Forums

It would be great to see the Playstation 5 dream come true with another Dissidia installment of the story-driven beat 'em up legacy: https://noisypixel.net/tetsuya-nomura-wants-new-dissidia-final-fantasy-game/ I was not a big fan of Dissidia NT for PS4. Although it was technically really good, it had far too much focus on just a challenging arcade gaming experience and no big focus on a big story, additional gaming content and unlockables. ... But the first two Dissidia games for PSP were awesome - really innovative gaming experience, each main character and antagonist can be levelled up and equipped like in a real RPG including learning new special techniques, magic etc., good story that unfolds more and more over time, lots of content, new and pretty interesting gaming modes, new difficulties, tons of unlockables and up to 500 hours of playing time. Here's a little preview of the first minutes in the very first Dissidia Final fantasy game for PSP:   ... And here is a little video review of the second game, Dissidia Duodecim Final Fantasy (which also contains a whole overworld map, a new story plus the content from the first Dissidia):   It would be great if the developers would just make a next-gen remake of Dissidia Duodecim Final Fantasy for PS5. But let's see what the future holds. I'm already looking forward to another Dissidia game. ))

Over-door construction with electric guitar mount ------------------------------------------------------------- This is the electric guitar holder construction for a door that I designed and built during my recent vacation. It's basically the side view of the raw construction, which is lying on the floor here and which will be painted a nice matt white by a master painter in the next few days. ... The main reason for building such a construction was that I had slightly different spatial conditions regarding my home studio after moving into my new apartment a few years ago - conditions that were actually quite advantageous after a lot of space planning. And in the new apartment of my cooperative housing association, I wanted the home studio to be in the largest room, the living room, again - especially to ensure the best possible sound propagation in terms of optimal music enjoyment and the best possible mixing potential. The living rooms in both apartments were even similar in size (about 3.5 to 4 meters wide and about 6 meters long). But whereas in my old living room there was a pure wall in front of my home studio, in my new living room I have a door leading to the bedroom at this point. I therefore had to move the studio a little way into the room to ensure an unobstructed passageway. However, as there was still a small table with a printer, radio and an ocarina to the right of the studio (and I wanted to keep it that way), I simply blocked the door behind the small table as a permanent solution and effectively turned the two rooms into a continuous walk-through room. The advantages of this are that the room now looks noticeably larger and more spacious, natural sunlight can shine into the room from both sides, you can also let your gaze wander into the distance from time to time and ventilation is better and quicker. A larger room with additional sound-absorbing elements such as carpet, wallpaper and furniture is also guaranteed to absorb unwanted sound reflections. And as the door to the right of my studio is now virtually permanently blocked, I thought to myself that there could hardly be anything more funky than having your very first electric guitar always visible and within easy reach just to the side of your studio so that you are always reminded to practise regularly. On the other hand, this way you have avoided drilling holes in the wall and entrusted the functionally deprived door with an almost sacred, spiritual task. ... Well, actually I would have preferred to buy a ready-made solution like the guitar holders from DoorJamz Guitar Hangers here: https://www.guitarhang.com/ But as these are probably designed more for American doors with different shapes and dimensions, apparently can't be ordered completely in white and there have already been isolated reports from buyers where the mounting elements have discolored the guitar, there seemed to be no more obvious way for me than to get down to business myself, armed with a small arsenal of tools. ... The planning and design of the construction, all the shopping and the building itself took me a good 2 days in total. The construction turned out really well for the fact that I mostly finished it outside in the dark evening hours with a flashlight, as it would have rained heavily again in the following days. I used whole, unglued wooden slats made from cheap, very light and easy-to-work spruce wood from the DIY store. For the guitar mount, I opted for a white wall mount from K&M because not only do they look nice (they go really well with the white body of my electric guitar and my white door), they are also very sturdy and the flexible brackets, which fit almost all electric guitar models, have stoppers at the end to prevent the electric guitar from slipping out unintentionally: https://www.thomann.co.uk/km_16280_white.htm A good friend gave me the really helpful tip of using sleeve nuts for a good and secure screw connection of the guitar mount to the wooden construction. These are available with flat heads, look pretty inconspicuous in terms of design, fit snugly and securely in a drilled hole in the wood and can be tightened very well from both sides in connection with an appropriate screw. On the back of the wood (the opposite side to the K&M guitar holder, so to speak), I drilled a small recess in the wood with a Forstner bit so that the screw head and washer disappear into the wood and don't leave any unsightly marks on the door. The rest of the construction consists largely of glued wooden elements screwed together with ordinary wood screws. In terms of length, the construction (approx. 70 cm long) is designed so that the top part of the headstock of the electric guitar (which is almost 100 cm long) resting in the holder is almost flush with the upper edge of the door, while the lower part of the electric guitar on the body is once again really well supported and stabilized by the extended piece of wood and protected from excessive swinging or hitting against the door. When the paintwork is finished, I will also attach a few furniture glides in the appropriate places to cushion the loads and forces exerted by the wooden construction on the door and the electric guitar. ... I was actually thinking of doing the paintwork myself (for cost reasons alone, especially as painting the small wooden structure will cost another 150 euros). But as I don't have much experience in painting (especially not in a way that would make it look really professional), I don't have a suitable space for painting (especially for this really unpredictable time of year), I didn't want to stock up on new equipment and tools for this one-off project that I would probably hardly ever use, and above all I didn't want to mess up my construction for a daring attempt at painting, I decided in the end that it would be better to shell out the cash. As a result, I was able to do some final housework at the end of my vacation, such as cleaning the windows and my bike, which means I'll have a bit more free time again in the near future and, above all, a clear head to finally devote myself to the things I'm actually passionate about - namely composition, mixing and sound design. ))

