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Showing content with the highest reputation since 06/17/2018 in all areas

  1. 2 points
    Hey all! I've just pulled the trigger on a computer which Brad's given me a ton of help putting together. Shipping from the US to Norway would have meant a painful lot of money in shipping and taxes, but even if that was out of the question he still wanted to help me find the proper parts, which I could then buy locally. Communicating with Brad has been nothing but a positive experience. He's got a wealth of knowledge and was able to answer all the questions I had in a very informative way. I can't recommend him enough for anyone who's looking for a new computer. Thanks!
  2. 2 points

    OCR03747 - Cat Lady "Lady in Black"

    This is how it supposed to sound - from the beggining. Great job!
  3. 2 points
    Guess i managed to screw up the deadline, but ill post my unfinished WIP here just for the lulz, and so Chalis gets to hear more takes on the source!
  4. 2 points
    I strongly recommend that you watch Alex Ball's new guide on using a virtual orchestra. It's a bit long, clocking in at 50 minutes, but trust me: There isn't a more clear, comprehensive video on the internet regarding this subject. As he discusses at one point, the orchestral flourishes that are difficult or impossible with multisamples are essential to composing music like this; reminiscent of the Romantic Era and "The Golden Age" of film scoring. He even recommends libraries specifically dedicated to this task.
  5. 2 points
    They're just more experienced in the field of knowing what that stuff is, having done it themselves. Additionally, that may be a solution where trying to recreate it in MIDI (or, to say it simpler, in your music program) is just plain unlikely to achieve the results you'd like. For needs like that, many people and companies have recorded humans performing them for the reason that programs and humans have different strengths and weaknesses for instrument performance. Even expensive MIDI orchestration books recommend finding a recorded phrase sample for some of those things as opposed to wang-banging the software and note grids to try to replicate it. Sometimes it can be done, but other times it really is just not worth the effort. In this particular song, oddly enough, Uematsu is NOT using the Sound Canvas that he uses for at least 90% of the rest of the soundtrack. I wager he used a real orchestra or at least premiere (at the time) orchestral phrase sample CDs that recorded real orchestras.
  6. 2 points
    That's called a "run". It is a fast scalar "run" as the name implies. Many modern sample libraries contain either run simulators for strings and winds or pre-recorded runs. You can create your own run simulation by playing a fast scale with a mix of staccato notes and half-trill samples. Be sure the the timing is fairly messy as no one can play that precisely. Ultimately though, a pre-recorded run will sound most realistic.
  7. 1 point
    Ditto to this. I built my first machine 2 years ago and consulted with him about the various aspects of building a PC that could be used for music. Brad was a huge help recommending parts to use and I ended up with an awesome PC that was right on budget. In short, Brad is a stand up guy. Buy from him.
  8. 1 point
    The new ThaSauce design only lets me upload one song, so I can't upload both bonus mixes. Also it's not possible to use other rounds to upload the songs. So only Evktalo's song is at the ThaSauce page.
  9. 1 point
    Should be fixed, thanks for reporting.
  10. 1 point
    Never remixed the ccotm version of this before so this should be nice
  11. 1 point

    OCR03747 - Cat Lady "Lady in Black"

    Points for style and execution here - man, I'm really impressed about the vision to remix this way and the moxie to pull it off. Really enjoy the adjustment sections (like 2:45-3:25); the handling reminds me of some of the best Doom remixes this site has. Yeah, maybe this isn't everyone's cup of tea, but then they're missing great guitar sections like 4:30-4:42 (so great!) as well as vocals to me that I don't need to hear the words, it's almost like another instrument. Unique and worth a listen!
  12. 1 point
    still managed to miss the deadline but whatever. enjoy fellows!
  13. 1 point
    Well, I apologize for yet another bump, but I just can't seem to walk away from this remix. I went out and bought a pair of studio monitor headphones and an external DAC to try and improve what I can hear for working on this. I've made a couple changes, mainly related to mixing, but I would still really appreciate suggestions! https://app.box.com/s/xfg85hfbx77tfw4d40m7wfg1t4e8pwsn
  14. 1 point
    Just waiting for a few stragglers to get back to me, then we should be back on track with the music. Whew! The Narrative team should be able to access the scripts in time for the update, as well. More to come on this after the deadline. This week one of my focuses is to resurrect SCRAMBLE, our Corneria remix, from relative dormancy. I've touched base with the collab team last week, so I'm hoping to have an update together for this in time for our July deadline. Stay tuned!
  15. 1 point
    The piece begins with ambient bendings very reminiscent of the of the original sound palette, which I love. The juxtaposition with the organic latin percussion that follows is strange and effective. Overall the idea behind the arrangement is sort of "obvious after the fact" - I'd never thought of this connection before, but it makes perfect sense. Great sound, great playing, and a very enjoyable arrangement. Great work from start to finish!
  16. 1 point
    Meteo Xavier

