Meteo Xavier

So did you select someone or do you have several people contributing to the soundtrack or are you still waiting to make a decision...? It's kinda hard to tell with that post.

Or just give the ships a brighter color so its easier to differentiate.

I'm also considering selling some gear. For some years now, I've had a couple rackmount ROMplers that I bought secondhand from Dollywood and I don't think I'm destined to use them in any music production, so I'm interested to see if anyone might be interested in them here. Roland JV-880 and Korg SR Wavestation. The Wavestation in particular I think came with additional sounds already plugged in. I bought them secondhand myself so I don't know everything that's included or missing, but apart from having to change batteries, they've always worked really well for me. Don't know what I want from them yet, I'm just seeing if there might be any interest for them yet, but I'll try to offer a fair deal that's realistic for both parties to anyone interested (but anyone thinking I'll go for "I'll give you $50 for both if you do free shipping :)" will get nothing but a swift kick in the ass. Vultures are iresome.) Also, I may be interested in selling my copy of T-racks 3 Standard for about $125 (which is what I paid for it) if I can figure out how to do the transfer with it. Just gauging interest right now. Summer's been bad and I need to make up for it somehow.

That box art officially sterilized me.

Well, that particular project was full of really old songs I did on commission for game guys who, for the most part, really didn't know what they wanted or were doing (and expected me to puppet their visions of music), and so I just wanted to clean up the mixing and literally get it out of my system. All the same, I still could use all the help and teaching on transitions and non-robotic feel that I could possibly get, so I definitely need to take a look at those links. Transitions and realism I'm still fairly weak on. Thanks Avaris

Now it's looking like the problem was never really there to begin with - which is awesome except I wasted years trying to fix something that never was.

At this point, I'm pretty much accepting I've been running a fool's errand for years and that I have been chasing the wrong thing. I even started hearing it last night and I've been afraid to respond here since. It's a heavy thing to admit you've been questing for nothing for a long period of time. It stems from an even longer problem I've been having in just getting my tracks to sound more professionally "fluid". I keep feeling like all my mixes, no matter what I do or how many velocities or automations and such I use, always come out sounding very stiff in the mix and noticeably different than everyone else's. I can't tell if I'm being criticizing myself too hard on that or if I'm really doing it or not. Again, no one's ever really been able to give me a straight answer there. I hear "use compression, derp", "use reverb, derp", "use velocities, derp", "use your ears, derp", etc. in very, stupidly simple responses without any better idea what to use inside them to do what with and video tutorials I find almost as useless. What I almost never see are people who post their settings for such devices to get what they want out of them. It's a very frustrating business if you're not one of those people who just magically tune in to this shit.

... Really not trying to be rude there, but, again, I'm not talking about frequencies. I'm asking if there is a mixing effect or technique that softens the transients in all the instruments in a mix without adding real attack and release to stretch out the sounds - because I keep hearing one but no one seems to know what I'm talking about. Don't mean to be obnoxious, but this happens everytime I ask on it. Am I just asking a silly question or why is this difficult?

I don't know how I keep doing this, but somehow I'm not being clear about what I'm saying. It's not the instruments/arrangements/frequencies, etc. not all fitting in together in the soundscape I'm talking about, it's the way the sounds themselves COME IN and OUT as they play. I keep feeling like mine almost always have too much PUNCH in them and then don't leave in a way that seems right to me. This makes it difficult for me to variate my arrangements and add, like, a short harp or string arpeggiation on the side to compliment the melody because I can't seem to get them to come in and then leave without it sounding awkward. Then again, maybe I'm just insane and hearing things that aren't there. I don't know, it's very difficult for me to figure this stuff out by myself. Anyway, here are my examples: BAD: http://meteoxavier.bandcamp.com/album/meteocrity-vol-1 - basically #15-18 are the best examples I can think of for what I wish could melt in better. They have too much punch in them I feel and leave awkwardly making it seem like the soundscape is empty without them. GOOD These two are probably the best examples of similar samples I have, although the .PSF and .SPC files would illustrate them even better, and they seem have theirs blended in better, particularly that synth brass lead in the Valkyrie Profile track. Sure the mixes themselves aren't great in either, but they still have the samples actually coming in and out better and I'm trying to learn how to do that - if you can do in a SNES game, I'm sure I can do it too. What do you think? Have I just gone insane and hearing things that aren't there, or what?

