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I was watching a tutorial on how to profile a reverb in a specific place using some tools. Like, I think you use some kind of beep or tap and record it using this device, and then it comes up with the reverb profile (or something like that?). I can dig through my sources, but I thought it was related to this topic and definitely interesting.

Shit, I can double dip on threads then.

Just to clarify: you’d remix material from both series. One team will select the source tracks from one series (one track per game, three games) and the other team will do the same for the other series, and then the sources will be paired up. Each team will produce three mashup mixes, one for each of the three pairs of sources. In the previous two GSMs, teams have taken different approaches to getting tracks put together with regard to whom does what. You might be on a team with three or four performers and a couple of mixers, maybe one team member is good at mastering, and three arrangers; or your team might be five arrangers and someone who plays guitar or something. As long as your team gets their three mashups done by deadline, it doesn’t matter how you do it. :)

Howdy, folks. You may recognize me as Zack! on the OC ReMix discord. I've been enjoying OCR since roughly 2002, and a few months ago I was reminiscing about the OCR podcast in its various incarnations and how much I missed them. I voiced this in the 25th birthday hangout, and @Liontamer encouraged me to get off my butt and just restart the pod. So I did. Check it out here: https://feeds.buzzsprout.com/2445308.rss Ad-free, not trying to make a single cent off of this, and I keep the language tame so that you can listen with kids if you want to. I'm very much an amateur at this, hoping to get better at it as I go. I learn a little more every recording and editing session, so fingers crossed a few more of these and thing will be half decent. If you're reading this, episode 2 is out, so go grab it if you're interested. I'm aware that a few of the voiceovers sound, well, awful. I had the wrong mic selected, didn't notice until edit time, and I have a cold now so my voice is all funny. I figure you guys can deal with a couple minutes of webcam mic. The format is roughly news, new remixes with my worthless commentary on them, some random segment that strokes my ego, and then one final Russian Remix Roulette track. I remember them rolling a die and playing a RRR track on the very first incarnation of the OCR pod, and I wanted to keep it going. Question for the powers that be: any objections to me using the OCR logo as the pod's thumbnail?

Figured I could share the stuff I used in my latest track, most of it is stuff I use in other tracks as well. I'll highlight those that haven't been mentioned (I think): Drums Addictive Drums 2. Battery 4. Basically, I start with AD2 sound and then layer some extra stuff from Battery 4 to enhance the kit. I also use Battery 4 stuff for transitions. Synths and similar FM8 Massive/MassiveX Plogue chipsounds for chiptunes. (Here!) Effects Guitar Rig for distortion on bass, guitars and keyboards. ReEQ for EQ, it's a free JS plug-in that has nice functions like side/mid EQ. (You can find it here!) OTT. TAL Reverb. (Here!) Ferric Saturator. (Here!) kilohearts suite (limiter mostly). Melda suite (saturation!). isotope Ozone for mastering. I also use a lot of libraries from Komplete 8 for stuff but I'm a bit lazy to list them all...

The world needs cockbee now more than ever.

I made a list of 25 ReMixes I really like. Certainly not a favorites list (but many of them are favorites. Maybe it's a partial favorites list.). There's something special about each of them to me. Can't put it into words for many of them. They just resonate, you know? 137: Super Mario 64 – Liquid Mario (MkVaff) 469: Final Fantasy VII - Seven Degrees of Judgment (Rosencrantz & guildensternN) 511: Command & Conquer: Red Alert - Mud Mix (Scott Peeples) 814: Final Fantasy IX - dubnofantasyaloneman (DJ Pretzel) 821: Perfect Dark – Air Force One is Down! (Danny Baronowsky) 1008: Final Fantasy VII - Of Transformants and Brevity (zykO) 1403: Pac-Man – Glass Cage (Israfel) 1527: Sonic the Hedgehog 3 – Walk on Water (housethegrate) 1642: Super Mario RPG – Leafcutter (Radiowar) 1657: Shadow of the Colossus – Wanderer on the Offensive (Live Edit) (B33J, Cerrax, Juan Medrano, nonsensicalexis) 1759: Donkey Kong Country - Lost in Jungle (Johan Krafft) 1770: Super Metroid - Samus Bubblebath (Shnabubula) 1984: Secret of Mana - Step Off My Flower Bed (Nase) 2000: Donkey Kong Country 2 – Re-Skewed (David Wise, Grant Kirkhope, Robin Beanland) 2982: Metroid – Cancer (Redg) 3068: Super Smash Bros. Melee – S-Tier (Flexstyle, OceansAndrew) 3119: Dark Souls II – Like a Dream (RoeTaKa) 3203: Donkey Kong Country 2 - Ocean Lanterns (Emunator) 3393: Skies of Arcadia – Undervalued (Kylok, Bree) 3831: The Legend of Zelda: The Wind Waker - Pajarito Paiso (Audio Mocha) 3851: Sonic CD - Dream Current (Rebecca E. Tripp) 4118: Power Drift – Velocity: Fueled by Sake (Katajun, Manny, Sagnewshreds, Trohnics) 4429: Mario Paint - I have Seen the yellow paint (jmr) 4585: Pokemon Red Version – Look at All the Ships! (ZackParrish, Pearl Pixel, Jeff Ball) ????: The Legend of Zelda: Link's Awakening - Animal Counterpoint (prophetik music; not on OCR mix technically but it's on an album so I count it)

