Aisnon-A's audio Reviews on Newgrounds

[Perfection is Imperfection]

What I note most about this piece is that it's experimental nature was born out of musical curiosity at its purest form: sound, letting alone the accident-induced creativity. As for the results, a eclectic euphony. The sheer amount of interplay between the SFX/noises/textures has an attractive effect. In part, I ascribe this effect to the steady bass rhythm. It's a powerful reminder of this piece's musicality and ties them together well; however,that being said, the rhythm occasionally becomes a bit too overwhelmed by the melodies and accompaniment. This peccadillo is more pronounced before it switches to post 3:30, after which it becomes relatively stable.

But I must confess that I find experimental pieces like these difficult to analyze because of their complexity. Needless to say, "melodies and automation clips, as well as effects within the mixer and within NI Massive," with which I am unfamiliar (in addition to industrial music and ragga). My thoughts may not hold much weight, but I am compelled to give them because of how pleasant Perfection is Imperfection is to me.

Side Note: I would comment on the "cogs" you mention, but I have no idea of what this term reference. If I had to guess, it would be the high pitched trills played in descending eight-notes. That, or the mid-range, metal "stabs" played in halves. In either case, they both hold natural positions. That is to say, had either of them been removed, this piece would have a noticeable atmosphere shift. Though, I suppose the same could be said about the other noises.

Kelpalots responds:

Yes! Yes! Those high pitched trills and mids! All cog-like. Thanks for attempting to tackle a really complex experimental track. I really appreciate your definition. It was fun to watch you discover as the sound develops!

[Dreamatory]

As it stands, this piece exemplifies syncopation (if I don't use that term too loosely). I don't listen to many (if any at all) compositions that use this technique, but I am confident in my judgement that it works well how you use it. In a way, your background texture seemingly allows it because of its own indefiniteness, and in addition, the piano, strings, and pad almost appear to be ambient, making the drum rhythm musically isolated from the rest of the instruments. I say that this is the piece's biggest strength, since it makes the syncopation interesting and purposeful.

My only concern lies in the transitions between phrases. The most noteworthy, I sense, is the sudden removal of the percussion when the song loops. It contrasts how it was built up (the reverse cymbal and bass slide) and makes for an awkward transition. It's not anything music breaking; it can be overlooked, though little refinements could go a long way.

As noted: FL 11 Demo. That is to say, good job with dealing with the limitations. I've experienced those first hand, and they certainly can be antagonizing.

Overall, I could see this in some psychedelic, or rather, surreal media because of how experimental and atmospheric this piece is.

Werewolfrx responds:

Wow, I have no idea what to say. Thank you very much for giving it a listen and giving me amazing advice on it. I appreciate it very much and I'll be taking everything you've wrote into extreme consideration ! !

[Falling (Uplift Remix)]

I do not know the original song, so I cannot compare it with this, but I can say that your composition is well-put with an great choice of instruments. I particularly like the balance between resting and tensions --- the highs to the lows ---- and the smooth transitions. How you realized those components is pleasant to the ear.

Also, the attempt at mastering is apparent; this sounds like you favored the mid-range and treble over the bass, but the mixing, though, could complement that favor a bit more. At times there is noticeable competition for sound clarity between the lead synths and the pads. The latter tended to drown out the former, especially when this song reaches its climax. It does not, however, do so enough to render the melody indistinguishable or 'muddy', which is good, because it has a powerful tone and voice.

In spite of that, I enjoyed this piece nonetheless, and I respect your taking an initiative toward mastering. Nice work!

kylermannn responds:

Thank you so much! Yeah I really need to keep practicing with mastering and mixing and all that good stuff. When I say I've learned the basics of mastering, I mean the BASICS of the basics haha. I've got a lot to learn there.

Thanks for the comment and I'm glad you liked it!

The original song is Falling by Tiesto btw.

[Skulk]

Considering what is stated in this description, this piece is largely successful.

It is not fair to say that 'everything' sounds like it was from radio. Rather, that quality is best given to the percussion because of their lacking bass. Usually, such sounds would cause a piece to lack depth, but the rest of the instruments fill in the empty areas, while providing an atmosphere. The 'radioed' percussion, consequently, does help in this case because much of tone and melody is in the synths. They mostly seem to provide the rhythm, upon which these two components build to make the composition.

How you structured it is admittedly repetitive, but that is not necessarily a degrading quality, especially in this. There are enough distinctions to sustain interest. The main loop --- the one that starts after the introductory phrase --- is spacy and relaxed, so there is not a lot of physical stress and much potential for adding anticipation and transitioning, which was done well throughout the song. The 'whistle' demonstrates that, with its appropriate introduction, variation, and voice. It really does sound like a moper "trying to whistle themselves a nicer tune" under a dull mindset greatly evidenced by this piece's instrumentation and note sequencing.

