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One month remains... Don't forget!

Check up on your lonely PM boxes, remixing people.

Thanks. Conceptually I was trying to go for an Andrew Eldritch vibe, I don’t think it ended up that way but I am also happy with the way it turned out. thanks for listening and sharing your thoughts! 😊❤️

Reverb and delay on the vocals is on point! Banger of a track you got here.

If hackers already have huge rabbit ears, this is often a sign that their ears have already been pulled a few times. But no, I never had any problems with viruses, malware or any hacking attempts even after the official Windows 7 updates expired (I still get some from time to time - but they are mainly antivirus updates for Windows Defender). In fact, this has somehow felt like the most malware-free and computer-performing time in my entire life. If I have caught some nasty bugs (like some guys of the Verfassungsschutz with the stern-looking upper-lip beards who obviously still worship the ill-humoured leaders from the 30s and 40s leaders), then it's probably because I've commented "too positively" on the powerful, fanfare-like brass playing in a well-known workers' hymn: But now that you are as good as in the club, comrades, the donut hackers from the Committee Against Communist Activities will have to increase their human resource capacities enormously. That buys us all time to work on the next soundtrack against Shin-R... erm, a soundtrack for love, justice, fluffiness and a future worth living. )) (I'm just imagining how weird the story would be if Trump, Biden, Elon Musk, George Bush and Dick Cheney transformed together like a rusty Decepticon Transformer into some 5-headed mech hydra with Skynet surveillance to go into the final boss battle with their crusty elitist propaganda chants against the based beats of OC Remix >>> "Me, a god - versus you, a piece of shit." - until the hair-shifting OC beat drops and Donald gets even balder than his biggest enemy of all time, the bald eagle...... Hahaha...... https://www.youtube.com/watch?v=o7_OWYrLVOU)

Nah. My W7 install is long gone.

Lol ”asking for a friend” 😂😊👍

This is really interesting, do you have your W7 machine connected to the internet or is it offline?

This weeks guest is a returning one, Daniel Lindholm, A Freelancing composer known for work in the Yakuza Series, Street Fighter V AE, Resident Evil 6 and more. Daniel visits my home during his visits in Sweden, to sit down in the kitchen and talk about his three latest indie games that he have been scoring, Fallen City Brawl, Danlab's Golf and The Port of Jumanah. We're talking about action movies, motifs, martial arts and the stealing of music. Episode is available on Spotify and I've recently also added the podcast to YouTube, feel free to follow or subscribe to places you prefer to listen to podcast! YouTube: https://www.youtube.com/@GameableAudio With this I'm also going in a small Hiatus during December, all to recoup myself and my upcoming unemployment, Gameable Audio will be back on the 13th of January, 2025 (With exception for Episode 47 with David Wise, which is still in mixing, it will release as soon as I have time to edit it)

