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You never know what kind of gold you'll find in that AM wilderness out there! Truly unique remix that is still on my playlist. The intro is a lovely (tiny) portion of early OCR.

Strong Blue rendition! Hey funny synchronicity; In track #10 from by track dump, i think i used the same "CMON" Sample, and it's a Genny track as well - funny!

Dude! Great Feedback! I'm Happy you Like #2 (NPI), because i think it's the strongest of the brunch. Very simple composition, but i Simply havent Heard It B4. #7 i started same day as #6, and wrote a bit Fürther next day. A sorta 3 synths + Drums challenge Thing. Never played cave Story For more than One hour, but your "outer Wall" comment Sounds so mysteriös, i feel Like there's some serious MV quality i missed. Eh, mby this year! I honestly think Out of These 10 Trax #4 belonx in EB! I think the beautiful Thing you say about #10, like the warm coat, that's partly this wonderful MKII EP that i can't play over Here becaus CPU will Just die. New plugin. But the rest Is a beatsliced drumloop and a sega Genesis emu. Hm, i could actually run this here. I could do One single instance of a CPU chewing plug and do the rest lofi. But i tend to not do that 'cause when i set up a system, i try to give It the Instruments It can run easily. It's a bit OCD... You see i'm kinda techy minded RN. FL setup on new PC Is Always techy work!

So cool, Shadow; i vaguely Remembered the same After my Last Post. And wasn't sure If i fantasized that! I think i First played Sonic 2 at my cousin's Place at mby Age 6, on her MS, and then properly played It on my GG Age 7. My dad was Always fascinated by new gizmos and that`s why i could enjoy that colorful, battery sucking gameboy. Yeah i mean the GG version. It was so cool, Like a "drop the bass" Moment in a club i Guess. Even though it's Not the greatest piece looked at in isolation, It fit the game 1000000% Give It a spin on emu It you havent! DJ M: sure!! Show me!

You got It! Exactly. There's such good Plugin stuff from 15 years back, Just gotta make them Shine. And Samples don't rly age...Just gotta use the good soundfonts and, again, Mix em Till they sparkl ;) The Brass Is WIVI and that's really cool Age old physical modelling actually. Runs fine on any netbook today. You gotta do lots of velocity and modwheel microsequencing, but then It Sounds good and different. Glad you Like!

Hey, i'm listening on my crappier €100 speakers again (80-2k Hz). It Sounds good! Good Sign. I Like the intro noise. Maybe a Harder crescendo and a sudden cutoff when the 4 hit would give It more Energy, but idk B4 i Hear It. U Happy with the length? I do feel this could easily be a ~4 min piece, and If you Go the extra Mile/minute with It, work on some Crazy extension whatever It Is...you might Cook up some truly EPIC cheeze. It could be a restructuring with 1 or 2 calmer parts in between mby, or a simple extension If you find a fitting One. It's good as It Is, but maybe you should Double down on this one and make It AWESOME. It's Wörth It!

Airship theme with the intensity of Doom is pretty sick, as was giving the koopa kids fight a similar style treatment. Guitar work was dope and I'm happy to hear the drums at the beginning hit as hard as they should. This is awesome all around.

Wow, this was something fun. It kinda felt like listening to the idea of concept of space and ocean colliding, so dimensional sounds about right. Trippy, weird, neat. I'd file it more under an experience and ambiance than song, but not bad at all considering the sources.

Great remix from a great source, well selected! Still filling out the weirdly wonderful on my playlist.

Well said, chill with intensity. An oldie but still a regular on my playlist for its ability to transport me with the soundscape

dude! track two speaks to me in a very specific language that i don't understand but love to hear and track 7 makes me feel like i'm casually climbing to the top of the outer wall in cave story track 9 belongs in earthbound :] the manic energy in the last track feels like a warm coat on a cool autumn day i'm digging all of your recent work man

So great. The lyrics are outstanding. Really captures this game's unique ability to get you into a "flow" state and reward you with the feeling that you're doing something impossible. Would make an amazing music video, maybe an underdog wizard at the game taking it to whatever its final stage looks like.

