KingTiger

Oh, I see you found my high school yearbook picture

well, final round begins tomorrow...? anxiously awaiting the announcement of the final theme(s)

I have this question as well. It would make me very happy if it were on Spotify.

Alright, I didn't try the two different endings like I was originally thinking, so here's a version with a better mixed lead at the beginning, and the entire "extra" ending cut off: https://app.box.com/s/jrk64canurtpaw23hg0i

lol really? Not the first time I've done something with this many words; you should check out my Sonic rap remixes on my SoundCloud; one of them was in last year's Sonic Zone Remix Competition. hah, cheesy vocals are cheesy! I'm glad the transitions worked for you, I was a bit worried that they may have been too dry or basic or something. Also glad that you were able to pick out all the crazy source usage. Thanks I thought about rapping about something a bit more serious, but I figured re-hashing the story would be more fun and interesting (for me and for you guys). I was a bit concerned that the source usage may be too covered up under the lyrics; but there's actually a lot of each source there; see the bottom of this post for the source breakdown. Glad you liked the lyrics too It is pretty basic, but that honestly is what I was going for; just like MindWanderer commented above that the synths were thin (there were actually only 4 synths - the bass, the "rnb" lead that comes in when the drum beat first starts and carries throughout the song, the pad in the intro, and the subtle offbeat choral effect in the choruses), I suppose, but that's actually what I wanted. A lot of hip hop/rap has seemingly simple stuff going on instrumentally, and that's what I was trying to emulate. Personal choice, I guess, and I know not everyone will like it. As far as the flow goes, I'm glad it *mostly* worked It's something I've been working on. Thanks! I was really hoping the story would be enjoyable. I was trying to be clever with the way I portrayed things (another very common hip hop/rap thing). Are you talking about this one here? Yeah, I'm seeing that I could beef up the backing stuff a bit more. I might be able to come up with some more instrumental-only sections for this track too, but we'll have to see - that was never the direction I wanted to take it. Regardless, after a week or two or three, after some time has passed, I'll be willing to come back to this and really work my magic. and about Pluto DON'T GO THERE I'll just leave this here... SOURCE BREAKDOWN 0:05 - 0:22 (the cheesy intro, up until where the drum beat starts) Proto Man in the EP 0:33 - 0:50, 1:23 - 1:39, 3:05 - 3:22 (the choruses) Galaxy Man in the sang melody (backed by the piano), Wily Stage in the bass 0:51 - 1:07, 1:15 - 1:23, 1:39 - 1:56, 2:04 - 2:13 (the first 1/2 and last 1/4 of the first 2 verses) Galaxy Man in the bass, Proto Man in the piano 2:31 - 2:48, 2:56 - 3:04 (first 1/2 and last 1/4 of the last verse) Galaxy Man in the bass still but also in the piano this time 1:07 - 1:15, 1:56 - 2:04, 2:48 - 2:56 (third 1/4 of every verse) Wily Stage in the EP 2:13 - 2:31 (bridge) Galaxy Man in the bass and the synth lead, Proto Man in the EP 3:31 (the very very end) That's actually Galaxy Man in that super quick piano arpeggio

Round 8 Entry: https://soundcloud.com/kingtiger/prototype-2-galaxy-man-and with lyrics on the SoundCloud page

just subbed my entry for round 8

I'm stealing that for something. Just letting you know now

I think that square lead is just mixed too loud still x.x I just need to bring down its level. It has verb and it has a low cut on somewhere between 200-300 Hz already. As far as the rest of the instrument balance, I feel pretty good about it; 1) it sounds good to me and 2) when I initially mixed the song it was without a limiter at all. I typically add all my master track stuff after I feel pretty confident in the mix (i.e. near the end of my production process). In regards to the ending... I've been wondering about that too, and you're not the only person who feels that way (see the comments on page 1 of the thread). I'm not sure I just want to leave it with the filtered piano though, so I'll render a version with just the piano ending and a version with something else I have in mind and see how it works.

Great work! Love the well-done rock style, and the arrangement, musicianship, and effects are pretty well done. I got goosebumps actually

DUDE Sir J brings the FUNK and finally give KC (one of my most loved/hated Sega Genesis games with great music) some well-deserved love!!! This is great, I love all the crazy effects you used and the arrangement is great! Love dat bass and all those glitchies and and and HEAD ASPLODE also I noticed the "It goes a little somethin' like this, c'mon" vocal clip from the Fresh Beat Band

Being a drummer who has experimented with various styles, I can say that jazz drums often have kick and snare; some jazz styles stick with only hat, snare, toms, & cymbals and leave out the kick entirely; but I don't think I've heard any jazz (except for maybe some crazy avant-garde stuff) that has no snare at all. Like Brandon said, it may be brushes on the snare, which can create a completely different sound depending on how the brushes are used, but it's still a snare.