Check your PMs, remixers.

I'm thrown off by the rhythm right away.  The source is in 3/4, and so is the remix (I think?), but the drums are not accentuating the 3/4, it's like 4/4 patterns smashed into 3/4 which is confusing my brain.  I would imagine when working on this track, your brain makes sense of it after awhile, but as a first time listener, I'm very confused by the rhythm here. The synths sound very simple and uninspired, and the lead does not punch through as the guys have said, and everything is very dry.  I love the concept, and I agree that it is great to hear you branching out!  But the sounds need an upgrade I think, along with a touch of reverb on things so the mix isn't so dry.   I agree with the guys about the stacked fifths pad, that's tricky to use as when the note changes, it's an entire chord changing and doesn't always go with the rest of the writing.  Better to write your own chords. The transitions where the volume is quickly automated down sound awkward to me (at 1:08 and 1:28 1:58).  I get the idea, but the execution isn't sophisticated. With the drums, I think the track would groove much better with a pattern that accentuates the 3/4 pattern of the writing, instead of fighting against it which is what I hear and feel in this arrangement.  I don't know how better to describe this, but I feel like this is a 4/4 drum loop repurposed for 3/4 and it doesn't work for me rhythmically at all.  It feels hectic and lacking proper groove. NO

opens with some stacked fifths pad and an interesting filter sweep sfx. i agree that the initial lead doesn't punch through at all, there's gotta be something on it to make it pop. there's a little movement on the drums which i like pitch-wise in a few of the fills, but i did notice that the same snare fill got used several times before the 1:00 mark. there's a nice break at 0:50, well-timed, and i liked the smaller kit there for a bit. around this point i really felt like the lead was a placeholder and was waiting for the real instrument to come in - it just doesn't sound strong enough to be a lead at all. there's a fade transition at 1:08 that i really didn't care for - reminded me of the sample tracks i used to hear on myspace =P i'm too trained to assume fadeouts are endings, it felt strange as a transitional element. 1:09's got a neat rising element which was fun to hear. still no change to the lead by here, and there is not much going on from a pad perspective on this section so it feels a bit empty. i liked the rhythm of the percussive elements matching the melody, that was fun. 1:28's got some more updates on drums which was fun to hear, and there's some playing with sample duration in here too which was a neat change. 1:58's a recap of some of the earlier material with some new ear candy to catch, and then we get some descending action at 2:19. introducing new harmonic material right at the end of the track and then fading without a resolution or prep might not be the best idea - at the very least, providing a more clear closing point to the track would help a lot. i love to see you branching out! i think that, like gario said, a big element to change would be to beef up the initial saw lead that's used throughout, and to focus on setting the soundscape up better (being careful about pad usage, consistent verb usage, and spacing within the freq range throughout). i'd also point out that there's not really a strong direction throughout the piece - it feels like a bunch of disparate parts. identifying a way to pin everything together better and lead from section to section would help a lot, i think.     NO