MrBellington's audio Reviews on Newgrounds

[Hero]

One of the better variations of the modern ostinato-driven block-chord driven "sound" I've heard on the site. The mix is good, with solid dynamic programming - the drop off at 01:11 is particularly well-handled. Points for not using percs to cover up poor orchestrations. The inspirations are obvious as you note in your description, and I could see this sitting comfortably in a game.

TheoryGuy responds:

I appreciate you taking the time to give such well-thought-out feedback. I generally try to shy away from the "ostinato-driven, block-chord sound" that you note is present in a LOT of modern film work, precisely because I think it's over-used, and often a crutch for poor orchestration skills.

This particular track just came to me that way, and rather than fight it, I decided to go with it to see what it produced. It won't be my norm, but it was a constructive and fun exercise to work through,

[Pleasant Dreams]

An enjoyable composition, a very nice texture with the glocks, plucks and chimes. I thought the beginning and middle sections were more intriguing and interesting, but that's really just personal taste. The arrangement is good, and it kept my attention throughout. It's nice to hear pieces with some variety.

The only criticism I'd make is production-wise it could use a little work. A tidier mix and better programmed dynamics on the strings would've helped to bring the tune to life a bit more. The plucking probably had a bit too much reverb as well.

Good work.

LawnReality responds:

Thank you for both enjoying the track, and the advice. I'll try to use it to make even better music in the future! :)

[Middle Earth Fire Mountain]

I would be say it has a lot more of a 'Zimmer' progression, than 'Shore'. The vocals are cool.

MurrayAtkinson responds:

Cool! Nice to be compared to the masters! ;)

[Loss]

Hi there.

Other reviewers have hit upon some good points mainly, about production, but for me, fundamentally it didn't really hit the tone of loss or grief. Of course music is subjective and what hits one person in the gut might not another, but hopefully I can offer you a useful critique none-the-less

It started off nicely with that cello introduction gently leading you into the piece, but I felt after that it lost its way. It goes through some stoic progressions, and I certainly get a defiant vibe from the whole piece, but it feels far too often like it rambles without really saying anything. Other reviewers have described the track as 'cinematic' and I'd agree insofar as that I could see this working as the sketch of a track at the end of a Hollywood movie, and that the chord progressions are prototypical modern day action/drama, but I don't feel like the music ever latches onto me, tugs on my heartstrings or pulls me into a narrative, and ultimately that's really what cinematic music is about.

To make the broad heroic statements more effective, I think you needed some gentler stuff to contrast them, and the broader statements could've been more full. Once the introduction is completed, the music goes on in the same key, the same defiant tone, the same volume level, and broadly the same instrumentation. It's almost like the music is a constant climax, and that can be wearying to listen to. Some variation in tone and instrumentation would've helped.

For example, the contrabass is ever-present in the track and I think that makes it a lot less effective and a lot more tiring to listen to. Having even a small section where you drop the bass frequencies can really help. After-all, how can it make much impact if it's just sitting there the whole time? Think of the music that sends chills down your spine, often it's the moments where there's a change that give you that moment, that don't let you get too comfortable, that tug on your heart. For example at 3:11, the track is *crying* out for a change of pace, or instrumentation or tone and it continues in the same vain, essentially restating what was said in the previous couple of phrases. Sometimes you have a to be a bit analytical with your music, as you would an essay and ask 'does this really need to be said? Am I making a relevant point here?'.

As cliché as it may sound, I really think a dash of woodwinds could've brought out some of the emotions you describe in the author comments. There is no also no real clear melody in this piece, and while that's certainly not a requirement for a composition to be good, it can definitely help when you're going for melancholia. It can also help anchor your composition and stop you getting aimless, and simply writing 'stuff' because you have that reference point to return to, and manipulate.

Production-wise, others have written plenty and you said yourself you're only getting started with the software. Needless to say you want your strings to sound less cluttered, and flow together nicer, you could try increasing the attack a bit, a small does of EQ to bring out the better frequencies.

With as critical as I sound, it's not a bad piece of music and I hope my comments are taken in the spirit of self-improvement. Good luck with future work!

