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215 audio Reviews with Responses

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I like how it opens up -- it feels like bubbles, like an experiment at its beginnings. Or someone in stasis being monitored. It gives me that feel.

The drums are spot-on; the way they're done here remind me of a number of Sting songs. They feel quite natural and don't demarcate the 5/8 in stereotypical ways. I have no complaints about the mixing or the production.

You've experimented with quite a few textures and different ways of feeling, all the while using just two chords. There's a lot of variation and dynamism packed into the 1'50" of this piece. For what it is, it is well done -- I would, however, love to hear you expand on this a *lot* more as there are several different directions I could see this going into, and it does feel quite unfinished to me. The music feels like it's attempting to tell me a story, but it's been cut short -- and it's just the kind that I want to sit down and listen to intently from start to end.

I could see further diversion into other odd signatures as it expands (7/8, seamless 10/8 or others that I haven't mentioned), breaks and lifts in the tension that are only teased here.

vocaloutburst responds:

Hahaha hearing you say that it feels unfinished and it needs more means that my plan worked PERFECTLY!!! This track is apart of a series where I make an instrumental track for the purpose of others adding whatever they want on top of it! Also that 7/8 or 10/8 idea sounds wild...I must experiment XD

Lyrics are incredibly strong and simple; music is well mixed but I feel it could use a touch more gravitas to complement the severity of the lyrics.

Incidentally, I spent much of my early evening watching all of 2001: A Space Odyssey and I am reminded of HAL, and the starkness and eerie quality of what he says is complemented either by silence or by fitting ambience that sounds fairly eerie -- I guess I'd have loved to hear this here because the words themselves can send a shudder down the spine.

FairSquare responds:

Hmm, yeah, i haven't made music in such a long time so to get back into it i wanted to start simple. I get what you mean that the music could be a bit more complementary to the lyrics. Overall the lyrics are what i'm most proud of in this creation.
The HAL thing is quite a coincidence btw, haha.
Thank you for the feedback!

It's Ludum "Dare," as in the English word "dare." 😂

Very, very nice features indeed. Gives me lots of works and people to keep an eye out for. On the part of your commentary, I love that you keep it down to earth. No frills, just the emotion in your voice.

Thanks for the shout-out; I quite enjoyed our little collab.

Xinxinix responds:

Same here!! I had so much fun drawing it! ^^

Stellar lineup and commentary and voice acting on the part of all involved!

By the way, the track from Astgaban that got featured was *not* composed by me, but by Lystrialle, and it is not Astgaban either. It was Dawn - The Sophian Principle.

Xinxinix responds:

Right! It's the first song off of Astgaban, and I apologize. I was referencing the album the entire time and paid no attention to the song name.

Forgive me!

Voice is EQ'd well. Hearing the voice and the rhythm fall in time with the synth was a bit of work; on the phone and occasionally on the PC it felt as though they were being mistimed with each other (PC soundcard has higher frequencies).

I like the filter fun a lot.

Not sure what to make of the lyrics; they feel conflicting to me I guess, but maybe it's a look into the psyche. The flow of them is quite alright; I like the rhythm.

I guess my main complaint with it is that for a lot of it it's quite *bare*. Like, too bare. I often feel the power of minimalism and slight bits of punctuation coming from higher percussion, almost as an almost unnoticeable cue for me to be aware that the lyrics are not falling where we stereotypically expect them to fall. Here, I feel like there's little if at all to ground me, to give me that sense of awareness, and that's what's leaving me stranded and struggling to hear the piece as if each element is falling on its intended space in time.

Kalviter responds:

Hey, thanks for giving this a look! Appreciate the comments on the way everything falls together, I was playing with a bit of a wonky flow on the 1st and 3rd verses, definitely something I need to practice if I wanna try it again.

There are many sudden dynamics, that could use a gentle buildup in the earlier minutes of the piece. Some parts actually do overpower the narration, more of a balancing issue than a musical one. For instance, the drumming over that narration talking about the Dublin bombings. (Incidentally, the reverb of some of the instruments also feels not fitting with the ambience.)

