Torzelan

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About Torzelan

  • Rank
    Goomba (+100)
  • Birthday 04/27/1985

Profile Information

  • Gender Male
  • Location N. Sweden

Contact Methods

  • Website URL http://www.torzelan.com
  • Skype torzelan

Artist Settings

  • Collaboration Status 1. Not Interested or Available
  • Software - Digital Audio Workstation (DAW) FL Studio
  • Instrumental & Vocal Skills (List) Electric Guitar: Rhythm

Converted

  • Real Name Joachim Sandberg
  • Facebook ID 285301334849052
  • Twitter Username torzelan
  • Last.fm Username torzelan
  • Steam ID torzelan

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  1. Post your SoundCloud

    There are gosh darn all sorts of thingers in here 'cause I do what I want when I want.
  2. OCR03284 - DuckTales 'Apollo Duck'

    The arp in the original is different duringthe intro from the rest of the song (mainly because it begins with another crazy time sig - haven't checked butsomeone said 15/16..? -before changing to good ol'4/4 when the drums enter). Eighth note goes up instead of down (and the following notes get offset too). Sounds like the arp in this remix takes from the intro variant throughout the entire song which makes it sound "ahead" if you're used to hearing the high note as the ninth oneright on the bass drum hit (where in the remix the high note is the eight one and so arrives one note earlier than the kick). Guessing that's what people are hearing and reacting to, nothing "wrong" since it's a remix thoughFantastic remix at that, possiblymy favorite by Willrock? Sounds great,beautifullead guitar playing!
  3. Yeah don't doubt that, just bummed that "because it's new and/but was also recently on sale" they seemingly arbitrarily decided that theydidn't want a whole bunch more people to buy it now(clearly a lot of people were gearing up for Black Friday). From the outside it just seems like a questionable move. Also annoyed that they kept answering specific requests for ONE with "it is on sale... in bundles!" like people would go "ooh right you are,let me drop over a grand on that real quick"but that's just me... I'll get it whenever I can afford it, would have it already if it would've been on sale though. The real snag for me is the +20% VAT that takes it from "a lot of money but worth it" to "a LOT of money, still worth it but easier said than paid..."
  4. Some thoughts: Vocals: To some extent silly on purpose but the performance and quality could be better, the recording situation (just my apartment) is a bottleneck though. I do feel this is my best attempt so far at mixing clean vocals at least so yay, progress.(Lyrics are very "in-joke" so feel free to ignore.) Guitars & Bass: Pretty happy with them (DI, amp sims), a lot going on at once sometimes but still sounds alright (IMO). Maybe the rhythm guitars could be a bit crunchier to cut through when it gets busy. Eternal struggle. Brass (Impact Soundworks) and strings (Kontakt's factory stuff + a tiny bit IS Furia): They do what I wanted them to do but could be clearer, still learning to mix stuff like that. Kick drum: I'm always pretty happy with it until I think someone from the VGM community is going to listen 'cause I know y'all like it way louder.
  5. And Spitfire isn't actually discounting Albion ONE either. pretty darn bummed out right now
  6. 30 Second Song Challenge

    Very nice, and a bit different from most of the others - speaking of which, that is an insane amount of submission they'll have to go through ...Might have to increase their workload by one more just for fun Short stuff like this is always fun.
  7. Aria Sounds LSS Violins

    Big thanks for that Moseph, and thanks for the heads up Dissidia. Seems like a nice complementary library for $45, definitely grabbing it and hope they'll release an update fixing the bugs soon. Their French Horn library sounds nice too, may as well, may as well...
  8. Map of the OCR Community

    Sweet, a mere nine hours to nearest (added) countryman. Lycksele, Sweden
  9. How did you first hear of/get involved with OCR?

    My memory is not nearly good enough to remember exactly when I found out about OCR, but it was probably very early if only because I had a bunch of internet-savvy friends/friends of friends who were all into games and music and shared all the good stuff all the time. Relating to what Brandon was saying about burnt CDs, I recently stumbled across one of mine from 2002 (Grosse Lederhosen, baby) at least. By that time even my family had an "unlimited" 0.5 Mbit connection for over two years though. No idea why I apparently didn't sign up until 2006 but I remember being surprised about not having an account already when I did. Either I just never got around to it or it was deleted for inactivity or something.
  10. OCR02752 - Conker's Bad Fur Day 'Poop'

    Love this Fun while still badass(!) and in spirit with the source; all around sweet arrangement. Perhaps the best Brandon-vox so far (that I've heard)! 1:46 <3
  11. What do you listen with?

