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Not Sombra. Ana. Gameplay trailer here: https://esports.yahoo.com/character-trailer-debuts-ana-showcases-165959928.html Origin Story trailer here: http://www.polygon.com/2016/7/12/12157248/overwatch-new-dlc-hero-ana-blizzard-entertainment Looks incredible.

If this is about the library going missing from the Kontakt library tab if you start a new instance of Kontakt, I had the same with Shreddage 2. The solution at http://www.kvraudio.com/forum/viewtopic.php?f=176&t=465223 (first page, last post) worked for me. Some nasty mess due to Service Center updates iirc.

Hey everyone, a few days ago I released my debut solo album, departure!! departure is an acoustic pop album, with 10 original songs. I wrote and performed all of the songs, and the instruments I used include guitar, voice, piano, and violin. Currently it's only available on Bandcamp, but I plan to soon get it on CDBaby so it will be available on Amazon, iTunes, Spotify (and a bunch of other places I probably haven't even heard of?). You can check it out here! diodesmusic.bandcamp.com Thank you if you check it out! And thank you even if you don't check it out! Because OCR and the community have been a huge part of my growth as a musician. Not to mention all the friends I have made here. So thank you just for giving me the space to share my music, hear your music, and connect with other people. It's been a wonderful experience. <3, Diodes/Amy

Definitions matter so that no one gets confused. I had to read the post a couple of times to be sure. I think what you're describing in the first line is not "remastering", it is "transcribing" - aurally deciphering recorded music. "Remastering" means that you would take an album's worth of recordings and master it again - which means balancing the levels, gapping between the tracks, track order etc. "Remixing" in the context used on this site means two things. Taking stems of separate audio tracks from an existing work and balancing them to create a new cohesive and clean-sounding audio mix, this is the literal meaning of remixing. The second definition, which is technically "arranging" is creating a new arrangement of existing music. The same song, but with different instruments, chords, new sections etc. Anyway, just about any DAW can slow down audio while preserving pitch. Reaper for example has a free evaluation period that never expires and it is extremely simple to slow the track down.

I think you might be mixing up some terminology, here. You're likely looking for me to make the melody and background elements more distinct (they're "vying for attention at the same time", at the moment). If I mix the background elements down, the melody and the background square won't fight for the same melodic space. That was the point that Nikanoru was making, and I agreed to give more space to the melody by simply mixing the background down a little bit. That would have nothing to do with counterpoint, though, which would literally be changing what notes are being played instead (which wouldn't fix the root problem). Panning could work too, actually, but the way I achieve a fuller sound for the melody and some background elements (like the other organ) is to pan delays on both speakers set at different feedback levels (mixed appropriately lower than the actual synth). I can still pan something if I want to (I do it at various points in this song, in fact), but I would need to be careful not to clash with these already panned elements. Just an FYI to show that I'm listening, but there actually IS a reason I'm avoiding panning the elements presented that you couldn't have been aware of. I do appreciate the feedback, though - there are things that my ears have gotten used to that people's comments have made more clear, for me.

That's definitely unfortunate. Niantic should be willing to opt private property locations out.

I can recognize a song by Zircon within the first few seconds he's both amazing, and immediately recognizable.

Nice breakdowns, you two. I hear where you're coming from now, Nikanoru - there could be a little less competition for the space in there. If I have time I'll go back and open it up a little bit. Thanks for the timestamp, that helps me focus on what you're hearing. Funny enough, I actually adjusted the volumes at the second version of that later in the track, which is likely why that isn't as much of an issue. I'll give that bit a pass again, as far as balancing. I hear the issue with the pads, Timaeus. I'll see if I can balance them a little better - the original had them quite quiet, so I may have overcompensated them in this version. Thanks for the criticisms - I will do what I can to make this even better. Oh boy. I would suggest you investigate counterpoint a little bit, if your point is to avoid conflicting motion (you could mean otherwise, but that's how it reads) - your point is literally the opposite of what you're supposed to do, with good counterpoint. Contrary motion (e.g. voices moving against one another) is literally the best method of motion, and should be what you strive to achieve whenever possible. Similar and imperfect parallel motion are your methods of compromise, when counter motion isn't possible anymore (perfect parallel motion is strictly forbidden, by the way). Counterpoint is literally the art of making voices sound independent while still working well harmonically. Good voice leading follows the same rules, so it's also useful for creating as pleasing a motion from chord to chord as possible. It's... literally one of my areas of specialty, from college, so I will set the contrapuntal record straight any time I see it come up on the forums. But yeah, for the love of Counterpoint, use contrary motion whenever possible. If anyone ever has questions about it, by the way, I'm literally always up to discuss it. *end rant* Apologies if that seems a little wordy, but counterpoint errors is one of my biggest pet peeves. Just ask Rozo or Willrock - I've had historic clashes on these forums on it, in the past.