Hey everyone, I’ve been dabbling in music production for the past seven years, and while I feel like I’ve learned a lot, I still find myself getting hung up on some of the little things when I’m working on a track. One of those weird questions just popped into my head, and now it’s driving me a little crazy because I genuinely don’t know the “right” answer. So, here’s the scenario: when you’re using a reverse cymbal as a kind of riser to lead into a crash or hit, how do you time it? Do you start the reverse cymbal right on the bar and give the crash/hit a little room at the end? Or do you line it up so the crash/hit comes in the instant the reverse sample ends? I added some screenshots if my question doesn't make sense. I know the usual advice is “do what sounds good,” and that’s mostly what I’ve done up until now, but for this project, I really want it to feel tight and intentional. Any tips or insights? Thanks in advance! 😅.

The answer literally is what you already said: "Do what sounds good." Turn off snap in FLStudio so you can freely drag the reverse and keep adjusting until you get the sound you're looking for. If you want something more seamless, consider adding some reverb to the reverse to help mask the hard cutoff.

This is awesome! I'm sure it took a long time to put together.

This is what appears to be almost entirely AI. There are a lot of typical tells regarding awkward animations and weird hand stuff (not to mention that the neural network voiceover is trying its best, but it's still pretty obvious). However, it's some of the best AI I have seen yet. The artwork is primarily consistent; most hands are delicate unless gripping something. This makes me feel several ways. On the one hand, it's pretty well done, and I'm confident it wouldn't exist at all without an individual user and some AI assistance unless you had some really, really talented artists working overtime. On the other hand, this only exists because of straight-up stolen art. They're still monetizing someone else's work. An argument could be made that it's not too dissimilar to machinima using the original models of a game, but generally, those game students consent to that. No one can consent to this. I don't know...I want to like it because it is an excellent lore recap, but at the same time, I always feel dirty with this AI stuff...

This track goes so hard. Hell yeah dude.

Hey Eino! Thank you for listening in on some episodes. I've been doing this project of mine for over 7 years now and yes, there have been a lot of themes and subjects over these years. Since my rebrand to Gameable Audio in 2023, I've restructured the flow a bit all in order to keep it more "clean", guested episoded are "specials", if I'm alone I focus either on a Subject / theme, calling it "what about..." or I focus on a specific Composer, then I call the episodes "Who is..". This way I hope people listening in will easily find what they like and can focus on that, unless they wanna get nerdy with me and listen to it all! Looking forward to hear more from you Eino, thank you so much for your comment <3

Ah, fun to see a thread on Gameable Audio! I've enjoyed it so far - listened to it only a little bit. I think I stumbled upon the 'cast from somewhere else; I listened to a "grab bag" style episode or two which didn't have a theme if I recall. I have some other episodes earmarked. I might even try and see how rusty my Swedish is with the earlier episodes.. !

I'd be up for working on Streets of Rage remixes if this project takes off . :)

Really like this !

yes in this case you are right. just couldnt resist ;) Tim Follin is indeed one of the greatest

Love the direction this is going.

This to me is a nice ambient remix with attitude behind it. Nice medley! I am not big on mastering myself, but saw one or two very minor areas of improvement (one with the bass at a slightly different frequency, just me), but nonetheless a great remix! Great work!

Ah yeah, back when the website was actually used before discord was added and turned these forums into a desert.