Seven sources AND it's a remix of a remix.... uh, ok! Since I don't know this OST well (I know, shame on me, I have no excuse!), and Brad and Larry have already voted, I'm just going to vote on the mix itself. I also didn't like the suffocated vocoded vocals at 0:33, (and again at 5:18) but when the real vocals come in, they are clean and clear, perhaps too clean though. I think adding some more processing to the vocals would be good, not to mutilate them but to make them mesh with the soundscape better. I think this arrangement is really ambitious and cool. The instrumentation is good, the strings sound full and well sequenced, and I like the orchestral sounds against the guitars and synths, and there are tons of little glitches and fun ear candy. The guitar bits are performed well and so are the vocals. The arrangement is great, super creative and fun. I completely agree with Larry though, regarding the production. That clap is comically bad, so simple and dry. The drums overall are mixed way too quietly. The vocals could definitely be louder in the mix, and there's a low-heavy feel to the midrange instruments giving the overall soundscape an unnecessary boomy sound (those elements need their lows tamed with EQ), while the bass itself is too quiet in the mix. The vocals (especially the male vocal) have too much low end presence (example, "you" at 1:18 sounds way boomy). This mix could definitely use another balancing/mixing pass. And the piano sounds too stiff and gridlocked, needs a bit of humanization. I don't hear or see the final limiter going nuts as Brad does. I don't see any clipping in Cubase or on SPAN (remember to turn off "true peak" if using SPAN, and if Audacity has that parameter turn it off) and I do not hear overcompression, but I do hear the master is doing some unwanted pumping whenever the kick hits. I don't hear any sidechaining in this mix, and sidechaining (at the very least, of the heavy/low elements like bass, deep strings and pads) would clear up room in the soundscape and reduce the heavy load when each kick hit happens, which will reduce the burden on the final limiter and eliminate that pumpy thing happening in the master. (fast attack and release on the sidechain compressors, 3-ish db gain reduction, ratio of 2:1... keep it subtle but that will really clean things up in conjunction with some EQ on the low ends of things) I was actually planning to pass this even with mixing flaws but reading back what I wrote I don't think I can pass it in good conscience after having said all that. I love this though, and it will be an easy pass for me when the mixing/balancing/master have been improved! NO (please resubmit)

This one, Arena, and Nanman are forever part of my DNA. Very cool medley here.

Wow, talk about making my day! Played more DW3 than many other games on the PS2 and, yep, this source is a forever tune in my head. Loved that keytar! Thanks mixers, this is fantastic!

opens with some percussion. the loop points are pretty noticeable with the first percussive element. it's super bassy and very wet to start, and there's a few harmonics (around 3.1k) that are hard to listen to in that opening section. bass comes in with the melody at 0:20 and it's just a massive blob of mass between about 45 and 200hz: it's very dense in here, and it feels pretty slammed especially in the left ear which is louder than the left. melody's in a percussive instrument, but it honestly sounds like there's more delay or verb response than there is melody. it's hard to hear where the attack is in the melodic instrument. as i listened to this opening section a bit more, i realized that i think that the original's playing real-time behind the added elements like synth, guitar, and effecting (just start the original's youtube at like 30s in). i think it's being chopped up and looped, but i think that's why it's so dense-sounding. the instrumentation elements are playing exact matches from what i can hear. we don't disallow sampling the original in remixes that we post, but we do require arrangement that is transformative. this is quite literally just the original audio with a small number of additional elements layered on top and a really, really bass-heavy master complete with huge reverb added to the entire thing. not only does not this not pass muster on the engineering side with the mix being so dense and boomy and most attacks not being able to be heard, it also doesn't pass on the arrangement side given that the arrangement is essentially not yours throughout. this isn't something that we'd be able to accept. if you wanted to rework it to feature your own instruments, and focus more on the arrangement (since there's essentially no personalization here), then that's something that we can work with. this isn't even a cover, though, it's the original track with something on it to discourage copyright detection. NO OVERRIDE

I wanted to make it feel a little bit more like you were really in the space that the song is trying to manifest. The original drums were the only part of the song that I decided to sample and leave basically untouched. They are the core and driving force of the whole piece. They keep you wanting to move forward through this jungle of sounds that occupy the rest of the space. I feel like the US OST of Sonic CD is woefully underrepresented today. Of course the original JP soundtrack has plenty of hits and a ton of staying power, but Spencer Nilsen's work has always shined in my eyes ever since I first played the game on the Sonic Gems Collection waaaaay back in 2005. I wanted to honor his and his team's work without deriving too much from the original concepts and charm. Think of this as a sort of "Sonic Mania-ified" version of the OG track. Games & Sources This is an arrangement from Sonic CD's US Soundtrack, Palmtree Panic by Spencer Nilsen. Very specifically, I based the song progression off of the version heard in the Sonic The Hedgehog Boom CD from 1994 -

What did you think? Post your opinion of this ReMix.