    Hiring of Musicians

    There's no point in nay-saying an idea that likely won't cost anyone much of anything substantial that isn't already part of the cost of ambition. Try it. It could fail and die out, but everything eventually does. That's no reason not to try something that, who knows, could revitalize a community that some people think is dead for some reason??? There's new music released all the time here and the boards still show a healthy amount of activity, so don't let anyone sway you into thinking things that are not about the community in a way that might break ambition. Give it a shot. What's the worst that can happen?
  17. 1 point
    You two offered WAY more knowledge then I anticipated. Thanks a bunch! Jesus, you must have a good set of ears. I couldn't pick out all that as well as you did. Though I am not musically trained, so that probably plays a part in it. Thanks for the awesome break down of it!
  18. 1 point
    Just my 2 cents here, but the "swell" you speak of in the strings is a minor 2nd trill (fast alternating notes a semitone apart), and in terms of notes, what I'm hearing is an ascending scale in a minor key (seems like E relative minor, meaning you start on E and end on E, but use notes in G major, having only F#). Among the textures, what I perceive is a harp glissando on the left, a flute (or perhaps piccolo) playing the scale legato in the middle, and probably some violas playing legato on the right (ending on a perfect fifth below the flute)
  19. 1 point
    As you all know, bLiNd has been a contributor to this project from near the beginning. We haven't seen an update form him in a while, so I sent him a couple of pokes asking him about this recently, but he never replied. Then I came across this... bLiNd's Jade Catacombs was THE track that led me to OCR. Before that, I was cynical and disdainful of most electronic music - I don't know exactly what it was about this track that changed my mind, but it certainly did. Since then, bLiNd has been one of my favorite remixers to listen to. I am VERY sorry to hear about this - as someone who has made such awesome music and has been such a strong contributor to this community, I want to lend my support to him and Jenn in this awful time and so, I encourage everyone to do the same. As stated in the thread, there is a GoFundMe campaign to help bLiNd out financially - you can make a donation at https://www.gofundme.com/aguirre-fire-fund. Take care of yourselves, @bLiNd and @JenZ - we're all thinking of you.
  20. 1 point
    Pretty dry opening here. I like the instrumentation, and there's clearly effects on the synths, but something about this still feels empty. Later on, there was some crowding in terms of the production, yet emptiness as far as the textures/writing. By 1:10, I was already feeling like the backing writing was pretty static and plodding, but the dropoff at 1:28 helped out the dynamics there. At 1:43, the lead just felt pretty bare. At 2:13, the textures remained relatively thin; the track did get busier at 2:27 with some variations on the "Strike the Earth" melody. Onto "Of Devious Machinations" at 2:49, but the core kick pattern just plodded, IMO. I could see this passing, as the arrangement uses the themes well with some good tradeoffs, but something's obviously lacking with the dynamics. The beats plodded and the writing & textures felt skeletal despite the effects used to thicken the sound up. Very good base here, Jorrith, but I'm strongly with Gario that this needs another pass to get more sophisticated with the writing. NO (resubmit)
  21. 1 point
    Ah I remember this one. Jorito catched up pretty quickly on the basics of synthwave, and the authenticity is very much here and throughout the duration of the song. A couple things: the voicing change near 2:55 could've been handled better, I feel the mood changed too much and breaks apart from the rest of the song, second I feel like the overall mix could've been tighter. It's clean, and shows a ton of progress from Jorito's first subs, but for this genre I think a bit of grit from those old tape recordings and analog hardware that made the original sound famous would've been great here. Tons of ways to get that effect nowadays, so you should look into that, but the production is otherwise solid and I'm just nitpicking at this because it's something I'm very familiar with. Very good stuff. Reading the other Js comments now, the track is a bit static at some points but there are plenty of variations in the drum sequencing and arrangement. There's enough detailing for me throughout and I don't think this is below the bar by any means. YES
  22. 1 point
    I can see what Gario's saying here, though I don't think it's below the bar. There's still some changes here and there that vary things up that I didn't feel like it was too much. I can see this going either way, but I'm good to do on this one! YES
  23. 1 point
    Yeah, this is pretty solid stuff. The breakdown was really helpful, so thanks for that. Some of those source uses are subtle enough that I'm not sure I'd give them credit, but there's plenty to spare to hit 50%. If I were to really nitpick, I'd say that the sidechaining is a little over the top, on the verge of being a little distracting, and that the horns from 1:43-1:59 sound fake and are somewhat buried. That's all I got, though. Nice work, as usual. YES
  24. 1 point
    This is a great little arrangement. Production is tight as usual, and the eastern vocals fit perfectly with the otherwise electronic arrangement (similar to how Zircon uses them for his "Time to Oil Up" SFIV arrangement). The arrangement is well put together in terms of cohesiveness and source representation, as well. ... Yeah, it's an easy pass for me, why'd I even put it on here. YES
  25. 1 point
    Daphne in Harry Potter cosplay.