Eighteen of these. Eighteen years. Holy shitballs, Batman! Another album is in the books. This year we have seven songs of various moods, genres and tempos, all set for everyone to listen to and as you get deep into the holiday spirit. While we wait for Dyne to update the site, I'll be hosting the zip file. Once he's done, I'll change the link here to go there. Make sense? Good. A big thanks to the remixers who joined up, and to Dyne for hosting these albums for yet another year. And on behalf of everyone involved, Merry Christmas! https://williammichael.info/aocc/

Using specific stereo widths for instrument and direct signal tracks for more clarity and assertiveness in the mix and for a more impressive representation of panorama and spatiality in the soundtrack -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Ready for another round of text, visuals and audio samples to show how I've improved my mix? Well then, let's go. ... Recently, I finally got round to working on the remaining drum tracks in my almost finished Crisis Core - Final Fantasy 7 remix. In contrast to the previous drum kit reverb (one aux reverb send for all individual drum elements), I created separate aux reverb sends for each drum element so that I could finally process the reverb for all drum elements individually and place it more precisely in the panorama. I experimented a lot with this (including counter-panning the instrument and the corresponding aux reverb send), but in this specific case I came to the conclusion that the mix sounded best and most credible when I panned the reverb for the cymbals, snare and toms in a similar way to the individual drum components. I only made a small exception with the centered kick drum and panned its reverb a little more to the right side (approx. 5 dB more than on the left side - as usual, I panned the aux reverb send hard to the sides without involving the centre) in order to be able to balance the slightly leftward position of the snare and snare reverb with the reverb of the bass and its slightly rightward position in the mix a little better. That alone made it sound a little bit cleaner and kinda sorted. … But thanks to my curiosity and love of experimentation, I immediately pursued another question with the drums, namely whether I could achieve a further improvement in the mixing if I also reduced the stereo width of the drum elements in the direct signal even more or even set them to mono (and only used the reverb of the drum elements on the sides to give the respective drum element in the overall signal with reverb the spatial width in the mix) - similar to what I had already done with the bass in the previous audio samples in the last post. I had already reduced all the drum elements to a stereo width of around 50% for some time. In previous posts I've written about how the direct signal from the bass should only play in the centre of the mix if possible and can be widened through its reverb at the sides (and made into a clear, un-muddied stereo signal), while most drum elements come across fully well in the mix in their direct signals, if they are located somewhere between the sides (with the majority of the instruments and the aux reverb sends) and the centre of the mix (with the dry bass direct signal) - in case of doubt, it is better to move the dry drum signals a little more towards the centre than too far to the sides, because in the latter case the drum elements would lose a lot of their punch in the mix. Of course, you can also place all drum elements in the direct signal completely mono in the centre (this could be a consideration if the other instruments and signals are already playing very lively in the mix and are already making generous use of the stereo width). However, even with a well-designed stereo reverb for the individual drum elements, you won't be able to get much sum signal stereo width and a significant representation of spatiality for the respective drum element with its reverb in the mix in this case. … As I wrote earlier, I didn't notice any real sound improvements in the drum elements such as snare, toms and cymbals after I further reduced the stereo width of the respective direct signal without reverb, starting from an existing stereo width of approximately 50%, or even set it completely to mono. As a result, the spatial effect of these drum elements suffered rather than giving them noticeably more assertiveness in the mix. But the kick drum was a little different. During my experiments, I even came to the conclusion that the mix (in this particular soundtrack) is best enhanced if I set the kick drum in the direct signal to mono in the centre and achieve the spatial effect solely via the reverb of the kick drum on the sides. This gives you plenty of power and assertiveness in the centre of the mix and also provides really good clarity, a better fine resolution in the sound and a more finely staggered panorama with a more impressive spatiality in the mix. ... I'll demonstrate it for you in the following audio recording excerpts in a direct comparison between the previous version and the new version of the soundtrack. The old version is mainly defined by: - a kick drum with a stereo width of around 50% in the direct signal - remaining drum elements with a stereo width of around 50% in the direct signals - one single aux reverb send for all drum elements of the whole drum kit The new version is mainly defined by: - a kick drum set fully to mono within the center of the mix in the direct kick drum signal - remaining drum elements with a stereo width of around 50% in the direct signals (like in the old version) - 4 individual aux reverb sends for 4 different drum elements … So, let's start with the audio samples. 1) Comparison of the direct signals of the kick drums (kick drums without reverb) ----------------------------------------------------------------------------------------------------- Old version: Kick Drum Direct Signal - Old Version.mp3 For a kick drum, the sound seems pretty bold, stable and... ... dry like a huge sand desert. In the section with the metering devices on the picture down below you can see how the kick drum behaves in the stereo field: The vectorscope on the far left and the directional indicator to the right of the vectorscope show how much of the total stereo field is taken up by the kick drum - pretty much exactly as I set it, about 50% of the full stereo width. … New version: Kick Drum Direct Signal - New Version.mp3 Doesn't seem to sound so much differently compared to the old version of the kickdrum without the reverb. Maybe, with some decent studio headphones you can already hear the new kick drum sounds a little bit less blocky and more centered. Just the digital metering devices provide really good information about the considerable change in the signal of the new kick drum: Here you can see that the new kick drum is really in the centre of the mix as a mono signal, without making any effort to break out into the stereo field to the left or right. … Next, let's take a look and listen to how the two kick drum versions behave in combination with their reverb. 