pixelseph

Hi Que! The production on this great - I really enjoyed the cleanliness of the mix and how much clarity you were able to get between the samples, the kicks, and perc elements. I wanted to hear some more of the melodic material from the original besides the A section, as after the 2 minute mark it started to feel stale. I am curious about the pauses between your transitions being shortened from presumably an older version of the piece. Were you feeling like they were dragging? Looking forward to hearing more from you!

Hey Moebius! We cannot listen to the file currently as we'd have to request access... are you able to change the sharing settings to "Anyone with link can view?"

Are you sure you didn’t watch the video yet? You just covered basically all of the video in your summary! 😂

Hi everyone! Last night, I held a live webinar on YouTube about dialing in mix-ready guitar and bass tones for your remixes. You can find the VOD below: VSTi and VSTs from the Webinar, also in the video description: (not all were used in the webinar; all plugins listed below were curated for this webinar based on their quality and price - they're all free!) Guitar: Cute Emily SG Shreddage 3 Stratus Unreal Instruments Metal-GTX (requires Plogue Sforzando) Bass: Shreddage 3 Precision MODO Bass 2 Amp Sims: Ignite Amps SHB-1 (SHB-1 is a boutique tube amp sim for bass guitar; comes with it's own cab IR built in) Ignite Amps Emissary and NadIR (Emissary is their boutique tube amplifier sim, NadIR is a cabinet IR sim that can be used with ANY other amp sim) Guitar Rig 7 Shattered Glass Audio ACE IK Multimedia Amplitube 5 Pedal VSTs: TSE Audio 808 TSE Audio R47 Plugin Boutique Face Bender

No worries on the time to respond, I’ve got notifications on 😁 Depending on the VSTi you’re using, there may not be different samples on the velocity ranges - this tends to happen a lot on free instruments. There are ways to go about it that don’t involve getting another instrument, like automating the volume fader or trigger a low-pass filter to activate at certain velocity thresholds to “soften” hits - but these solutions are pretty involved and can get finicky very quickly. Randomizing velocities can get weird too - most DAWs have a set of tools for drawing in curves and things (usually a line, a sine wave, a parabola, and a standard pencil/paint brush). You can start with a line, for example, and then lightly push the values up and down for more humanizing; though if you’re still running into the issue of your instrument not having enough different velocity samples, you won’t necessarily hear the change

Hi Devsman! So happy to see some Megaman Legends love!! Is the intention to keep this piece as just the 3 instruments? I’m not a pianist, however I’m not hearing anything in your piece that sounds impossible for a single player to accomplish. That said, the sequencing for both the piano and the flute needs more volume and velocity automation - the velocities sound the same throughout (particularly the piano), which make it hard to retain interest with the short melodic figure. Having the same reverb for your instruments is always a good idea, as it makes them sound like they are in the same space. Did you create a reverb send/bus or is it two instances of the same reverb plugin on the instrument channels? The concert bass drum rolls are a good way to signal the transitions, however they don’t sound like they are in the same space as the flute and piano. The other issue is that they are currently only being utilized for the transitions, which makes them feel a bit awkward in the space. Would you be against having them in one of the sections, like say the climax of the piece, to help drive everything toward the conclusion? The section at 2:51 would benefit a lot from the bass drums accenting those first two stabs on the piano each bar! Keep working on this one! Glad to read this is your return to music - definitely looking forward to what you’ve got cooking up next

Yup! Tanaka wanted the score to have feel and mood, not be harmonically pleasing - and that first Metroid OST nailed it. Musique concréte is definitely a better classifier for it than, say, song.

Hi Uffe! The track you linked doesn’t sound like it contains western harmony functional chords inside. I’m hearing trills between half-step notes and an occasional whole-step note to make the tension ramp. However, to answer your question, the method I use to determine chords when listening to arpeggios is to listen for the lowest note and then work out what the interval is between it and the closest note to it, then do the same for the next note. The relationship between the intervals will usually give you the biggest clue to the chord. Sometimes there can be multiple chords being outlined during a single arpeggiated melodic line. It’s not always easy to pick out when this is happening, though one trick for that is to listen to the harmony/support instruments and if the notes shift under a particular spot in the melody, it’s highly likely that the chord has changed

Hi Nase! My time to review the workshop is getting strangled by work this week but I will be popping in to give some more comments soon!

Hi Pipko! This one's ready to sub. Worst the panel can do is give you some targets to focus on for a resubmission. :)

Hi Janet! I love chip arrangements and Freya's Theme, so this is a fun listen! The reharmonization starting at 2:44 is a nice touch, as are the filter sweeps with the swells. The syncopated 4:3 pulse that starts at :39 feels stilted in the center channel currently - some ping-ponging between the center and left/right channels opposite the swells would give it more impact. Great cover overall! Looking forward to more posts from you :D

I'm pretty sure I've seen Hemo mention humanizing your MIDI velocities, durations, and timing at least once a week to someone on the forums or Discord. This track is exactly how you do that with a piano piece! It's not done to sound more real, although that's a consequence of humanizing - it's to bring the emotional weight of the writing into focus for the listener. Don't mind me, just gonna go sob in the corner for a bit. :'-)

This track was my absolute favorite in all of GSM1 - favorite to track, favorite to listen to, favorite of all the rounds. Game Set Mash! works by having an arranging/recording/producing round that lasts about a week, and then a voting round that lasts about a week. Emunator brought essentially the entire arrangement to the team by day 2, and by day 3 it had all of the guitar layers as well as Paradiddles’ acoustic kit additions (I think cymbals and some toms?) ready to add. The finished result is a song I’m proud to have been part of, and proud to add to my “lemme introduce you to VGM remixes” playlist.