Thank you all for the feedback! I hope to post later today an updated version. Changed a couple small things, and did a mastering pass. Edit. File uploaded. Lowered the bass slightly, added an additional part the second time through the A portion of the tune, a high pitched chime as one of the posters mentioned, and did a mastering pass using caustic mastering...8 think I got some more high end presence and clarity. Lowered one of the harmonics on the bass. Thanks! Edit: Oh, one more thing, the italo disco sounding song that I took some of my sound ideas from. https://youtu.be/8C35sdjc_cw?si=hU8Ss0qREsCgkvRe New version of my song below. TwistedSisterzReEQ'D 6 dash 12 .mp3

Hey Pixel, Sorry for the oopsie, I fixed the permission! 🙈

something interesting i've just discovered: the boss themes for the MM and GG systems are actually different! i prefer the GG version personally then my actual favorite track from the game would be crystal egg zone, just for the lead synth

Howdy Que! Echoing Seph's and luna's comments, your remix sounds impressive! You managed to get a lot of mileage out of the syncopated bassline of the source's intro. While the pacing of the arrangement is generally good, I think the shortness of the transitions causes the remix to suffer somewhat; you're keeping the adrenaline pumping, sure, but the listener doesn't have a moment to digest the segments. That being said, we're looking forward to hearing more from you. Keep it up!

Spoilers! This is a nice sounding source track. I really like what is here so far in the WIP, especially the drum work. Sound selection sounds great too. Throughout the track I felt that I wanted more variation and maybe further deviation from the source, but I do like what is here.

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?"

Howdy, Master Mi! Besides calculating time-based effect durations, you can also use this calculation to place studio monitors in your space. First things first: the speed of sound through a given medium depends on the medium's density (and temperature). At room temperature (20C or 68F), the speed of sound through the air is 343 meters/second (about 1,125 feet/second), slower at lower temperatures and faster at higher temps. To calculate space in time-based effects like reverb and delay, that's 343 millimeters per millisecond (343 mm/ms) or about 1.125 feet per millisecond (1.12533 ft/ms). Next, sound waves radiate from the source -- almost perfectly spherical in lower frequencies and more directionally as the frequencies climb. A spherical room with a radius of about 11.25 feet will have early reflections (i.e. bounce off the walls) at 10ms. Of course, no room is spherical; most are rectangular prisms or combinations of 3D shapes, so you'd need to measure the distance from a given point in a room to all the faces (walls, floor, ceiling) to determine the travel time for the sound to reach that point from the wall and vice versa. Because higher-frequency sounds have smaller wavelengths, they lose energy faster than lower-frequency sounds. For especially large rooms like your cathedral example, it'll be necessary to roll the high frequencies off in your reverbs and/or delays for realism (and lower frequencies for mix balance). I like rolling off at 360Hz (high pass/low cut) and 3600Hz (low pass/high cut) as starting points but play around with these to suit your production. Regardless of the other dimensions, the average height for human males is about 1.77 meters (5.8 feet), while human females stand at about 1.63 meters (5.35 feet) so the time for a sound to travel from human-ish height to the floor is about 4.75-5.1 ms (1630 to 1770/343 or 5.35 to 5.8/1.125). But unless the sound source is facing the ground, most of this first reflection is likely not getting through your HPF. For the distances to other surfaces, convert the distance to either millimeters or feet and divide by either 343 (mm/ms) or 1.125 (ft/ms). It'll be up to you to decide how big you want this cathedral to be and calculate accordingly. You can also fudge those delay timings to simulate a colder or warmer room -- e.g. at 0C or 32F (freezing point of water), the speed of sound is about 331 m/s (1086 ft/s), or 331 mm/ms (1.086 ft/ms), so the time to the floor is about 4.9-5.3 ms. Not much slower for the first reflection, but the difference is more noticeable for further surfaces.

Guess I had a good nose for some of the most illuminating 15 minutes of the video, skipping through the whole video content like a passionate and fiercely investigating hobby detective. ;D

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

Nice one. )) Without seeing the whole video with the length of over 4 hours, I would say the following things are crucial to bring some VSTi/VST-based electric guitar magic in the soundtrack: 1) a realistic electric guitar VSTi with a good amount of faithful articulations/playing techniques 2) a nice electric guitar and bass amp VST simulation that features lots of settings and effects 3) a good understanding of electric guitars and performing special guitar techniques in the DAW (so, everything about the technical things going on when playing a real electric guitar and how to translate it with all your DAW tools like the electric guitar VSTI interface, the MIDI editor and further plugins) 4) and lots of mixing experience On the other side, even a real electric guitar in the mix can sound like a Goomba stuck in the sewage pipe if the guitar has bad pickups, you stole the fishy guitar amp from a grumpy octopus at the bottom of the shore or your playing and mixing skills just passed the toddler difficulty. ... During this week in the first part of my summer holiday I also tried to implement a nice clean electric guitar into my coming Crisis Core remix composition - and I got pretty much inspired by the soundtrack "Everytime We Touch" by Maggie Reilly: For the clean electric guitar that I've played more or less via MIDI keyboard in my DAW, I might have to do some work concerning timing and articulation. But it already sounds like something I'd definitely go for in the coming remix version. Here's a short audio sample of my early results: CC - FF7 Remix (Excerpt) - Clean Electric Guitar.mp3 You might turn up the volume a bit because I uniformly master my soundtracks at EBU R 128 loudness standard at around - 23 dB (LUFS).

