Does it fit Audiojungle

Again, I greet all kind and caring people!
I really need help.
How to determine the style of this piece of music?
Is it suitable for Audiojungle? Or will I be rejected again with a high probability?
What do I need to change or improve?
Thanks for your feedback.

Is this one of your tracks? You ask for a review under the name @Oleh_Slesarchuk but the track mentioned “by Mahadeo Makar”.

Updated information It’s me Oleh Slesarchuk

Last time you helped me with advice. For three years, I have never been hired for audio jungle, and I despaired. Sometimes you just need support with advice, so as not to fall on the path of hopelessness, from despair …

Hi @Oleh_Slesarchuk,

in this state the song will catch a rejection.

  • that arp in the beginning is too loud, too static, to much hectic - nearly the whole song
  • that piano sound is too quiet and dull
  • there is a pad in the beginning which plays nearly the same frequencies like the piano, but weird chords
  • the string sounds at 00:34 and it’s chords are unlucky, no really synth strings, no really natural strings
  • the song ends abrupt
  • the mix has no bass, too much happening in the mids
  • all the drums have a filter with resonance
  • the broken glass sound doesn’t fit

The most annoying thing in this song is that nervous static arp. The song plays with 4 the same order. I would propose to hear some tracks in the technology category first and compare it to your song structure, chosen sounds, chord progression and mixing. In my opinion there’s nothing cinematic in the song.
Sorry to say that Oleh, but this song is misses the basic rules.

A personal hint: If I was you and catched rejection after rejection for three years now without any progression, I would consider, if producing commercial stock music is the right thing for me to invest my time. If you have fun with making music- fine! Do it. If you have fun to create sounds - fine! Do it. But I would not try to force the commercial success.
In your last thread you wrote:

So I ask you: Where is the fun with your work and the work results if it harms you so much? Talent cannot be forced. And it is no shame not to have a talent to a special thing.

I want to achieve my goal. It’s hard when there is no feedback, when there is silence … I guess I work too little, that’s the reason first of all … Now I don’t have such stress, because you have identified my shortcomings, and I know what to work on.

My friends say: - The guy you are very good at!

I think the best critic is the buyer. If my work is bought, then there is value in it.

If it only makes three years you mix/compose and arrange music, that is not a lot. Don’t be discouraged because you don’t make hi level professionnal tracks yet. It takes time to train the brain to hear everything and to get the judgement to make all the right moves in all the process from composition to mastering. It has to be driven by passion first and taste for rigorous/analytic work. Most people do only a part of the process and give the other part(s) to someone else who get more skill in that particular task because it’s very hard and long to become excellent from composition to mastering. I passed about 10 years just composing and arranging and then another 8 years mixing and about 3 years to make really good masters. This is a long journey. Maybe use these negative emotions to make music that fit that vibe. It will be more easy if you go with how you feel to make great tracks intuitively to begin with. But you have to go in objective/analytic mode to pass through all the process eventually. Go watch MixbusTv on youtube. The guy is very rigorous, analytic, objective and scientific but easy to understand at the same time.

About your track and the mix, it sounds very muffled and compressed. It sounds like a really low quality crackeling mp3. Did you try to make eq on it? How many time did you spend on that track? Here is no dynamics changes (the volume is the same from start to finish). Dynamics change is important to create a direction and impact to the right moments. You cannot just crushed the music in the brickwall limiter like that with it sounding damaged, flat and harsh. This sounds like you reduced your peaks about 9 or more dBs in the final limiter. You should not have to reduce more than 3 or 4 dBs occasionnal peak. To get a loud clean, impactful mix you need clean eq that will give each intrument a place to peak more than the other in the spectrum, a place to breath. You need to control your dynamics with volume automation, compression, saturation and limiting (yes limiting on individual instrument if needed). If you use MIDI notes and you keep every note on the same velocity you get a problem. In that case you need to increase the dynamics by making velocity change between notes to make it expressive (not in a random way but the way it fits the context). Saturation will help to reduce your peaks and yet it will sound louder, punchier and fatter. You have to choose the right saturation for the specific element and not overdo it otherwise you will make more bad than good. You have to train your ear/brain to judge where is the right amount. Listen to professionnal tracks to compare and a spectrum analyzer to practice EQ + your ears first of course. I use SPAN Analyzer it’s free. You have to train hard to be in analytic mode for the technical part.

I hope it helps! :slight_smile:

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