All Activity

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

Original: SEGA Genesis:

Original: Mine:

Oh, trust me, I'm not diminishing your feedback, but I know the limits of the console, which this stays within, but it clips, causing the sound space issues. I actually use the DAC channel for samples, keeping my PSG channels available instead. I chose Crystal Clear mode for this (as I do for most mixes), as the hardware emulations released in recent years (I forget what they're called) allow this option. I know that in a real game, there will likely be more compression. I just like it to sound good for my younger audience. And yeah, that crackling is annoying as hell, but it might just be a phase click, could be something else. Definitely investigating that when I return to this.

Thank you for the feedback, definitely will develop this better in the future. Technically fits on the SEGA Genesis as is (assuming zero compression for game assets), but that being said, I'm still not satisfied with it right now.

Original: SEGA Genesis Drum n Bass remix:

i like how you combined these two themes quite a bit. its seamless, feels like one complete song rather than some attempts at mashing up sources which can sound inconsistent (im very guilty of this) i like the production on this quite a bit. that bass in particular feels really good and is well composed. the synths on top are very light and quirky at times, but they complement the dark energy of the track very well. very good job. i like this one a lot.

So, when I built this track, it was a continuation of my "Funk Overload" track. However, when building this one, I noticed the synthesizer sounded a lot like Motoi Sakuraba's signatures. As I continued, even the repetitions were sounding like him, so I said "what the hell, why not?" and didn't hold back. I figured, if I'm going to sound like Motoi Sakuraba, I might as well go all in - and man, when I say I went all in... I went all in! I'm telling you, I've got the samples to make it sound like a Tales game! Most notably, Tales of Symphonia, because that's one of Motoi's best tracks! EDIT: Forgot to mention, I implemented several fixes based on the feedback from my other video. 1) I made the transitions a respectable size instead of rushing them. 2) I made the variations longer so people could enjoy them. 3) I added MORE various variations to keep the track from being dull (I was told my previous Zelda BoTW song got dull at the end LOL) 4) I also made the song close to 10 minutes to give the track a full feel (how techno is supposed to be!). 5) I tried to go for a very unique intro, mid and mainstream drop with different variations (whew!). Here's hoping Motoi Sakuraba hears this one day and goes, "Hey, that's me! DJ Que is my clone!!"

I couldnt listen to the examples; Just askin: were These kinda Ambient Tunes? BC SM kinda introduced Ambient into VGM, and as much as i love Ambient i think it's one of the First to "Fall"; Ambient with some base melodic themes Is kinda Ez to do Alright. Just sayin.

Sounds so modern :) Ty For all the Musik 20 yrs ago maze, and keep rock in!!! (I honestly gotta listen to your newer stuff sometime. American Album lotsa plays But after that...)

Sounds phat on crappy JBL, i Like this new Intermezzo! You're striking gold methinks! Päd Sounds Amazing and ethnic lead as well!

Howdy, VQ! Also gonna reiterate live review notes for posterity: The judges honed in on the fuzziness happening from 3:25-4:09. It's highly likely to be too much saturation on something. This can be tamed with a high shelf cut around 6-8kHz or by pulling the saturation back about 10%. The modulation/key change into the same section was a great idea that needs the proper preparation for the listeners to stick with it. I think we determined you're going from Ab Major to E Major. Major third modulations are pretty easy to handle as modulations go -- I mentioned going to a shared chord between the keys but you don't have many between these two keys. However, Hemo suggested some tritone substitution action. In this case, do an Ab7 (Ab-C-Eb-Gb) chord into (in this case) a B7 (B-D#-F#-A) chord leading into the change into the E Major (E-G#-B). You can omit the 5ths on the 7 chords (Eb and F#, respectively) if you don't have enough voices to cover the chords -- but keep the 7th intervals spread out to minimize the potential dissonance.

Hi VQ! Gonna reiterate what I can from the live review: Be very selective about what voice is the focus in each section, and pare back parts that aren't providing texture for your rhythm and harmony lines Consider swapping the bass ostinato from Shinobi 3 in the middle sections of the piece with another melodic phrase from your sources; I recommend the descending arpeggio siren thing from Rise of the Robots This is gonna be a groove machine when you're done. It always sucks to go back and start from scratch on mixes but it's worth it in the end!

City pop is so fun! I'll write down and expand my comments from the Office Hours voice chat: Outside of altering your basic arrangement framework or the key, the drums plod by the end of the second chorus. The groove is interesting and complex but needs more variation to maintain listener interest subtly. Consider simplifying the beat during a verse or two -- hew the kick to the bass, maybe save the snare and clap for beat 4, roll back the complexity of the hi-hat pattern or drop the hats entirely. During the choruses -- perhaps especially the choruses framing the guitar solo -- use some anticipatory kick drum placements (the 'a' of 3 or 4, and/or the 'and' of 4) for some bars. These extra 16th note spots from the kick create anticipation for the downbeat, ramping the energy up a notch and propelling the beat forward. If it still feels plodding, consider dropping the drums out entirely for a verse and going to just the claps for a couple of bars. Without changing the basic beat pattern, you can also vary the hi-hat pattern by incorporating some open hi-hat spots (beat 4 or the 'and' of 4 are good spots on alternate bars, or go for the disco approach and open the hats on the upbeats). If you keep the 16th note flourishes in the closed hi-hats, try opening the 'a' 16th note between the closed hi-hats.