2) Comparison of the kick drums in combination with their aux reverb sends ---------------------------------------------------------------------------------------------- Old version: Kick Drum With Reverb - Old Version.mp3 Yeah, finally some reverb. Sounds a lot less dry, but I'm still thirsty. The digital metering devices don't show anything too exciting here, except that a medium-width direct signal merges with a really wide reverb signal and the two signals almost reach full stereo width as a sum signal: … New version: Kick Drum With Reverb - New Version.mp3 Well, now this sounds really wet, spacious but still clean and punchy. Could it be that the huge difference between the fully centered mono direct kick drum signal and its aux reverb send, which is fully panned to the sides, creates this crisp 'n' assertive kick drum sound and the imagination of this huge space? Because apart from changing the direct signal of the kick drum to a completely centred mono signal and a few minimal adjustments to the reverb signal in the stereo field, I haven't changed anything else here. The convolution reverb has the same settings in both versions, the EQ filters have almost the same settings, the proportion of the aux reverb sends that go into the dry signals is the same (-2dB in both versions). And the loudness meter also shows a similar loudness level, whereby the kick drum with reverb in the new version is displayed slightly quieter by 0.2 dB than the kick drum with reverb in the old version, but still sounds somehow more powerful and louder. The measuring instruments also show some quite interesting things here: You can clearly see here that the centred mono signal does not blend and blur so easily with the wide reverb signal. From the image, you could almost think that Odin's Gunge Lance attack is piercing a flabby Hungry (an enemy in Crisis Core and the Final Fantasy 7 universe). Perhaps in the end, this is exactly what gives the mix more audio definition and better clarity. … But let's listen to how the entire drum kit sounds with reverb in both versions. 3) Comparison of the whole drum kits with reverb ------------------------------------------------------------- Old version: Whole Drum Kit With Reverb - Old Version.mp3 Sounds really good, doesn't it? At least the coarseness of the slightly wider, somewhat blocky kick drum is not quite as noticeable here in the complete drum kit, because you are distracted a little more by the other drum elements and their reverb effects. … New version: Whole Drum Kit With Reverb - New Version.mp3 Well, that sounds like a really good delivery. Punchy, assertive drum sound that still impresses with a proper reverb ambience in a clear mix. I also like the fact that I panned the kick drum reverb slightly more to the right to balance out the reverb of the snare drum, which is panned slightly to the left like the snare drum, in the panorama of the mix. Apart from a little more clarity, this creates a really cool drum ambience. … But now the crucial question... How do both versions of kick drums and drum kits behave in the overall mix when all the other instruments are added? 4) Comparison of the old mix with the new mix --------------------------------------------------------- Old version: All Instruments With Reverb - Old Version.mp3 Sounds really good at first listen. Only when you listen more closely with good studio headphones do you perhaps realise that the kick drum intervenes in the mix in a somewhat cumbersome, dominant and conquering manner and takes up quite a lot of space in the mix, somewhat overshadowing or pushing aside other instruments such as the bass or even low-frequency areas of the harp. ... New version: All Instruments With Reverb - New Version.mp3 Sounds much better straight away. The kick drum comes through much more relaxed in the mix without overlaying the bass or robbing the harp of its stereo field or slightly displacing it from the stereo field. … And this is exactly what I wanted to emphasise and make clear with the experiences I made some time ago. Not every question about more clarity and assertiveness in the mix must, can and should always be answered or solved immediately with the use of an EQ or EQ filter plug-in. Sometimes it can be better to reduce the stereo width in the direct source signal of one or two instruments so that other instruments have more room to "breathe" or play in the freed up stereo field. Just make sure to not overdo it. So, don't tear any black holes in the stereo field so that the spatial coherence of the instruments and signals in the mix is preserved and the mix doesn't end up coming across like a solar system full of distant planets and some kind of dead silence in between. As a little bonus, I'll give you an insight into the latest remix version with a few recently composed bells (at least a small excerpt from it, so as not to reveal too many new features and highlights from the soon-to-be-released Crisis Core remix), which came to my mind after I got the strong feeling that the initial part of the continuously building mix could still get some smooth and gentle additional ambience: 5) New mix with bells -------------------------- All Instruments With Reverb And Bells - New Version.mp3 In the initial rough version, I recorded the bells with my MIDI keyboard, in a way that makes it easier to feel the sad certainty of the imminent death of the main character Zack Fair after his last heroic battle against the sheer endless Soldier forces from Shinra, which his girlfriend Aerith probably received via the life stream or by the voice of the planet. Depending on the culture, bells often symbolize death, mourning, but also resurrection, return, a new beginning, moments of peace, the element of air or harmony between the earthly and heavenly worlds. This fitted in really well with my plan to finally try out this really interesting "Vita Handchimes Bells and Glass" VSTi in my DAW Samplitude, after other instruments such as sansula, vibraphone, electric piano or pan flute, which were also under consideration, didn't quite meet my expectations in this context and were ultimately ruled out when it came to choosing the best possible instrument for this part. … Then there's probably only one major thing left to do - finalising the electric guitar part mentioned in the previous post and composing a third electric guitar track for this part. So far I'm on schedule, so my Crisis Core remix "Wings Of Freedom" could easily be finished by the end of the year. ))