As the two previous judges have mentioned, the arrangement on this is not at all the issue here. I like the conservative approach with minor additions throughout. The arrangement itself is very pleasant and I could listen to this on loop with more work put into it. The interplay between the guitar and the piano is very pleasant, however; the guitar is mixed behind the piano and is tougher to focus on with the piano being much more forward. I don't love the vox but it's possible to get by with this sample. As a vocalist myself, I'm always bothered when I hear forte timbre being applied softly through samples. It just sounds unnatural. Unfortunately, the humanization of all of the parts is the drawback here. With only 3 parts, they are exposed and it makes it easier to hear when things aren't as realistic sounding as they could be. If you don't want to get live performances, that's fine. You'll just need to spend a lot of time working on the fine details of performance to sound more in line with a human performance. Now, I'm not saying things are robotic here, but they certainly could be improved. 2:33-2:56 in particular (in the piano) stood out as it seems no pedaling was utilized here. Exaggerate what you've already put in as well as adding more human rhythm/velocity variation will go a long way to improving this. Just not quite passed the finish line yet. NO (resubmit)

@WarezWolf Ah, 'kay, I didn't realize at the time that "live user" referred to Ableton, which was the name I knew the DAW by. I also didn't know that even Ableton (just like Samplitude and all the Native Instruments VSTi products) was developed here in East Germany - really interesting. But once you've been working with a good, stable, properly equipped and smooth-running DAW for a long time and you've figured out, learned and internalized all the functions, I would really stick with this DAW in the future. If this CLAP software architecture proves itself in contrast to the well-known VST interface - and the opportunities and application possibilities already look promising - then after a few years the majority of other DAW developers will also follow suit and implement this system. On the other hand, Steinberg could also develop an upgrade for its VST-based system, which will then also enable multi-dimensional plug-in parameter and envelope chains such as CLAP. So, no reason (hehe) for fitful sleep 'n' apocalyptic "the composers without the newest features die first" dreams. ... "Patience is the key to paradise." (Arabic saying) ... So, new developments like this don't really knock my socks off too much. I'm always a few years behind the times, so to speak, and I'm still completely satisfied with good old Windows 7 Professional, my still really powerful PC environment (Intel i7-6700 quad-core processor system, 32 GB DDR-4 RAM, a pretty energy-efficient GTX 750 Ti as a still useful oldtimer graphics card and a still pretty much free 2TB HDD) and of course with my DAW Samplitude Pro X4 Suite, which is 4 versions behind the current Samplitude version (all this saves a lot of time, money, nerves and you avoid those really annoying Windows reinstallations or Windows upgrades - including required mainboard and other hardware upgrades und reinstallation of all the software after every few years). Since I've already got all the software and hardware stuff I really needed and wanted during the last years, I'm really content with that. I'm much more focussed to develop some legendary composition skills and to finalize my (during the last years conceived and especially during the last 2 years further developed) dynamic mixing concept I named "Life Force" (I'll show the results with a remix I might already finish towards the end of this year). ))

I have to echo what the two previous votes have said on their points, I agree with them. The leads are often much too bright and forward, really making a harsh unpleasant tone to listen to for long periods. A few things that I want to add: 0:37 shakuhachi-like instrument enters and it's very dry and present. 3:07-4:20 there are many notes during this section that just sound wrong. Something is dissonant and not in a pleasant way, at times it just sounds like the shakuhachi/flute is playing in a different key entirely. Many transitions and direct modulations don't feel prepared and as a listener you're jarred from section to section. The overall macro-structure of the song is fine, and there's a journey taken and a story told. There just needs to have a lot of work done to improve the detail work and production. After 3:07 think about what's the most important part of the arrangement and have that be the focus. Not only are there a lot of parts going on, but the balance between parts is off. As the lead is much louder and forward then the other parts. This whole section is brickwalled too, give the listener some breathing room here to be able to process everything that's going on. Prophetik mentioned side-chaining for this section, and I'm not hearing any being used here. It would definitely help clean up this section some with minimal effort. The ending after 6:23 having an echo-like coda that fades to nothing is much quieter than the section proceeding it, I honestly thought I had something else accidentally playing in the background at the same time. I do like that some attention has been given to the articulations on the leads with some glissandos as well as shaping of phrases with dynamics and crescendos/decrescendos. However, the actual instruments used are still feeling unrealistic. This can be helped some with better application of reverb on them and pushing them back into the mix so that they aren't forward and as present. When something stands out as much as these leads it's easy to hear their imperfections, easier to get away with less realism when it is pushed back into the mix. NO