The one thing that could be considered a marring element is the fundamental use of a single-bar repetition. Adding a similar loop in addition to the main could reinforce the already strong tone. This was done somewhat in the beginning but then vanished. Maybe some some modest use of SFX could render the same effect.

In spite of that, this piece can make for BGM. I like it and nice work!

Dark-Heart responds:

Thank you, I appreciate the advice. If I had the full version of FL Studio, I'd go back and put it to use. However, I will keep that all in mind for future pieces. Again, thanks. :)

[Victory! (8bit)]

I can definitely hear similarities in structure of this victory loop and those of established RPGS.

Being a loop, this does a fair job at maintaining a consistent mood and transition between bars post-introduction. The introduction is suspect, though. How the eighth notes flow into the conclusive segment of the fanfare can be heard as a rapid change in tension and/or voice, giving the introduction a forced feel. But yet I do not sense it as noncontributing, because the introduction does wholly set the pace and theme.

Simple, short and concise, this piece is executed favorably.

AlxEllis responds:

Thank you for your detailed review! I am glad I got the vibe down for the RPG's

I was hoping to extend the last section so it repeated once more also, but I think after listening it seems okay, after all the user of the game would have probably skipped past the track within the first few seconds of a battle ending. I get what you mean about the sudden change, I was trying to go for a battle win, followed by a loot/xp screen similar to final fantasy's fanfare.

I am pleased you enjoyed it! :)

[Colors 8-Bit Loop]

This does indeed sound fitting for a video game. I am reminded of Mega man. What I particularly like about this remix is that it is possible to distinguish the instruments, although some sound slightly muddled. It is pity, though, that this is only 23 seconds and captures only a snippet of the song. After around three repeats, this becomes monotonous, hastened by the simple melody, but that is inevitable.

I enjoyed this nonetheless. Nice work.

PhatBoiJ responds:

Thanks! Yeah my loops are usually meant for like a menu or something like a selection screen.

[Arpeggio?]

I have little experience with chip-step, but I think the appregio sounds fine. The notes are distinct, pitch well, and create a discernible voice; you could easily compliment it. I suggest experimenting with that aspect. Maybe observe how different basses and percussion mix, or even fiddle with the appregio's speed while testing different synths?

Also, as I understand it, an appregio is sometimes referred to as a broken chord, so harmony and position may be important.

I hope this helps somehow.

Exilious responds:

It helps a bunch! Thank you very much for the feedback. I hope to test it out by cutting out certain parts and putting behind a melody of some sort. As well as trying out different synths to see what works. Again, I really appreciate the feedback! :D

[Lemme In]

Very rhythmic.

I especially enjoy the structure of this piece. In particular, the bass-stab voice's in both senses of the word ---- its own and its adumbration to a singer ---- has an alluring effect, which was reinforced by the punchy and deep transitions and complex accompaniment from the percussion and the synths. The introduction and SFXs had a niche and performed it well, setting the theme and the mood for rest of the composition.

The ending, though, seems to contrast the pacing of the song with its complexity. Without the rhythm of the percussion, it has a relatively fast pace, rendering the ending slightly abrupt, but it sounds pleasant, regardless.

This was a refreshing piece. Nicely done.

xxxZigZagxxx responds:

Thanks for the encouraging review! I like the way you describe my piece... probably better than I could. :) I could probably rework the ending to make it better, but overall your encouragement is much appreciated and I thank you for taking the time out to write this. It's really helpful and will help me in the future to make better pieces hopefully. :)

Thanks,
Zigzag

[Forever Baroque]

Great use of head-space!

I like your use of panning. The whole composition had depth and stereo, and adding that quality with the instruments' clarity, it yielded distinguishable yet harmonious sounds. The range of pitches were structured well. This effect, in particular, reinforced the the easy-listening aspect. The melody was engaging, while the accompaniment played a subsidiary role, an ideal combination.

One potential quirk was the introduction, which seemed rough because of the sudden volume spikes without established anticipation. I usually disregard such trivialities, but knowing what could be while experiencing what is warrants some attention; as cliched as it sounds --- great piece, lots of potential, and wishing to see development ---- but the ear adapts as it plays. Also, interesting conclusion. The technique with the harpsichord definitely had a classical feel.

That this is an polished forget-me-not makes the piece more special. Thank you for sharing this composition to the public.

WingoWinston responds:

Ha, no problem.

Very analytically reviewed, I enjoyed it. I did the volume part on purpose. I liked how it sounded. Maybe I'm slightly deaf or musically inept. Like I said before I don't think I'll ever return to this piece unless it becomes absolutely necessary. OR maybe for my sake, I'm so familiar with it that I don't notice it.

At any rate, I just hear music in my head and bash a keyboard and mouse until the computer makes something similar.

Thanks for the review!