Happy 25th :D - I discovered OCR while I was making my Pokemon Crystal walkthrough on YouTube, and I was looking for background music each week. The first song I picked was "Beamsabre Beat ZERO v2" from Shariq. This was like 2009. - I've been a fan of these artists or become a fan lately (if I didn't list you I just forgot xD): zircon - intriguing sound design, surprising chord progressions, and crisp production Joshua Morse - well-established "distinctive sound", exciting arrangements, funky vibe WillRock - well-established "distinctive sound", shredding solos, nostalgic vibe Chimpazilla - well-established "distinctive sound", open-minded, friendly personality Big Giant Circles - clean production, wholesome personality, well-established "distinctive sound" Juan Medrano - guitar master, nostalgic vibe, clean production Prince uf Darkness - guitar shredder, clean production, magnum opus orchestrator J Damashii - crazy arrangements, creative mind, wacky personality bLiNd - clean production, wholesome personality, EDM master Sam Dillard - incredible orchestrations, expansive knowledge of dynamics, creative mind - Here are some of my favorite tracks of all time: The Unholy Wars (Juan Medrano + Dhsu) Become Death (J Damashii + me) Blast Beatdown (zircon + tefnek) Bleets of Lightning (WillRock) The God Machine (Vig) Tropical Paradise - ambient (Big Giant Circles) Beyond the Glass (Sam Dillard) Club King Bowser (bLiNd) There's a Zomboss on my Roof (Chimpazilla + me) Prancing Dad (Prince uf Darkness) Fossil Fuels (Joshua Morse)

Hey all, I wanted to share my recently finished metal arrangement of a well-known Christmas song. Had a lot of fun making it, and turned it into a music video. Merry (early) Christmas! 🤘🎅🤘

Not to be annoying, but I still, almost 20 years later, feel that there's too much Nintendo Love when it comes to game music. I should put my money where my mouth is and actually finish a remix in the next year or so. I've spent the last couple of years getting back into music and production, haha! Although, in saying that, is too much love for ANYTHING a bad thing these days? I'd say no :)

Just a heads up I won't be able to do this or participate for the foreseeable future. Need to back down and out for personal reasons. I am sorry guys. I hope this does happen soon and you all have fun with it. ♥ I look forward to voting on your creative mash-ups, at least. :)