    I use them all day err'day, seriously one of my best purchases ever. So comfy, so good. Thanks again.
  12. Have you ever cried from a game?

    If I'm alone, I never hold back be it games, books or movies. Funnily enough, the first one that comes to mind is... Elite Beat Agents. It just came so out of nowhere, wasn't prepared! CROCODILE TEARS.
  13. The Loudness War

    If you don't need them, then why make a rule around them? Again, all I'm saying is if you have to look it up it can't be that bad (or you're in no position to judge), and if you can already tell that it sounds bad well there you go. Low dynamic range can be intentional (and suits some genres more than others), setting a specific limit just seems completely arbitrary (and dangerously close to trying to decide how music "should" be which I'm not a fan of). It's just not as easy as f.e. setting a rule about clipping. You like "a quieter, more dynamic master a LOT more", well... great I guess! Can't argue with that, though it seems like a bit of generalization. I like the artist to realize his/her vision as unconstrained as possible, whether that is a solo acoustic instrument with over nine thousand dynamicz or the japanese hardrave that gives me a headache after a couple of hours but is flippin' awesome up until that point.
  14. The Loudness War

    The site already has production standards, and if something sounds bad it doesn't pass. So this is completely pointless unless, curiously, something can sound good but not meet an arbitrary set amount of dynamics. That site is interesting but you probably shouldn't seriously judge music as yes or no by the numbers it spits out. The funny thing is, though, that I don't think I've ever seen anyone argue that dynamics are bad; meanwhile the only ones who I'd describe as "stuck in a mental bubble" are the ones who seemingly somehow can't accept that people legitimately enjoy the "brickwalled" stuff and literally claim that their experiences and opinions are factually wrong. I'm not saying everyone is being super stubborn like that, but there's annoyingly much of it even here in this thread. Can it theoretically sound better? Yes! But will it, guaranteed? You can't just say that a mix with more dynamics, whatever it is, sounds better to everyone just by virtue of having more dynamics. Worse is the reverse implication; that if something has less dynamics, whatever it is, it factually sounds worse than it would've if artist X and/or engineer Y had foregone their goal and vision (which is, hopefully, what they were working toward) in favor of listener Z's personal "EVERYTHING needs lots of dynamics!" opinion. This wasn't an argument for the general discussion, I hope. The fact that music was "good then" obviously doesn't mean it can't be even better now, regardless of opinions whether it actually is or not (from a technical standpoint we've obviously progressed). I for one don't like a lot of music or "sound" from back then; has its charms but there is no way I would wish that any of the music I listen to today would sound like comparable tracks back then. Maybe I wouldn't have been able to say this if I liked Metallica and suddenly got Death Magnetic(?), but it's still their choices that makes their music theirs and I wouldn't have it any other way. Can't blame [whatever was wrong with that album] on anything but them doing it poorly (/letting someone else do it poorly and okay it). It didn't just happen and it didn't have to happen, compression isn't an evil that sneaks around trying to ruin albums that don't need it. I've barely ever felt "ear fatigue" and in those cases I've been listening to crazy (even for me) music at stupid volume for a stupid amount of time, so I will absolutely admit that as far as that argument goes, I can't completely understand the perspective of someone who claims that they physically can't endure some of the music I not only have absolutely no problems with but also flippin' love. I do of course take it seriously and to some degree into consideration when doing my own stuff (which I'm aware has a long way to go in all areas), but the question is where, if anywhere, is the line? Do Team_Brickwallerz have to dial what they think is awesome down to appease Team_Dynamicz, or do Team_Dynamicz have to stop complaining and just create what they want to create and listen to what they like listening to? The latter just seems to make more logical sense to me, especially when it's something this subjective. People should know about the effects of the "loudness war" for sure, just like all the other important knowledge they amass when making music. But how they decide to use it is what makes them artists, and I think people sometimes need to ease up just a tiny bit and not go overboard with the -.^ and the *.*.