post-grunge chiptune actually sounds pretty do-able, and it actually probably exists already well hell, nintendocore already exists, and that's pretty close - DusK even has an album of it under a different name: http://fromtheforestitself.bandcamp.com/ EDIT: Tuberz I bet you could do it! You're great at rock/punk/metuhlz/what-have-you as well as chiptune

Timaeus, thanks for all your help And thanks to everyone else who contributed feedback. Does anybody else have anything to say about this track? If you do, take a listen to version 4 first: https://app.box.com/s/cj51sr9dn9eq5tbgdhxm I fixed the mixing on the lead that starts at :34 and I raised the bass level in the multiband compressor. Yup, I left the soft knee on the limiter, I think it sounds more natural and gives the mix more breathing room EDIT: at this point I feel like it might be approaching OCR sub-worthy readiness, anyone disagree? I'm thinking about the arrangement here too

So the link in the OP is the finished version?

ah gotcha; well Logic's Adaptive Limiter doesn't have a setting for the knee; however it does have an option to choose between "OptFit" & "NoOver"; I usually use "NoOver" and based upon Logic's user guide it looks like that essentially creates a hard knee... https://dl.dropboxusercontent.com/u/34713846/mm%20Logic%20adlim.jpg That screenshot shows the Adaptive Limiter itself how I had it set on ver. 3, as well as the user guide excerpt that talks about it (the two options are described at the very bottom). I went ahead had re-rendered the track with "OptFit": https://app.box.com/s/zsxs366rkc5glxrxppyy and here's a screenshot of the new AdLim settings: https://dl.dropboxusercontent.com/u/34713846/mm%20Logic%20adlim%20optfit.jpg (I had to re-adjust it after switching the setting to prevent any overs.) It definitely sounds different - the sound coloring is even different, for example there's a hell of a lot less bass - I'm guessing this may have done the trick, but if you could run it through your analyzer to make sure that'd be great. EDIT: I will say after several comparative listens that this newer version sounds less "smushed", and a bit clearer, but I guess if I decide to keep it this way I'll have to re-adjust my multiband compressor (which is right before the limiter in the effects chain) to compensate for how different it sounds.

here's v3: https://app.box.com/s/mbwp5p33u5qejsy72slc Timaeus, I did most of what you said on your 2nd round of feedback, except for one thing: the kick already has a soft knee on its compressor :/ Here's a screenshot of the comp settings: https://dl.dropboxusercontent.com/u/34713846/mm%20logic%20compressor.jpg The snare thing that you heard was an extremely subtle change; I simply emphasized that change a bit more this time Also, on the drop at 2:13, it's just toms and a chopped cymbal; the toms were rolled off completely at 116 Hz, so to take your suggestion, I changed it the EQ on it from a low cut to a low shelf; now the bottom end isn't completely removed, thus increasing the key freq's (instead of a -inf. dB cut it's now a -20.5 dB cut). I can hear a difference, so I hope that's enough to take care of it.

Alright, thanks everyone! I tried to take everyone's feedback into account; here's version 2: https://app.box.com/s/9b2yxw3xxnxpi8abn897 (also in the OP)

that sounds ducking amazing isn't that how every good song on the radio is produced

You know, there's another term I don't really understand what it means - "ducking." Once again I'm probably familiar with the actual concept but don't know the word

So you were basically trying to figure out, if the aux send with the parallel compressor was before or after the light compressor on the track itself? iinnnteresting.... I imagine this could actually depend on your DAW and the settings on the track & send themselves. I'll toy around in Logic and see what happens, although I want to say that in Logic, any effects on the track itself are processed before the signal is sent to the aux send/bus.

Hey, thanks for all the info on parallel compression! When people talk about running effects "in parallel" I had just never heard that term before, but I do understand the idea of running an effect on a send so you can easily mix the dry/wet signal... I have a tendency to simply use the "dry/wet" knob on my effect, assuming it has one. After reading all of this, however, I may start doing more things with aux sends instead, it seems like I can get more control that way. Also, the idea of using a compressor in parallel to control the decay of things is something I never knew about, so thanks for sharing that great tip I usually run all my drums through a bus with a compressor so that they all stay cohesive; would it be a good idea to run a compressor in parallel to that bus (which already has a compressor on it) so that I can manage the decays, or should I use that bus in parallel? (I'm guessing the former option would give the control and mix management desired but I want to make sure)

Okay one thing I'm confused about what it means: You guys keeps talking about adding effects in parallel, and I'm not at all sure what that means.