Bardash responds:

Thank you very much for your comments! I appreciate your feedback. I am hoping that with my next composition to expand even more into the realm of patternless composition. As expressed earlier, I have a tendency to fall in love with a certain chord progression and/or melody and repeat it ad infinitum perhaps with slight variations here and there. Fruity Loops tends to make that very easy to accomplish. Thank you again for taking the time to share your comments!!

[Absynthe]

Hi there mate.

Yes, definitely hearing the Sherlock vibe, perhaps strays a little too close on occasion! Of course the whole thing about 'Sherlock Holmes', the first one at least, is it's all about its solo performances, whereas you've gone for a more standard modern orchestration. I think this track is alright, but it needs a more captivating idea. Again, the Sherlock Holmes soundtrack you take inspiration from has some pretty memorable melodies. This is nice enough but not all that captivating.

Good luck with future stuff.

MurrayAtkinson responds:

hey MrBellington, thanx for your imput. I was definitely trying to capture more the overall vibe and stretch out the orchestration. I agree, the original has some standout melodies and really hooks you. Thats Hans Zimmer for you, hes the best!!! I appreciate your input:)

Cheers

M

[Fanfare of Conquest]

Definitely evokes the spirit of Age of Empires, one of my favorite games. Good stuff.

samulis responds:

Thanks dude. Stephan Rippy is a boss!

[Mountain]

Hi there. I thought this was nice enough, and it would be unfair to dismiss it because of dodgy samples. But that said, I thought the composition was average enough, with some decent arrangements. I think it could've been spiced up a bit though. Change the tempo, shake it into a different key, give us a clear little melody, really tell a story... that's what cinematic music is all about, and it's what I feel lacks in a lot of 'cinematic' music people produce. Producing cinematic music is about telling a story. Having a sense of narrative and knowing what you want to convey. I wasn't particularly able to conjure up any images in my head listening to this. It was basically pleasant but I think it needs to grip the listener more.

Good luck with future work and keep making those improvements!

Fuzzy-L0g1c responds:

I understand what you are saying. I wasn't specifically trying to conjure up a story or pictures in one's mind as much as I was trying to create something different than what I typically do. It does have a subtle key change (F mixolydian to D minor, meaning that the seventh diatonic tone goes down a half step), but I'm assuming that you mean something more dramatic and unanticipated. I hope that in the future I can grip the listener more by going out of my comfort zone. Thanks for your feedback.

[Cold Night]

Lovely little track. Evokes absolutely what you were going for.

F4LL0UT responds:

Thank you. :)

[The Tides]

Hi there.

Nothing terribly wrong with this piece, it's listenable, but there's nothing particularly engaging in there, bar a brief refrain for piano near the end.

You're going for a big, 'epic', full ensemble sound but you're not utilising the ensemble very well. But it comes with practice. I'll give you a specific example however: I think the solo violin doesn't work here. It sounds out of place, because it's a very 'incomplete' overall sound. You have a full french horn section, full violins doing those staccato 16th notes, bass notes and reverse cymbals, and then some very very quiet trombones and a bass that doesn't have enough presence, and they all seem to be mixed at the same volume. It's just a bit messy.

I recognise the EWQLSO bass drum. You need to EQ out that high frequency because it sounds really off in this piece and doesn't work at all.

Don't be discouraged, I offer the above in the spirit of self-improvement. That's all we're all trying to do at the end of the day. Good luck with your future work.

EnDotter responds:

Hey hey! Tnx for your comment man!
Im still really new to composing so i dont really know much about it. Your feedback is just what i need. I will try to pay more attention to the details you saw as not so good.

Again, tnx a lot!

[The Weapon]

Well-written, well-orchestrated, well-mixed and enjoyable to listen to. Very little to find fault with. I often find this kind of music - which does visit a lot of Zimmer/RCP tropes - often becomes a banging, simplistically-written unappealing mess when done by amateurs and semi-pros, so kudos for pulling this off and making it enjoyable. It's energetic without being overbearing, has variety and isn't just relying on fat drums to generate power. Between this and some of your other work, you've made me a fan and I'd love to collaborate one day.

Mattashi responds:

Thank you MrBellington :)
I would love to do a collab with you one day! I'm glad you enjoyed this.