Most of my "bad" examples might be in my Meteocrity album, but, again, I'll post them once I get home. My means right now are text-based and not great for pulling links and such.

I posted this on KVR because I didn't want to bother OCR people, but I keep forgetting KVR's forum is surprisingly useless, so I'm trying again here. I've been trying to figure this out for years and to date, no one has given me a straight answer on it - I'm trying to learn how to get my samples occurring in the mix to sound more naturally occurring and more, ugh, "professional" sounding. It seems to me like all my sounds have too much punch in the mix and often do not leave the soundscape in the natural-sounding way. I thought, for a long time, the answer was a Transient Designer, but having gotten the one from Komplete 8, I can see that is not the answer to it. It only seems to work on drums anyway. Everywhere I listen, even to the old Super Nintendo tracks, it seems to me like there is this microscopic amount of added attack and release on the transients that makes it so that each PCM sample comes in and leaves without sounding too much like an obvious sample. It seems like everyone knows how to do it but me - what am I missing? In the years I've been trying to figure it out, I've heard the answer is in: * Compression * Reverb * EQ * Transient VSTs * ADSR Envelopes (which, no, it's not. I've already tried it and it comes out sounding ridiculous most of the time) * The Mixing (well no shit, WHERE is it in the mixing? You can't solve a specific problem with a general answer like that). Compressors still might be what I need to look into, but so far, I still haven't found what it is I'm looking for. Can anyone help me out? I'll post some examples when I get home. Thank you!

Hardly a computer expert here, but it seems like that would do the basic functions of what you're posting for, for the price you want it. I'd almost suggest one of those netbooks, but you said you didn't want a smaller screen. You could do worse than that I would reckon. I'd say go for it.

It should be a fairly common occurrence that you notice music speeds don't always sound right in your head - particularly if you're listening to a slower paced song after an hour of faster music and vice versa. I don't know any of the science behind it, but carry a 20lb weight around for an hour, put it down and be amazed how much lighter everything seems to weight after that when you pick something else up. It's the same basic thing I think.

You're already waiting for an interview stage? If I'd have known that, I would've sent more in the contact form (I don't typically throw everything out in an introductory contact - it's pretty bad form and makes me look desperate).

When might we expect to hear back from you?

Never. But thats not the point here.

That'd be nice, yes. Also, on the website, my basic understanding is we were waiting to talk with OCR staff about that once we were getting closer to done. I've asked Roz about that a couple times and I believe that was the answer, I personally have no frame of reference for the website, but not because I don't want to. That template doesn't look too bad at all, Brandon, and I'd personally be up for it. Need to wait on Roz to chime in, obviously, but I'd give it a YES.

I'm getting closer to it. Is there a way I can turn down the actual leslie emulation itself when its on? I'm beginning to think thats part of it - Motoi's organ leslie is weaker than this model's emulation and its kinda overpowering by itself. I figure there has to be something in the program scripting that can do that.

I did the contact form as well.

I'm in too. I've not been whoring myself out as much as I want to lately.

Might as well admit the whole thing. Everyone's a brony on the internet now.

Closer to it it seems like. I notice his organ also seems to swell and leslie at very different speeds while he's playing. Is his organ hooked up in some way that his velocity automates the leslie or how does that work? He's not controlling that as he's playing in some of the other live stuff I've seen him in.

I'm still having trouble with it - the B3 just sounds way too jazzy for my tastes. I've looked up organ settings and not much has come of it yet. Adding distortion/phaser helps a little bit, but not too much. This is the organ tone I'm trying to get:

Where is the B3 one on Vintage Organs? I just got it as part of Komplete 8 and I haven't figured out how to find/create this sound yet.