Meteo Xavier

Yes, about time for an update. I was able to get a hold of Jaka. He is essentially finished with WHERE ANGELS FEAR TO TREAD and just wants to polish up the mix some more. I've asked for a current .WAV. This is particularly awesome because I've had a lot of trouble finding potential replacements until very recently (and now I have some PMs to send out ). I've been talking with our previous project director, Usabellchan (or Usa or whatever you remember him as), and I believe he is interested in doing a remix of 316 Reincarnation once he's back from vacation. That track is on-going. Also good news is I was recently made administrator to a large Facebook gaming community, which means more good coverage for Seiken Densetsu 3 once it comes out. @Mak - how far are you on your update?

Kinda wish you didn't use MediaFire for this stuff (that site drives me nuts), but I just wanted to vocally show my support for your project here. Listening to that 3DO Lemmings soundtrack right now.

I think perhaps there is just a simple miscommunication here. There wasn't any hostility or specific examples intended, nor to create the idea of an overwhelming volume (that's why I used the word "a lot"), it's just a simple fact that a lot of artists are used to success and either don't know or remember what it was like when they were struggling, and they're also giving out advice that is mostly bland pleasantry instead of actual information or the reality of music making. I know these people exist, I've met over a dozen of them. My point was simply not to just listen to one side of the spectrum. If you want a real picture of what doing music for a living is like, you need to listen to anyone and everyone, and then make the decision if you want to make that path and how to make it. You need both the optimists and the cynics, then you need everyone in between. Find people that sell hundreds of copies of their album, then thousands, then tens of thousands, etc. note what they say that resound within you, seek out examples, then from all that decide what is best for you and your interests. I think my wording for that just should've been better.

Scarbee MM Bass for Kontakt 5. When you say the sequencing should be tighter, do you mean I should shorten the notes?

Conversely, don't take ALL your advice from someone who succeeded. Artists with real success to their name usually have made every step a right one from the get-go, and that is attributed solely to good luck. A lot of successful artists really have no idea what real failure is like - they don't know what its like to spend thousands of dollars on an album that 6 people bought or go through a truly devastating music deal. Even if they don't mean to, they still live in bubbles and the best advice they hand out is "Just do what you love and don't charge less than $500 a minute for composition". This is going to be the subject of a guide I start sometime this month that aims to provide a real look at music failure and alternative ways to possibly succeed. Never take ALL your advice from successes. You need to balance out your knowledge with advice from people like me who have failed in such spectacular ways I could almost design a Cirque De Soleil show out of it.

I have Shreddage, I just haven't gotten the Peavey Amp sim back on my new computer yet, and I had a lot more trouble mixing that one than this one. I probably need it all the same because Shreddage goes lower than MOR, but it's still a pain to mix IMO. It might be me that's hard-panning the drums. I'll try narrowing the stereo spectrum in the FL Studio channel for it. Hmm. You're maybe the third person to tell me the bass is too much, but when I compare it to other metal tracks I use for reference, it doesn't sound much stronger than that. Still, I guess if three people are saying the same thing independently, it must have merit. How much cutting at that frequency should I do? This is particularly useful. Go into more detail if you would. Is it the drum mixing or the composition or both? How do metal compositions usually line up their guitars and drums? I can see the palm mute chugging along the double bass drum throbbing, but what else is usually coordinated?

That was MMX5, and if you read, I'm NOT really going for realism, I'm just trying to make a likable track with the metal foundation in it. All the same, I'll try to fix that ride cymbal if I can. That's the kinda advice I'm looking for. MOR's drums are panned kinda weird.

I can answer that question for you, but I though it'd be an attractive enough title. Still on my journey working on more energetic, ballsy genres to increase the value of my music. For the last month or so, off and on, I've been trying to work on a fake Metal template with (and I know you're going to hiss at me but I don't care) EastWest Ministry of Rock. I'm not very good at mixing distorted guitars, so this is what I have now: http://tindeck.com/listen/rabk - First Version http://tindeck.com/listen/ejms - Newer version. Added another guitar. Both are unmastered. The actual context I'm working on is not trying to do full, straight-up, extremely hard-to-tell-it's-not-real metal. What I'm actually trying to build here is a decent enough metal foundation to build upon. I'm more interested in making sure the guitars, bass, drums and organ sound good enough to use for synth rock, prog sounding stuff, harder electronica, orchestral rock, etc. I'm not really trying to fool anyone into thinking I did this in a studio with a full studio team, I'm just trying to get a solid foundation for tracks people will like. An example might help: . This is what inspired me to build this. Not amazing, super realistic metal, but a good, energetic track that's pretty popular. Except for the lead guitar, this is the kinda quality level I'm shooting for for remixes and other work.I hope I'm being specific enough there. . What do you think? What could I reasonably fix to make it more palatable for general listeners and to do melodic synth work on top of?

