Fishy

Cor blimey. 3 wavs today, keep em comin!

Haha that beat is massive. Pretty obnoxiously so, but fun. The other elements of this are not so polished. The sound very dry and don't particularly fit with the incredibly overproduced drums, which are fairly obviously a cut up loop. This kinda sounds like someone found an excellent drum loop, and picked some presets without really teaking them all to fit together. There's only really 3 elements for the whole piece, and the emphasis is definitely on being loud. Ending is also conspicuous by it's absence. It was fun, but there is a lot of room for expansion and intricasy here that just hasn't been explored and the production whilst very loud doesn't sound like it was approached with too much care. Needs a lot more polish and detail to really stand up to what exists already on the site. NO

My sub is having a little bit of trouble with this. Congratulations. Pretty solid electro here with a bit of added funk. The production is as mentioned, a touch rough around the edges but fine at it's core, nothing too distracting. Nice glitching going on in the middle, and some nice FM sounds. I can dig it. YES

Rockin'! Hairta's ftw. This is pretty solid all around. Really not much criticism to be had here. Bit of cymbal fudge due to compression but otherwise fine production. It's always kinda heavy, even during the quiet bits which is fun. Very foreboding. I like it. YES

untss untss untss untss untss untss untss untss I think it's fair to say there's nothing in the first 1/3 of this to make any solid connection to the source at all. And the build up to the main kick of the melody is literally the entire first half. I'm not gonna count seconds on this, because I think thats lame, but yeah you need more of the actual tune in earlier. The build up is great for the genre but you can do a lot more to connect this. At the moment it does sound a little bit like it could be a number of songs I know cause the original isn't the most inventive arrangement to begin with - which makes the need to include more aspects of it even more important. The production is pretty sweet but yeah, needs less one chord build up and more source tune. NO, plz resubmit

So these guys are more or less spot on. The bass lines are great but marred by the very obvious sample. Humanize that some mo. The mixing gives emphasis to some really quite muddy elements, mostly the pads/chordy keyboard type stuff. Do some EQ cuts in general but definitely experiment with either different reverbs or EQ'ing your reverb signal. It's really sounding boxy because of whatever you're using. If you must stick with it take some lo-mids out of there, It's nice work, just needs some mo polish. NO, plz resubmit

Typical Halc Mix YES

The official halc rule is you can only do that once.

Pretty tite. Not the best pendulum pression I've heard, but definitely not a bad one (better then minelol). Not too bothered by the overall volume. This is pendulum OA, who cares srsly. Vocal is sitting ok in the mix for me. Structurally is very conservative but plenty of small changes all over. Nothing further your honour. YES

God damn these sources are dark. Excellent mood music. So immediately, the quality of this recording is a little sketchy. Bit of a weird image going on, and something funky about the general sound. Not quite solid, can't decide how much it bothers me. Piano isn't quite tuned either. Arrangement is pretty cool, very brooding. Performance is nice, very dynamic. You can really feel the force with which you played those triple fortes. I think I need more opinions on the production to say 100% (one of my ears is not working this week) but I'll go YES for now. I'll listen again when my ear works properly. NO EDIT: Hurrrrr my ears better now. Sorry but yeah the recording quality is really hurting this. It really doesn't stand up to the recording on the site.

This kick... might actually work better for prog. Just sayin'. Very smooth production. Everythings under control, even when it's glitching up in cool ways. Nice chords to work with. Lots of fun little layers to catch if you care to listen out for them enough. Also zircon made dirt devil in like 5 hours or something stupid like that for a competition. Try again. YES

Hrm, I think there is more to this then some of the others have suggested. There is a fair amount of interesting rhythmic alterations. I agree with Vig that there is a bit of a lack of overall dynamic contour. Not a whole lot of direction or sense of build. This has been done quite a lot more succesfully before I think. Think I'm leaning on the NO side as well I'm afraid. Try and keep some kind of momentum going in your arrangements, it will keep them more interesting and give them more direction. NO

Happy rock! Can be hard to maintain a heavy feel with this kind of stuff but you've done it pretty well. Echoing OA with praise for keep your gain low. Can be a pretty exposing experience for a guitarist, but you clean up well :3. Arrangement is pretty cool, plenty of layers going on. Nothing further to add. YES

So basically it sounds like it doesn't distort, but you'd rather moan about what the waveform looks like (which is fine btw, no clipping whatsoever). It's audio, listen to it.