Hi CW! This is killer! Easy to see it doing well in a compo setting - strong composition and solid vocal performance throughout. Key change would be pretty cool - possibly toward the end if you don't do the whole track and use it as an effect for momentum. The length feels longer than it is with some of the things we mentioned in the live weekly workshop review, but I'll recap some things to address that: Changing up the beat around 3:30ish (after the solo section going into the 3rd chorus) - dropping out the drums to just claps, or kick-kick-kick-clap. 1-2dB of additional volume to the lead vocal in the choruses - this will help make the sax samples less exposed. Please please please keep cooking on this one when you have time, it's gonna be a big bop when you're finished!!!!!

Cool beat! got the head boppin' lol

I loved it, the main thing for me is that the percussion gets a bit stale later on in the song. I think that could be solved by just shortening the track like you said but if you don't want to do that, switching up the percussion a little would go a long way

Howdy, Seth! What a fun source. Gonna attach the source for other folks to check out as well; always good to include it with a WIP so we can be familiar with it. Since you mentioned volume leveling, sound design, and other edits, I'll frame my feedback with those aspects in mind. I generally like your instrument choices for this arrangement, particularly the trumpet and the marimba, and as my name would indicate, I'm gonna zero in on those drums. Volume leveling: once that 16th note double kick and bass pattern comes in (:23, 1:06, etc), the lows from the bass and kick are eating up the soundstage. A dynamic EQ targeting the sub-bass frequencies or a multiband compressor for those segments would help keep the lows under control. Sound design: if you want to hew closely to the sound of the Genesis, consider the sound channel limitations of the system. The drums (kick, snare, toms) will most likely be sample playback from the PCM channel while the cymbals are coming from the noise channel and the PCM isn't super hi-fi. Consider rolling off the super lows (20-40Hz) and the highs (10-12kHz, maybe as low as about 8kHz). Other edits: I think I'm hearing some artifacting in the render, some light crackling in the side channel. You'll most likely be cleaning this up by the end, but it's worth pointing out. Keep cookin'! We're looking forward to hearing more from you. :)

Hi Seth! I dig this piece! I wonder how much you're able to explore with the lead synths as far as duty cycling or velocity changes; the melody felt pretty much the same velocity-wise throughout both runs of the loop. How close are you looking to hew this toward the Genesis sound palette? Some of that FM slap bass would be welcome :D Definitely interested in how you develop this going forward!

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

Hey all. This is gonna be relatively quick, because I wasn't sure if I'd present it or try to rework it again yet, but. . . SUBMITTED, MASTERED SONG: https://drive.google.com/file/d/1ixEWhVdIC-Xj1y5YevPlgwfW9hTDTgYF/view?usp=sharing ORIGINAL DECISION: SOURCE TRACKS: Shinobi III: Return of the Ninja Master - "Inner Darkside" Rise of the Robots - "Prime 8 / The Builder's Stage" REFERENCE TRACKS: The Glitch Mob (Aesthetics / Vibe / Asian & Ethnic Influences) Mike Oldfield - "Tubular Bells (Theme from 'The Exorcist')" 'Theme from the X-Files' I uhm...don't entirely know what to do to resolve the critique points for this track arrangement-wise. *Mixing* I might be able to grasp on, but the basses are hell, and I need to find a way to rhythmically marry the two sources together better? Or--at the very least--the main issues I took from it are: 1) too much going on that sounds fuzzy, and 2) there's not enough variation on the main motif. . .and I guess the sources are very strange / weird / wack...etc. Any comments or questions or concerns would be great to discuss here and ask. ♥ I'm open to any ideas on how to redress this or...whatever. I'd hope maybe the way the song is built is alright, and maybe it's just the elements within in that are problematic and can be resolved for the better.

I changed some of the beat work just now. Minor changes is the kick and snare, more changes in the hats. Also added some "decorations" to the new slower section involving the sister's battle theme:) TwistedSisterzReEQed5-1.mp3

howdy folks! as a serial compo-er, i often face the challenge of being able to spit out a track idea in a relatively short amount of time, but when it comes to refining and polishing i tend to find myself scratching my head. i'm looking to tackle that by polishing up my one-and-only (for now 😉) PRC entry and getting it up-to-snuff for submission. it's a city-pop-inspired remix of "1000 words." here is the submission for PRC472. a lot of things are currently on my to-do list, including: possibly changing the key so it's a half-step higher, re-recording guitar parts per this change shortening the length to the verses/choruses that appear in game, since it's fairly long as-is more ear candy one thing i'm struggling with at the moment with is making room for that adlib in the last chorus on top of all of the other elements going on, on top of trying to keep the production of the track true to its city-pop inspiration. if anybody's got any tips for me in that department, please let me know! other constructive comments are greatly appreciated! thanks y'all! edit: source

A personal fave and permanent resident on my playlist all these years later. The source selections, transitions, sound effects, the beat...👍👍 Stellar timeless (IMO) example of early OCR

It's finished