Unless you're 86 and trying to be Michael Jordan, you're never too old to get good at something. This is a false obstacle self-imposed, don't worry about it. You've got your whole life to study a craft hobby and make it your own. The thing people forget about the young and talented, or progeny or whatever you want to call them, is that there is ALWAYS some sort of major catch to the deal. You don't get to be magically good at something without something being sacrificed. In my travels, I've met these two people who are just plain awesome at music. One is a legitimate compositional genius and the other is a production wizard. The former writes stuff in his sleep better than most of us can obtain. The other doesn't have to do anything but LISTEN to a track and figure out all the tricks that make it up. It's pretty astounding to watch. But both of them have only achieved mediocre success relative to their talent, because both of them have bi-polar disorders, and good portions of their lives and careers are hampered because they have attacks resulting in medical and legal issues. Nothing is more frustrating than having something wonderful and not really being able to use it. You almost wish you didn't have it at all. And think back to all the really awesome musicians throughout history. Aren't 9 out of 10 of them really fucked up people? Wasted away from drugs, sex, money squandering, ego, irascibility, depression and all kinds of other things that just come with the territory of being artistically inclined. Their stories SOUND awesome in a biography from a third-person perspective, but it isn't awesome for them. If it was, they wouldn't have sunk themselves so low in the first place. If you haven't already, go watch the movie AMADEUS. It's not super accurate in terms of history, but the dynamic of the incredible and incredulous Mozart VS average Joseph Salieri I felt is a good demonstration of the pitfalls of talent. I myself suffer from major jealousy in terms of other artists on here (hell, it's my prime motivator), but years of actual experience softened these out once I learned the price of talent and the fact that many composers working in real music industries make in a year what I make in 6 months working half the hours they do. These days, you don't really want to make music for a living unless you're lucky. Every millionaire music maker you know of today is just lucky. Talent and youth are not correlations to success. Keep a solid day job and you'll, ironically, have a much better chance of getting something out of your music hobby than you ever would have as a career.

I may have availability in 2014 for project work, but I'd like to be personally invited before espousing any real interest first (it would be a nice added incentive )

I still remember being paralyzed with sheer AWE the first time I got to the end boss of Final Fantasy VI and listened to everything that happened from the moment the fight started to when "THE END" came up on screen. That really did change my entire life.

Dude, chill out. It's not worth getting ridiculous over. Hear the man out already.

The backlash was largely BECAUSE it was a knee-jerk reaction, and a particularly nonsensical one. Where would you even get this idea that all future stuff will be commercialized? If you're as old as you say you are, I wonder even more why your response to it seemed as childish as it was. I use that term only because I can't think of a less antagonizing one. I'm not interested in antagonizing you, but if this is intelligent conversation, I'd be interested in dissecting the logic for it. Why would this one project, a special case if ever there was one here, be such a turn-off? Why do you feel like a website that's provided more than a decade's worth of free entertainment is still obligated to do things the way YOU want it? I just don't get the argument that "it's the principle of the thing". That just sounds like a substitute for an excuse. It's not even your principle.

I gave a pretty decent plug on it for GAMER GEEK NATION on Facebook.

Well, I hope some of the rest of us who don't normally get invited to participate on them will be able to do so by then. Yes, I'm still jealous I didn't get to be on the Capcom one. You don't need to point it out, I just pointed it out for you. >:V

What? Really? I wonder where that puts Nintendo on the scale of IP leniency now.* * - Traditionally, they do not license out their IP at all.

We live in an age of saturated hardcore "rock and roll" philosophy thanks to decades of worshiping anti-establishment figures combined with a die-hard, anarchic internet piracy ethos where no one ever actually buys music when they can get it for free somewhere - of course some people are going to be dicks about it and call it a "principle".

To be fair, $60/year is only $5 a month. All you'd have to do is go to McDonalds or something one time less per month to break even there.

Speak you no evils, Willrock! That is an idea so good, someone of amoral heart WILL implement it.

At the risk of getting too sardonic and crass, I'm already wondering what OCR meme like "Killer Studio Chops" or "Technomanga" we might pull from this if it continues to get traction. I'm also trying to help support the album by contributing here as I myself cannot afford any music purchases until 2014. :S

Also an opinion: Ocremix has been providing thousands of remixes, dozens of albums and lots of other entertainment for free for over a decade now... and now that they're offering something even better in exchange for helping keeping the site running, you snob them out of "philosophy"? Hard to sugarcoat it, I find that to be pretty weaksauce. If you're all up for commercial success, why are you bashing it at the same time? C'mon man.

For the most part, I've done much of my own cover art for the three albums I have. None of them are spectacularly good, but I do feel some pride for them because graphic art was always something I could never get a real grasp on. Espers Front Cover (First Edition) Back Cover (First Edition - Aardvark Commercial Edit) Meteocrity Vol. 1 IMPULSE Other album artwork I've done: Amphibious - Oceans Aaron Corbitt - Far Away Overcoat - Gardens (Unused because he doesn't like me because he thinks I'm an ultraconservative Christian sperglord ) If I need to resize these down, I'll be happy to do so.

Oh shit, I didn't even see this until now. Yes, that sounds correct. Umm... I don't know, I don't like throwing the first number out. What's a fair price to you?

That's a very broad and nonspecific question. You'll need to specify it down further to get a useful answer. For example: what is your method for starting out here? Do you just have the melody and chords and trying to design a song around that? If so, that may be the problem right there - it's like trying to build a house from the roof down. You might need to start with everything else first, write it around to accommodate the chords, then put the melody on last.