Every time i listen to this remix i have to think of the Golden Sands Miami stage soundtrack of Rapid Racer (Playstation 1). See/listen the YouTubeLink below, which is only shown if you select the link above to show the full forum thread. I like this remix.

Hi all, I'm going to be in the market for new desktop headphones soon - for day-to-day use and to do basic mixing with. They don't have to be anything fancy - my current ones are just Logitech G433s - but I'm looking for: - Price of $100-300 - Not fully noise-canceling. Some mild noise cancellation is fine. - Better bass / low end definition than the G433s - Not much sibilance. A lot of "gaming headphones" have been too tinny or too loud in the 3-8khz range, etc. - Durability! I've had the G433s for 5+ years and they still haven't fallen apart, even with use on most days. Mixing-wise the bass thing is starting to become noticeable, to the point that I have to test on other systems (ex. car stereo) to make sure everything below 100hz sounds fine. Any suggestions are appreciated.

I’d also like to add that I have a ton of outboard gear, but I’m going to say the thing that makes OGs angry: There is no factor other than workflow preference and need for tactile feedback that keeps anyone from doing literally anything they could possibly need to do ITB. In addition ive heard insane things that certain DAWs “sound” a certain way (warmer, cleaner, etc). There is no factual basis for any of it. so my desire to do it all ITB makes having a daw that supports CLAP a priority for future proofing my workflow. https://en.m.wikipedia.org/wiki/CLever_Audio_Plug-in Dont want to get into the nitty gritty but basically all industry standard plugin formats namely AU, VST, RTAS (and its successor) are proprietary. There’s some weird history with VST that confuses some people about this, but it’s a proprietary format developed by steinberg for steinberg hosts (Cubase). having an open plugin format is important, and I believe it is important for the CLAP format to take its place among those other contenders.

Thanks for the recommendation. I’ve been using digital audio workstation software for quite some time (since the days when it was “cakewalk or bust” on windows and then sonar shortly afterwards). I am quite happy with Ableton Live. I am an IT professional as well and have concerns with using windows as a platform with which to run it on. Companies such as adobe state that your consent is implied for their usage of your intellectual property and creative projects for the purposes of training machine learning models. Copilot may follow suit with an “opt out” model very shortly. Combined with Microsoft’s failure to gain any traction for the WASAPI driver model, and the inherent issues with closed source software operating on such a fundamental layer of computing with no way of keeping its privileges check and no way to understand the full scope of telemetry and any changes made to those practices (see: recall, a new windows feature involving screen capture) the list of reasons why I’d like to switch to an open source operating system are endless. Live does not support Linux officially. Bitwig has an almost identical workflow and ergonomic philosophy, and integrates the modular MSP philosophy of “Max” much more seamlessly into the UX. if after reading this you still think I would benefit by giving the DAW you mentioned a go I certainly will. I want to say I have a license from a humble bundle or something?

Hello! First time on the forums. Recently noticed that "10 AM" from the ACNH soundtrack and the Empire City Night theme from Sonic Unleashed have very similar vibes. 10 AM Empire City (NIGHT) I was wondering if someone could remix them into a chill/maybe lo-fi-esque sort of thing. Or maybe something similar to Idle City Streets. Like, a good song to sleep to.