to automate the tempo quite a bit for each motif. Slow down and speed up in a way a string section would play the melodic contours. Moreover, I'm constantly fighting string samples to make them sound more real by automating the volume in the beginning of each note so it doesn't sound so abrupt when they play. There should be a wave in the volume automation for each note as a string player moves the bow on the string when it's a slow piece like this, because it sounds like a producer playing the notes on a keyboard with each note being released as the finger lifts up from the keys. That's what it sounds like for example in the opening lines of the string section. Each note is played the same way whereas a musician playing to your piece would slur these notes a bit more and add vibrato to make sense of the melody. I say this to you, because this is universal among all those that have to deal with samples to create their beautiful orchestral pieces. You kind of have to compose toward the strengths of the sample library as opposed to on paper and trying to make it fit.
If this is a bit long winded, just note that I'm writing to you as if I were writing a journal entry since this is what I struggle with. This is why lately I'm leaning away from bigger orchestral writing as I now just want to write for instruments that I have access to if I were to perform in person. Production and mixing has just a big of a part in the feeling of a piece as the notes themselves. How often I hear a mediocre, uninspired piano piece on Youtube with much following simply because it audibly sounds well. And no one wants to hear Beethoven's Moonlight Sonata via Midi. To the general public, simply having superb production and realism in the timbre of a piece will alone draw an emotional response. The fact that you can convey emotion in your piece here shows how strong the melody and arrangement is. If only we can hear actual musicians playing your piece would we find the flaws in the composition to be beautiful as human.

Everratic responds:

Thank you for the review. I enjoy reading your thoughts about music in general as you seem to have an excellent ability to sense a composer's intentions, and you know a lot about maximizing emotion.

If you recall the name of the film, I'll definitely check it out.

I totally agree with your comments on the lack of realism. I automated the expression on all the legato and long patches, but my efforts are clearly insufficient. Tempo automation is not something I could have done at the time as I was working on a mid-end laptop; fortunately I have a high end pc now, so I can automate the tempo as much as I wish, within FL Studio's limits - I hope to buy Cubase in the near future. The high strings note at 2:09 is the worst offender; I hate listening to it. I imagine it will take a lot of time to master tempo automation, but I think it will be worth the effort.

Due to this problem, lately I've taken an interest in dynamic arc patches, specifically from 8DIO's Adagietto. They evoke a lot of emotion on their own, and I don't have to do much humanization besides changing the start times of each note. These patches are quite limited in use, but can sound beautiful in the right contexts.

Having musicians play one of my pieces is a dream, and one of the things motivating me to improve. I'd be very interested in the tempo variation and vibrato usage.

Thanks again!

When I first heard this, I was quite impressed. The drone and the first opening chords are gorgeous. I appreciate the drone getting louder after 30 seconds. It was a little awkward when it just stopped, but overall I really enjoy this one. The clicking and the strings playing closer to the bridge is a favorite sound of mine. The overall structure is what I would like to do with my own work. I love how the beauty falls apart at the end. That bass line at 1:45 really blends well into that industrial style of yours. It's really cool to hear these notes in this setting. Ontologically, this is how I view music in the natural world. Although these sounds at the end can make people uncomfortable, the ending in all music reflects that we are all going to die is made obvious when you write it in these tones. It reminds me of the following: “Art should comfort the disturbed and disturb the comfortable.”― Cesar A. Cruz
Thank you

TheHeartgrinder responds:

Man, I'm glad I'm not the only person that likes imperfections and signs of human error in music.

Thanks for the generous review, buddy. I just wish I could muster the words for your work like you have mine. But, alas, I'm no writer. It's probably why I cling to music production so enthusiastically.

Recent Art Reviews

13 Art Reviews

whoa... this one is quite effective

TheHeartgrinder responds:

I thankya. I've been arting more lately. Learning how to animate.

Reminds me of Ephesians 6:10-18

Troisnyx responds:

While I didn't consciously recall it to mind, that message is strong with me. Thanks for reminding me of it.

Nice; I woudn't mind cozying up in that space.

Troisnyx responds:

IIRC, you once remarked upon an old telephone in a corner of this space not shown in the drawing 👀

“Most people die with their music still locked up inside them.” ― Benjamin Disraeli

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