Spadezer's audio Reviews on Newgrounds

[God's Sovereignty]

Official NGADM '20 Round 3 Review

I feel inadequate. Why am I hear giving you a review when honestly when it comes to classical composition I feel like I should be taking notes from you. I like the minimalistic style you've done with this, and the structure is definitely the focus of this piece. As for the composition, it's very tender. I would say deeply emotional, but it's not sad, and I could have said joyful, but it's still also somber. I had to look up Philip Glass since I wasn't familiar with it, but I could instantly hear the style with the first song I found. The duet with the violins makes it so both instruments compliment each other well. I feel that the rhythm choice really helped give it that style of "time continues on" feeling, and while I wouldn't have expected what you wrote based off the title alone, I get a really good glimpse of what you're doing with the description. I will say what would have been interesting, in regards to the description, if you would have made a call back to the rhythm that you started out with in the intro. With the piano staying with the triplet style it would have been like an "aha" moment hearing the regular quarter note style pop back up in something like the violins or even a separate piano part. I think I'm catching the reprise of the left hand writing but I'm not sure if I'm getting it confused with the base chord progression.

Aside from the composition / structure, there really isn't much I can say about the production quality. There isn't a lot to balance and mix since it's just a piano and some violin parts, but I can't figure out if the piano is you recording your own midi being played if it's a studio recording (I'm assuming you're playing based on what I've heard you make before). I can't tell if the violin is an expensive VST or real though lol.

All in all, very pretty. There really isn't a ton going on from a third person perspective and it also sounds like something I've heard before, but it gets to the heart of the matter which is the story of the emotions being told which I think is the important part. I definitely relate and agree with what you've stated, and you shouldn't be ashamed that your intrinsic nature and writing is Christian. I find it encouraging.

Composition 9
Production 9.5
Sound Design/Performance 9.5
Structure 8
Creativity 8.5
Total 89/100

Phonometrologist responds:

Thank you for the earnest review. I should mention that even if you feel you should be taking notes from someone that writes in this style, it doesn't mean you cannot offer critique as a listener. You don't need to understand a certain art form to offer your opinions on it. My wife knows nothing of music and yet I value her opinion on my works because it comes from a different perspective. Perhaps it's a perspective that most people have with in relation to how they listen to music.

Good catch with the structure being the focus and the emotional descriptions-- very accurate. Regarding the performance, this was the only track I did this year with midi piano. This style doesn't correlate well with the type of piano I have. The violin actually isn't that expensive: 8Dio Deep Solo Violin
In the future, I definitely want to re-record this piece with a live performance though.

Thank you for the encouraging words. All my music is as you said intrinsically Christian. I'm just sensitive to the fact that some may find offense to me speaking plainly of it.

[A Thousand More To Slaughter (Old)]

Oh yeah, this is my jam

[Queer As In Fuck You]

Official NGADM '20 Review for Mooke

Composition and Structure:
What are scales, am I right? Honestly I'm left confused by the end of it. What gets me is that you don't really stick to anything in any certain way, except the feeling of being frantic. Like the percussion, the high energy, and tempo are the only constants in this whole shindig. Aside from that I can't tell if you want to say screw it to the idea of having sensible notation or not, because there's a lot of phrases that start off as something I could latch onto and make sense off. There is something of a chord progression that you use so it makes me think that there is a scale I should be able to pick out, and you start using it. Than halfway through the phrase you do a 180 and just go chromatic in whatever direction you want. I guess that's kinda what you're going for trying to tease the listener along and then throwing it back in their face, but that comes across as bipolar and aggressive. The lack of energy dynamics too also gives a sense that you really don't have any sort of story, you're just trying things and then giving up on them before they get to completion.

Production and Sound Design:
I was a little dissapointed with the sound quality of this song. It sounded overcompressed and crowded which made it tiring to listen to a couple of times through. Individually I like what you have. I like the percussion and they positively add to the feel of the song, and the synths you have going here I think fit with the sections that they're in. There's a couple here and there that sound dry or too flat, like you have some basic sytrus presets and cranked them up a bit, but the mixing as a whole doesn’t leave very good space to be able to pick out things very well.

Composition: 7
Production: 6.5
Sound Design: 8
Structure: 6.5
Creativity: 8.5
Total: 74/100

zybor responds:

That's the beauty of doing things differently :) The risk is big but who care, I'm not aiming to please people with fancy scale or notation, fuck all that, what I need them to do is to feel. Feeling is all I was looking for. And you exactly feel what this work supposed to feel like.

I'm happy that you gave my creativity score good, because it's a clear representation of what I have always done, never conform. :)

Thank you for judging and thank you for the review!