Oooohhh, this is so cool! It's immediately recognizable what source you're covering, but that makes all the changes to the chord progression and harmonies feel all the more engaging. I don't know enough to break this down from a theory standpoint, but it all goes down smooth all the same. Everything finally breaks wide open at 1:49, and I agree that it couldn't have come at a more perfect time. The first 1:45 is just enough to lull you into a sense of security before hitting the listener with some much more powerful beats and more of a rhythmically-charged focus. It's all paced wonderfully, even if it feels unconventional. Love this so much, great stuff! YES

OK, opening sounded a lil' funkier than I was expecting, like you're trying to smoove the ladies. Alright, the main melody kicks in at :43 and the laid-back groove behind it is nice. The sound design isn't the same, to be clear, yet I can't help but say the overall sound design and dynamics feel reminiscent of Quinn Fox's stuff, which is a wonderful comparison, IMO. (Check out the cadence and tone of the beats of his old VGMix, "Slick Uniforms".) By 1:45, I was expecting a ramp up of some sort and we got it at 1:49 with some beats. 2:18-2:20 was an odd moment that IMO should have been tweaked to sound major key throughout, but I'll live, it's a there-and-gone transition (and the notes aren't wrong, just odd). It felt like there was a potential build for a brighter or more forceful concluding section starting at 2:54 or 3:16 instead of what we got, which'll sound like I minded the direction timaeus took here. Nothing at all wrong with setting a mood here, and I was still getting Quinn Fox-esque vibes from this when it was all said and done. Cool approach! :-) YES

opens with some great EPs and organ. there's a really organic feel to this due to the timing being pretty loose initially. i'd recognize that chapman anywhere - one of my favorite sounds in Trillian! - and some fun bell elements. we get a beat at 0:43 and the melodic material to the fore. this is a really deep, low representation of the chorus material which is fun. there's a point at 0:58 where the melody is on an A and the bassline is on a Db, which is a little weird-sounding but is supported by the chord structure. there's a break right at 1:05 to recap the opening a bit. the sweeps through here are really nice. this builds up through some fun flute-adjacent noodles to the melody again at 1:49. i like the shift at 2:11 to a more upbeat feel as well, as we'd kind of done the other stuff for a while now. there's again some funky chord structures at 2:19 - i'm not going to analyze them since they sound roughly correct to my ear, but they're funny as a transitional element! we get through some original material as a transitional element. there's a half-time groove here that i didn't see coming but really like, and it builds into 3:15 where we get some taikos or toms alongside the main melodic snippet. this floats through a bit more of that snippet and then it's done. what a fun track! there's all sorts of interesting ear candy going on in here as i listen. you do a great job taking a fun and straightforward original and exploring some really varied elements. YES

I mean, the rule discussed in the OP is pretty specific, regarding websites like Udio, which are quite dubious (ethically) in how they were trained. OP is not banning all uses of AI in music and points it out clearly. This is not about being technology myopic and saying "AI is the devil" or something silly like that. This isn't about "you can't use tools in music" or anything similar either. For example, I begin all my mastering from Ozone's "smart master" function, which uses AI. I don't see the point in this honestly. Sure, a big percentage of stuff we use in music is, to some degree, a black box (like, I have no idea how an EQ actually does what it does), but the difference in how much control I have between those plugins and (today's) genAI tools is night and day. Although I don't know exactly how my VSTs generate the notes that they generate, I tell them what note to play and I usually have control over a decent amount of the sound properties. With genAI you don't have control beyond a prompt and stuff like modifying an output is basically impossible (with today's tools at least). As for more complex prompts like what you're saying... I dunno, it seems like a technology so completely different to what the OP is discussing that I don't think bringing up it as an hypothetical makes much sense really.

There are still some people here in the community that share your same qualms with the current music landscape. For what it's worth, out of the last twenty tracks posted until now, your Twin Fire has kept me coming back for relistens almost every day until now, so I think you are right with striking gold analogy. I have no idea what constitutes a warm reception in this era, but it's true that there can be a feeling of underwelmingness with many things thesedays. I'm still old-school enough to make my own playlists rather than have something fed to me. This track certainly makes the cut for many of them. Look forward to hearing the ones that eventually make their way down the queue!

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.

And with that, it's Midnight. Time's up. I'm starting the whole process of getting things ready for Dyne. Thanks to everyone who got their remixes done. And for those who were still trying to finish anything, hang on to it for next year. Then you'll have a massive head start on everyone else.