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  1. Today
  2. This is some of the best music I've heard in at least a decade. Seriously.
  3. Yesterday
  4. You tend to forget that this was created by HAL Laboratories until you listen to the OST, which sounds like "What if Kirby All Stars, but Medieval?"
  5. I gave all three tracks a listen. My background is classical piano so that's where I'm coming from regarding my take on the tracks. Lucid dreams sounds like a midi, which is not a good thing. The piano is monotone and obviously digital and not in a good way. It's possible to make digital piano sound realistic, but you'll need to add some amount of reverb, sustain, stereo imaging, and perhaps delay to mimic the sounds of a real piano and give it depth. Variations in the velocity of the notes is critical and generally pianists will emphasize the 1st and 3rd beats in 4/4 time, the 1st beat in 3/4, and so on depending on the time signature. Some slight offsets in the note lengths, passing notes, trills, crescendo and decrescendo, and other human touches are generally necessary. Real piano recording for reference: If you're recording a solo piano track, then it makes sense to simply record a real piano and it's surprisingly cheap and easy to find a good piano and a couple of condenser mics these days. However, if you're wanting to include other instruments like you did for your tracks, then getting the recording to be in time and in tune with your other instrumentation can be very difficult, not to mention having to denoise the background to create more headspace for the rest of the mix. I'm not sure what DAW you are using, but in FL studio, even the stock FL Keys plugin is surprisingly good if you take the time to work with it. There are other free piano plugins that are realistic as well (I used to use Tascam CVPiano back in the day). The other tracks were... different. I noticed that there was a lot of dissonance as well. Dissonance can be an incredibly powerful tool but you have to return to some sort of root or resolution to prevent it from simply sounding like random noise. I don't know if you've heard of clown core, but I recently started enjoying their "music" and they are a perfect example of how to use dissonance effectively to convey a musical intention (Don't be fooled by the clowns! These two guys are extremely talented musicians). Take some time to find some sheet music and pick apart your favorite songs to analyze the key signatures and chord progressions. From there, read into the main melody and the accompanying harmony and see how it fits into a cohesive whole with the intention of a specific expression. Music is hard to understand and even harder to compose in a manner that is artistic because there are rules that you should follow except for when you shouldn't follow them. Quite the conundrum. And hey, you can also try learning an instrument! Once you know how to play an instrument or two it becomes much easier to understand how to write music for any instrumentation. Best of luck and don't give up! Edit: I took a look at your youtube uploads and just wanted to say that I really enjoyed Recusion - Black. Very nice ambient feel and a perfect fit for a menu!
  6. Hi guys, I would love if you can listen to some of my music and tell me some feedback. I create videogame-like songs, with a touch of Ambient. I really don't think too much of the genre while I'm composing, but my main musical inspirations come from videogame composers, like Toby Fox and ZUN. Some of my best songs:
  7. Last week
  8. I subscribe to EastWest Composer Cloud. It's not free, but I get it with an education discount and find it to be very valuable for $10 a month. I quite like their EW Fantasy Orchestra bodhrán. You can hear it on this track: (Mixing and mastering isn't the best—I'm still learning—but the bodhrán should be pretty audible.) And also this track (where the mixing and mastering has improved, and also the bodhrán sits in a busier mix): So yeah, I'm pleased with their bodhrán! The subscription also includes a massive amount of other percussion, including Goliath as mentioned by Geoffrey Taucer, which if I remember is actually being used in the above track for the taikos and riqs.
  9. What did you think? Post your opinion of this ReMix.
  10. That's right. That's why I try to avoid listening to soundtracks and other audio programs on devices with extreme frequency boosts (especially treble and bass boosts) and rather prefer listening devices with a more linear frequency response. Another way to keep your ears alive is by mixing and listening to audio programs without dynamic compression and by listening to them at lower volume levels on a regular basis. Make sure to keep this volume level. As soon as you get the impression that the volume level isn't enough anymore that's the right time when your ears should get a longer break of silence. I tried Sonarworks for my studio headphones long time ago - but I didn't like it. I didn't like to change the presets everytime when switching between headphones and studio monitors. And I didn't like the result of the sound. It sounded more exciting after calibration, but also in a kinda weird and artificial way. I would expect that it may sound more boring, less spectacular after calibration, and that it would show me much more the weaknesses of my mixes. But it sounded more explosive and polished. I don't trust tools that make my mixes sound instantly better without having done anything in the mix. My own experience at mixing - not specifically at mixing with headphones, but at mixing with studio monitors. Let me explain what I'm talking about... ... My second pair of kinda useful studio monitors - the Presonus Eris E3.5 - had a bigger bump in the bass and higher mid/treble section: Back than, my mixes sounded like this: Not too bad - but still far away from a professional mix. ... Then I got the Yamaha MSP3 with a much more linear frequency response and a really good midrange: Just some time later after getting used to my new Yamaha MSP3, my first mix created on these studio monitors sounded like this: Much better and cleaner. Even the bass frequencies you might expect to hear less in the mix on the Yamaha MSP3 with the much more linear frequency response is way cleaner and much more assertive in this mix compared to the previous track. ... Just wait for my upcoming Crisis Core: Final Fantasy 7 Remix (my second big mix on the MSP3). In view of my increased mixing experience and a few new mixing possibilities that opened up to me some time ago, it will really exploit the potential of the Yamaha MSP3 and, apart from the compositional creativity, even surpass the mixing quality of the original track. I'm really looking forward to finally finishing the remix (I'd say it's already 90 to 95% finished). Unfortunately, my private and professional life has been taking a toll on me with lots of work and additional hurdles, so I haven't really had the time and peace of mind to continue working on the soundtrack for almost 2 months. But I hope that my somewhat extended Easter will give me the necessary time, peace and creativity to continue working on the track and to present the final results some time later. ))