The chords and the dissonance are really on point. I love the musicality of this piece. The harp is nice and gentle and intriguing. The whole piece ebbs and flows with the emotions of the text, or the implications of the words, and they convey the feelings that the words convey pretty well.

Voice is a tad high, and not giving that extra bit of gravitas that could be used here. I'm not sure if it's the mic, or the voice. Fredrik Knudsen's kind of voice quality could see some use here, grave neutrality.

Codefreq responds:

Thank you!

I've always had trouble with balancing vocals with instrumentation. Usually the vocals are way too quiet when I mix it. I tried to get the voice louder than I'm normally comfortable with just to get it to be more easily heard, but it seems I didn't go far enough.

I appreciate the feedback and will keep in mind for future works. :)

Those drums... Nice 80s flair! I love them so much.

The synth work is quite the fever trip, befitting the title. I love the counter melodies / cross rhythms introduced by some of the lower synths at some points of this song.

It feels like a sickness, trippy but also sobering, reminding me of a physical state I don't want to be in.

RealMrSnuggles responds:


It feels like an actual level theme -- a tad downtempo / relaxed for a boss theme. I don't feel a sense of urgency or grandeur associated with a boss.

JackStormYT responds:

Ok Thanks for the tip, I'll see what I can do to update this!

Intro is the stuff of legends to me, there needs to be more of this, but something tells me that there's been plenty of borrowing from William Tell in the theming of this piece. It's well produced, and actual *classical* is very seldom heard in this day and age which makes it refreshing to me.

The thematic bit that comes in with the mallets after the first soft bit... feels a bit... trite to me. There are some points where it feels peaceful, some parts where it feels solemnly adventurous, and some parts where it feels calm, but never do these bits meet. I do get emotional whiplash from this a lot.

Plenty of the fortes and mezzos, very little of the pianos and pianissimos. I'd love to know what you had in mind in composing the sections as they are; it is hard for me to tell how at this point.

VociferousMusic responds:

Thanks for the feedback!

Yes, William Tell, haha. Actually, I thank you very much for giving me the composer's name as I kinda forgot his name. But you are right, I kind of thought about his piece 'Overture Finale' when I composed this (however, I did not listen to his piece since quite a while). But anyway, I wanted to somewhat recycle his concept and re-use it in a more... modern way, while still staying classical.

I totally agree with you about pianos. To be honest, I already have been a composer for dramatic and actionful music and started off as such. I'm currently trying to get into softer music, but step by step. I could have stretched the part at 1:22 for quite a while and keep it like that, but at the moment I felt like I have to get to the point, so I left it rather short.

At the end, what I wanted to express with this piece is a story of a younger aged character who meets a fantasy world, meets new friends, exploring and experiencing adventures with them. So here I kind of focused on the playful adventure thing.
If I wanted to describe a movie with this, my choice definitely would fall for a Disney or Pixar production.

My main goal for this composition actually was to work on my transitions in between sections, which I hope I have improved compared to my past works.

Arg blarg... MIDI. There's a reason why we generally avoid them.

Musically, I can see what you were attempting here, and it sounds like a blend between classical and the 80s synthwave of Stranger Things, the kind you hear in the intro. I'm hoping that when you do get your DAW and revisit this, the dissonance in the melodies here might be turned down by putting some parts more forward in the mix, and some parts behind.

TheStoryteller5655 responds:

Alright, thanks for the feedback, I am currently looking at free daws, and I think I found one that'll work for me, LMMS. Anyway, over the next few weeks / months I'll be figuring stuff out, and eventually remake this on their. Have a nice day.

Pronounced "trwa-nix." I dream up meepy dreams full of meep.
Currently doing things nonprofit.

Annette Singh @Troisnyx

29, Female


Lancashire, UK

Joined on 6/26/11

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