I think maybe I'm hearing what everyone else is: To Slimy, it's the loud, 'unappealing' melody sounds and quiet bass with abstract feel; and to timaeus222, it's the density; I think what I'm really hearing is the intricacy of the melody and the sound wave sound chosen clashing with the equally intricate harmony line and organ synth. What I guess I'm getting at is with all that movement and focus that the melody is getting - which is by design, as you said - I can see why folks would say that the square wave sound is unappealing and the 'rest of the soundscape' is too quiet. Maybe the featured melody is too intricate in places, drowning out the soundscape and running against the smooth bass and beats. Here are examples of what I mean: 1:33 - 1:38: I still think it sounds cluttered here. I'll use the analogy 'it feels like every melody and harmony part is trying to steal the spotlight all at once.' 1:39 - 1:54: In contrast, this part is perfectly balanced. @timaeus222 @Ganaé Let me know if you two would agree. 1:55 - 2:28: This 'verse' part feels better, more organized. I hope I'm being clearer than mud, lol. Just an observation about composition, really. I still really like the arrangement and I can listen to it just fine as is. Besides - you're the composer, so if you think this is done, then it is.

One of my favorite remixers, and probably my favorite VGM song of all time. I found this on zircon's YouTube and have been hoping for it to show up on OCR for ages. Awesome stuff.

I picked this up and thought it was really good, you guys should give it a listen as well. My favorite tracks are "wonderful" and "second chances". Great work, Amy!

She's not. Looking forwards to sombra, too. I hope they will be releasing another character alongside her, but I doubt it since they said they will take it very slow with character releases.

Damn, that brass work and swing are sexy as shit in this. I dig.

This sounds like an issue with your installation. Try reinstalling Kontakt. Or, as DJP linked, could be a Service Center metadata issue. I say this because it's impossible for a sample library's code to render Kontakt at all unstable and unreliable except in the very few cases where it performs file I/O. These are things like loading convolution reverb impulses, and loaded presets using the internal preset system. However, these are things that many, many sample libraries do, and have never caused issues except in some cases during SAC testing when users were allowed to rapidly randomize SAC settings by mashing the randomize button without any safeguards in the code in place (and we took care of those before release). Even still, none of the above usage cases of Kontakt's file I/O have anything to do with libraries disappearing and nki's being forgotten from DAW projects, and no SAC testing has ever come up with this issue prior. So it really does sound to me like a DAW/Kontakt installation issue. Does it not happen with other Kontakt libs?

I was listening to the mostly wonderful I Am Setsuna soundtrack yesterday and had to double-take when I heard some startling similarities to "You're Not Alone" from FFIX in two tracks. There's way too much in common with the melodies for quite a long duration. Maybe it's not outright plagiarism, but it's definitely not original enough to get much merit in my book. Granted, since both games belong to Square, I don't think anyone will be getting sued, but I kind of wish the composer wouldn't have honed so close to that well-known theme. Similarity 1: https://youtu.be/h9GpuGO3xyo?t=13s https://youtu.be/ptVJHAVVnLE?list=PLC5JSvEMh3aYEcU67xeXZpuTwyga9Ojg5&t=8s Similarity 2: https://youtu.be/uB7GM1hJ0mU?t=16s https://youtu.be/h9GpuGO3xyo?t=1m22s

My issue with this mix in my previous vote was mainly the static nature of the structure, and that has been addressed, so I don't really have much to add that I didn't say in my previous vote. I'll agree with Larry that the mix feels a bit vanilla and the balance isn't perfect, and I think that not only the vocals but the initial instruments introduced in the intro felt a bit dry and separated, but overall, this is solid and if you compare it to the previous version it really improved a lot, so kudos for going the extra mile, I think it was worth it. YES

Albion ONE's quality completely smokes Orchestral Essentials. What are you looking for? Dynamic orchestra, or just loud orchestra? If you're looking for loud, you should go Metropolis Ark instead. It has the best loud brass tone I've heard in ANY sample library. Their CAPSULE engine lets you apply legato transitions to other articulations as well, which is a cool feature I wish we'd see more of. I spend like that much a year. >_>

First completed draft! Still not crazy about the ending, but at least this goes from point A to point B. What do you think?