[A Dream]

Official NGADM '20 Review for EverErratic

Composition and Structure:
That intro is gripping. Without reading any of the description it instantly threw me into a different world, and all it took was 7 chords. I kept wanting to repeat the intro and really savor in how much, and you're use of 4/4 really gave it a largely different feel from your other works. Ugh the more details I notice the more I like this. Like what you're done a lot with a lot of your 3/4 and 6/8 works have generally had a swaying to them, something that gives the sense of dancing most times. Here you really get the feel of how heavy every beat is. Especially once the driving low strings start really playing in full force at 0:28, and it really drives home the emotions that would come across like what you have in your description. The 1:27 temporary key change into a major key felt kinda alien in the flow of the structure, but with the description I can see how it's a nice nod to happier times. Without knowing your intent with the song it might have made some more sense if you temporarily had the driving low strings stop for that moment until you brought the dark tones back in maybe since it feels like the person the song is being told through is of someone who temporarily ties to pick themselves up in vain and is quickly thrown back to the original state. I want to sit here for a good half hour just eating up what you're doing with the chord progression.

Production and Sound Design:
I'll admit one of my weaker judging points because I don't feel like I know what to look for in orchestral pieces still. I don't believe I'd be able to distinguish it from a live recording. The sounds are all very warm and rich, but the only thing that I probably don't like is maybe the harp is a little muddy in the end with the mix. Otherwise no complaints from me.

Conclusion:
This song hurts good

Composition: 10
Production: 9.5
Sound Design: 9.5
Structure: 8.5
Creativity: 9.5
Total: 94/100

Everratic responds:

Thank you for the review!

I'm glad you like appreciate the use of 4/4. I didn't think about it at the time, but I see how much of a difference it makes now.

The key change represents a change in the stream-of-consciousness narrative. The person reminiscences the happiest moments with their loved one and realizes they are in a better place. Then the sadness returns.

The harp was difficult to mix. I've seen professional orchestras up close, and the harp tends to be far off to the left and is barely audible. I tried to replicate that placement but with a higher volume because it's an important line. I made sure to control low-mid resonances and cut off a bit of the low end, but it could still sound better. Maybe reducing the stereo image could help.

Thanks for being a judge and writing many reviews :)

[Talurre - Cruel Future]

Official NGADM '20 Review for TeslaX11

Composition and Structure:
I was kinda surprised by the intro knowing what you've put out in the past from what I can remember, but I was definitely not disappointed. Loved the emotional feel that you brought out that initially started heavy, but had a nice intimate moment before getting really huge. I never expected anything less from you drops, and you continue to share with your characteristic sound design that I'm envious I can't quite replicate. What I keep getting surprised by is how beautiful and detailed your "quiet" sections are, and I think I enjoyed them more than the drops themselves (which is already a high benchmark). I don't know why I’m quite surprised by your use of orchestral elements with your sound design, but you frame it really well. Especially with the first big section, it's such a nice marriage of the organic and electronic elements that work so well to compliment each other.
I notice you have a dark tag which I found highly intruiging because yeah it's dark, but it's not dark in the same way that stuff like Lich's music is dark lol. It's not a bad thing though, I like it actually. It didn't quite come across as brooding or overbearing as much is it felt rich and full with the deep and wide sound design. It matches with your deep purple that's shown in your profile pics (at the time of this writing). So yeah it's dark but in a difference sense, and it's also packed full of textures, emotions, and outright character. So with all that being said, I really don't have any issues with your writing in this.

Production and Sound Design:
Like I mentioned earlier, between you and Tomhson, you guys have a very unique and expressive sound design, however you do an increasingly good job of incorporating organic elements along with it way past the point of it just being simple wubs and dubs. And your dynamic range is huge in this. You have quiet sections that are so quiet that they're almost inaudible compared to the huge block of wave forms that come in during the drops. After taking a day to wait to listen to it, I can tell that the VST's your using aren't the best for the strings, but just to the fact that it took quite a few listens before I noticed shows that you have an idea of how to make them sound pretty decent. If there's anything that I don't like about the sound design, it's that bass take up just a bit too much space…. I think. I'm not actually sure because you do a good job of making sure it doesn't sound overcompressed, and it doesn't get in the way of enjoying it.

Conclusion:
Masterfully put together, a new push of the boundary for you, and I really enjoyed it

Composotion: 9
Productin: 8.5
Sound Design: 9
Structure: 9
Creativity: 9
Total: 89/100

[Introduction to Estera]

Official NGADM '20 Review for Kyutatsuki

Composition and Structure:
This is some tight Camellia style stuff right here that takes me right back to playing Beat Saber. Super fast paced dance music that I honestly can't get enough of. The main melodies at times aren't very complex but all the arpeggiations you have in the background and sometimes the foreground are combined with the fast drums that hit heavy but have a light air around them. You make a big space that fills up the entire frequency in a frantic but enjoyable way. It's easy to see this in a club setting and easily brings the imagery of bright and frantic lights that plays with each pluck of every synth (again probably because I associate with this style of music with playing beat saber but whatevs lol). The structure flowed really well and felt very cohesive, and there's really only one part that I could distinguish as being completely different than the rest (the 2:13), but it was a nice change up from what you have going on that doesn't really feel like an outlier. You have a nice dynamic range of energies too that really help with making sure the listener doesn't get tired of being hyper pumped for too long lol. As for as writing goes it's a pretty solid banger. There's a couple of neat breaks you do in the 2:13 that utilizes negative space to add emphasis and maybe would have liked to heard more unique details that, but overall pretty solid on the writing front.