  11. Well hello there! Great source tune, and I like the concept for the remix in chiptune! But I have to agree with my fellow Js that this arrangement comes off really repetitive as well as very conservative to the source tune. And the production is odd, I think the low end is broken? There is activity below 40Hz (mostly inaudible) and a dent between 40-80Hz, I can't say I've ever heard or seen a low end like this! The inaudible low-end content makes the master overblown without even sounding loud or having any impact. This production just isn't cutting it. The reverb on the chiptune is fine, but the overall balancing and mixing isn't there; the drums are too weak and the leads are too loud. Perhaps take this track to our workshop for further feedback. MW is right, this is a good start! Now take the time to learn proper production and arrangement skills. Everyone starts somewhere, welcome to OCR! NO
  12. Hi, The last week or so, the MD5 checksum listed on the download page for most new ReMixer has not matched any of the mirrors. I noticed this, since I download the new songs using a script, so I need to disregard the MD5 checksum altogether. For example, 4596, 4598, 4599, 4600, 4601 does not match any of the mirrors. Example: https://ocremix.org/remix/OCR04601 (Super Smash Bros. Brawl "En Garde") MD5 checksum listed on page: dc6bd2719dee1f9ca0ebad339a7fbf61 ocrmirror.org (generated): dcfdb9d218ac7a30e4ad47c9a014093c iterations.org (generated): dcfdb9d218ac7a30e4ad47c9a014093c ocr.blueblue.fr (generated): dcfdb9d218ac7a30e4ad47c9a014093c You can generate a MD5 checksum using a web tool like: https://emn178.github.io/online-tools/md5_checksum.html As you can see, the files from each mirror match perfectly, but the checksum on the page is just different, and does not match any of the mirror. If the checksum on the page does not match any of the mirrors, the checksum can be removed since it does not have any purpose.
  13. Track - Sonic 2 - Emerald Hill Zone Original Composer - Masato Nakamura Cover Made By - Peshtiwar Botani I usually focus on orchestral music, so this is something I usually don't do. It's an attempt of the style of Tee Lopes/Sonic Mania, I don't think it's great but I don't think it sucks either. Also I noticed that I transcribed the first 3 notes of the melody wrong and had to fix it and re-upload, the brass is also better programmed now. In my opinion it's like half way there. I have done an attempt like this in the past that is way worse in my opinion. I will most definitely make more attempts of this track when I get better at this style, I consider this more of a practice right now. Take it for a spin!
  14. there's a degree of frustration with creating tracks with a smartphone. anyway makus hideout Hideout Maku.mp3
  15. What did you think? Post your opinion of this ReMix.
  16. It's very difficult to write tunes that are strictly chiptunes while making them complex and engaging enough to be listened to as standalone music. Unfortunately, sticking to a fixed sound palette does make a track sound repetitive, even if there's no actual copy-pasting going on. I do notice the subtle variations between the loops in this remix, but they're quite subtle. 1:08 sounds too much like a return to 0:11. The fade-out ending adds to the feeling of repetition. It sounds to me like you're not sticking to an authentic GB sound anyway—to me, the reverb sounds richer than what the GB could produce, and it feels like too many layers—so you might as well go the extra mile and use more tools than what it had. Change up the synths, strengthen the kicks. It's a good start, though. NO
  17. Thanks for the info and recommendations (and warnings)! I already have a good analog mixer and it doesn't cost me anything to keep using it, so I'll probably just go with an inexpensive interface to add in between the mixer and PC for now to see how it performs. Thanks again for your help!
  18. The German title simply means “Master of Magic”, I just thought it sounded cool and fitting for the track, no further story behind it really.
  19. I really enjoyed this piece and have gone back to listen several times now. I love the playfulness, the percussive fills, sfx choices, placement of the arp/melody, transitions, sound choices, pretty much nearly everything. I do wish it was a bit longer, but that's mainly because I just like the song =)
  20. in principle. they're not the very best tunes. but i managed to prove to myself that i can still make music while hearing voices. cause that shit started around that time, 2017-18. these days, i can cancel out the voices a bit better and am accustomed to it, but i definitely lost my muse on the way. 2019-21 was fucking terrible for me. it's fucking weird...i am sorta deconstructing the principle of "happy accidents", or i guess musical luck, whenever i try to sequence. but i don't reach that point often anymore where it just takes me over and i gotta do that tune, you know? i am much more alive than 3 years ago, but i haven't found my music mojo again. i'm in this weird analytical space regarding luck, in relation to sequencing.. because even though i have some chops, i have to say that most of my tiny musical brilliances were mostly luck. and that made me get really interested in the principles of what we call "luck"! final word: even though i fucking sucked in 2004, i was so good at sequencing stuff that excited me, because i felt it simply hadn't really been done exactly like that! much harder today innit?
  21. hey this has beautiful energy!! what is the german title about?? you have me intrigued.
  22. Ahhh, this is such a great theme, and this is a super effective treatment! I could use some more variation to the lead sound throughout, but in the end it's not like I mind that! Super-pumping robot-crushing music!
  23. I was going to say something but this....this is it lol. Great job MkVaff!
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