Not my favorite genre, and yes it's repetitive, but it does a good job with the source and it just...works! Very easy to listen to, IMO, and still on my regular playlist in 2024

This question has been on my mind for some time now whenever I use stereo delay effects, for example when I want to work mixing-technically with a filter stereo delay in combination with a cathedral reverb as in this visualized example: But first to the basics of delay effects. You often have the choice between synchronized or BPM-related (BPM = beats per minute) delay times and non-synchronized delay times, where you can set the delay precisely in milliseconds. It's possible to convert the values between both delay modes - just take a look at this helpful link: https://sengpielaudio.com/calculator-bpmtempotime.htm The synchronized delay time can be more interesting for electronic music (or maybe also for avoiding too much phase issues), while the non-synchronized delay time can be more interesting for a natural and organic soundscape due to some irregularities (for example, by using settings such as 195 ms instead of 250 ms). To have more freedom, precision and a better understanding of the delay time I'm using when setting the values, I often use delay effects I can set in milliseconds. So, in my case with the non-synchronized delay settings of this image, a played note of the track with this delay plugin will get its echo(s) on the left side after every 250 ms and on the right side after every 500 ms. ... The feedback value, on the other hand, indicates how strong or how loud a sound event transitions to its subsequent delay or echo or how quickly it loses intensity/volume over time. With a feedback value of 50%, for example, the subsequent echo will be half as loud as the previous sound event and the delay will flatten out relatively quickly as a result. A value of 100 %, on the other hand, would create an endless echo with the same loudness as the original sound event. With a stereo delay, the whole thing is obviously a little more complex, which is why you would have to set the feedback values on both sides to 100% for such an endless echo (and the signal must also not be absolutely dry). ... The pan value is easy to understand and sets only the panning of the delay effects of course (panning of the source signal won't be affected by this setting). Just like for reverb sends, I would also recommend hard pannings for delay effects to avoid an accumulation of sound mud in the center area of the mix. ... The dry/wet value is the ratio between the loudness of the source signal and the loudness of its echoes/delays. So, extremely wet settings with very silent source signals and much louder echoes might sound pretty wild - or weird. ... And since I used a really sophisticated filter delay with a low-cut and high-cut filter in this case, I can also set the frequency range for the delay effects. In my case with the settings in the picture, the delay effects below the frequency range of 500 Hz will be filtered out or radically reduced loudness-wise. ... But now my core question. How do you use a stereo delay effect plugin like this in a mix to create a natural and realistic spatial impression for a certain purpose? Let's say that the source signal is located in a big cathedral (cathedral reverb activated) and might be used in 7 different situations, after you (the listener) just entered a large cathedral: 1) In the first situation, the source signal should play pretty much in the center of the cathedral (no special heights involved here - sound source should be at ground level or at the height of the human ears). 2) In the second situation, the source signal is still in the horizontal center of the cathedral, but it's shifted much more to the front side and towards you standing in the entrance area. 3) Similar case, but this time the horzontally centered source signal gets shifted towards the back of the cathedral. 4) In another situation, the source signal should play on the left side in the back of the cathedral. 5) In the next situation, the source signal should play much more on the right side in the back of the cathedral. 6) In the following situation, the source signal should play just a little less far on the right side and a little less in the back of the cathedral. 7) In the last situation, the source signal should play on the right side in front of you around the entrance area of the cathedral you just entered. How would you set and change the delay values (especially the delay times for the left and right side, the feedback and the dry/wet parameters for the left and right side) for these situations in order to create a realistic and natural spatial impression (maybe also in connection with shifting some of the reverb parameters)? Maybe somebody also knows how to create a further impression of height above the ground level for a sound source in a cathedral just with delay effects like these. Might be a tough question even for professional audio engineers and die-hard physicists, but maybe someone already geeked out into topics like these.