Production and Sound Design:
Really the only big problem I have with this song is that it sounds overcompressed. It sounds loud and squished to the point that if you added details that are really subtle in the back, they can't shine at all in the drops. There's also slight balancing issues like the main synth at 2:13 is a bit too loud and squashes everything else out of the mix. So in general maybe there needs to be a little more headroom before you up the volume of the mastering. Other than that, I love how everything sounds. The plucky synths are super light and neat, there's elements like the bitcrushed lead like at 2:50 ish that I like, and all of the synths are sounds that work really well for the atmosphere that you're going for. I get a real sense for things happening at the speed of light or being brought along in the journey of an electron or something. The only other real issue I had though was that the kick sounded a bit too muffled or soft. It's missing a little high end attack to feel like it's cutting through the mix.

Conclusion:
Honestly pretty solid work. I enjoyed it a buttload and really enjoyed putting it on repeat a few times. I think the sound quality might hold it back a little, but you did a pretty decent job nailing the other elements.

Composition: 9
Production: 7.5
Sound Design: 8.5
Structure: 8.5
Creativity: 8.5
Total: 84/100

[As A Child]

Sick use of time signatures. This is so laid back and upbeat I love it

[Riot Ribs]

Lol you're so wrong about what we dislike

zybor responds:

Hehe, yeah it's more of a humorous personal reflection. Every contest I've failed for the past 15 years happen because I do things differently. :( But as soon as I make things generic, I'd have better chance making it than when I do things outside the box.

I've reached the point of cynical perspective on this, because I'd rather make things I love than doing things other like. lol it's basically the reason why I haven't gone mainstream despise I had so many chances in the past. Ah well, now I lost that chance cuz the pandemic. :(

Thanks for the review, I guess. Hope you have a great week.

[Spotkania w Iluzji]

This is definitely one of my favorites in this round

[Project: Sailor M]

NGADM audition review

Remixes were allowed in the contest, but yours initially put you in some hot water with the judges because when you referenced the music in you song, it sounded too similar to the original, which gave the impression that it was more of you copying the other music instead of making it your own there. We let you continue on, but the song got close to being DQ'd because of that section, and where you did deviate like at 2:20, what I hear is just an descending 3 note arp that makes the simple chord progression. In other sections that I can hear what's going on that's still the only thing I can point out is the arp with the chord progression and a couple of other drums maybe. The only thing in terms of melody is the Sailor Moon thing you got at the 1:42 and it's not even your original idea.

That's not what I had a problem with though. Outside of 1:42 - 4:18 which felt like the same thing on repeat, I can't really hear the music. All I hear are laser sounds. At first I thought this was a joke because the beginning started off with what I thought was you making a laser gun sound effect and mixing it way more than what was necessary for it to fit, and it's very piercing and uncomfortable. I had a very difficult time listening to the whole thing because of it. I didn't realize it was supposed to be a kick until I read your description which brings me to two things. Firstly, yes a kick needs a high end attack which helps the attack of it and helps make it pop through the mix, but it's not only high frequencies, and it needs to fall a lot faster. However, it needs to feel more like a click if you want it to sound like a kick and less like some sound effect being warped and shaped into something that it doesn't want to be. Yes "hardstyle kicks" use a lot of distortion and such, but if you don’t have a good sample of something going into that kick, adding a ton of distortion and effects to something just makes it sound like an overly compressed bundle of noise. Secondly, yes a kick can be loud, but it shouldn't be literally the only thing I hear in the mix. Hardstyle actually doesn't have their kicks take up the whole mix to an ear piecing degree.

Which leads me to my final point, which made the judges and especially myself rather cross and aggravated. Clearly you had an idea that this was hardstyle, and I can see what you're getting at, but you may want to tone back on what you think makes good or bad hardstyle. Saying "it has to be like this because hardstyle" just shuns everyone away from you and closes you off from opportunities to improve your craft and learn at a deeper level what makes great music the way it is. You've slipped into a gatekeeping mindset that I personally don't have patience to tolerate and makes you closed off to what you might not realize is good advice. Am I asking you to make your songs something that everyone needs to like? Absolutely not. In fact it's impossible to do so, but you'd be surprised how many of us judges appreciate and enjoy some hardstyle / gabber pieces that are not tailored to be mainstream and popular. But I'm not going to hop onto my soapbox and explain to you our knowledge base and expertise because that's not a respectful thing to do.