Remixor: Fishy Remix name: Zero World Remix of: Final Battle Cameo sources: Immoral Melody, Boss Battle, Kuja's Theme Game: Final Fantasy 9 Composer: Nobuo Hyoo-mat-zoo THIS IS FOR THE FF9 PROJECT, NO POSTY, PROBABLY IN FLOOD Link to ReMix: Main sauce: http://www.youtube.com/watch?v=oz9q6PXk3dI So this is the final battle remix for the FFIX project. I'll not lie - it's fairly gratuitously self-indulgent in size, content, concept, style... in more or less every way it is possible to be gratuitous. I want something really epic to go out with bang on, and this is what I came up with. I shortened it by about 30 seconds from the album version, for which I will hate the size limit forever. The day I cut my prog epic in half for ANY reason is the day prog dies. There is very obviously a Dream Theater influence going on here. The voice over contains choice extracts from Necron's script. Yes that is my puny british voice being morphed. Big thank you to the choir of a thousand burning souls: larry deia jill zirc OA hemo cyril Stevo Big thank you to Andy P for letting me borrow his 7 string JP guitar for authentic Dream Theater ripoff-age. My mixes are never particularly source lite but I've taken the liberty of breaking this down properly for you anyway, as I know most of you will look at the length and hate me. Source Break Down Source Sections Used: Final Battle: http://www.youtube.com/watch?v=oz9q6PXk3dI 0:00-0:16 - A 1:20-1:42 - B 1:53-2:36 - C 2:36-2:56 - D dooooooo dooooooo 2:56-3:06 - E do do do do do 3:06-3:16 - F ner ner ner ner 3:16-3:27 - G Boss Theme: http://www.youtube.com/watch?v=zxQgbTRbT8o 0:15-0:40 Kuja's Theme: http://www.youtube.com/watch?v=qcWqhzgseI4 Melody at very start Immoral Melody: http://www.youtube.com/watch?v=jvqCkbP19Yw 0:27-1:04 Whole intro is basically DEF chords, and some of the melody 0:12-0:42 - D 0:42-0:52 - E chords 0:52-1:07 - F chords + orig melody Heavy part of intro is varaitions on those sections 1:17-1:42 - D 1:42-1:47 - E chords again 1:47-2:03 - F in 12/8 2:03-2:17 - G 2:17-2:38 - Var on Riff from B This section is the 'main' theme section I guess, closer to original 2:38-3:03 - B more or less verbatim 3:03-3:58 - C more or less verbatim 3:58-4:17 - E 4:17-4:26 - F 4:26-5:06 - G with timesig fun 5:06-5:16 - B riff transposed This is the random shit and breakdown section - more loosely based 5:17-5:37 - B riff with Boss theme melody, totally clever 5:42-6:02 - Melody from kuja's theme used as riff adjusted for 4/4, Immoral melody as melody 6:02-6:15 - B riff in Major and Dorian, totally clever 6:15-6:32 - B riff with soloing and keychanges 7:03-8:25 - A section in 6/8 with solos later on 8:25-8:40 - F section in 12/8 again (...kind of, drums are 4/4 for some of it) Then there's a main theme repeat into ending 8:40-8:53 - G 8:53-9:49 - C verbatim-ish 9:49-10:12 - D So total times added up: pad intro 45 s heavy intro 81 s Main theme 158 s random 70 s breaksolo 111 s main/end 80 535/664 s total around 80.5% Non-VG sources/Blatant Ripoffs Any modern Dream theater fan will spot the hilarious obvious nods made but here they are anyway. A Nightmare to Remember: http://www.youtube.com/watch?v=ADX9DdURn8o 2:17-2:38 of my remix is quiet blatantly ripped off from 1:41-2:17 of that song. I mean, it's more a general arrangement idea, the notes I use are clearly the final battle riff, but it's definitely heavily 'inspired by'. Octavarium: http://www.youtube.com/watch?v=LH_9lJxeiXg&feature=related The sound of the intro has been clearly purloined, but no harmonic or melodic content has been used. Small note on bitrate: Apart from the cymbals which are a tad yuk, I think it sounds listenable enough. You can certainly hear everything okay. If 96 is good enough for triforce majeure, it's good enough for this. Also the simultaneous album release will have lossless if people like it enough to go hi-fi. I don't think it's a big deal is all I'm saying. But if any of you know of the best encoder for getting stuff exactly 8mb (ie as good as physically possible) then let me know. Happy to redo it a at something like 102-4kbps but really couldn't find a way. As always, thank you for listening :3.

Watch as I push the boundaries of length and encoding quality next week. In the name of prog!

Gimme 2 weeks, my new crib will be not just a laptop and 12 guitars anymore. This shit is serious.

those aren't the point of dither, it's side effect that only really comes into play at very low bit depths (8-bit etc). The point of dither is decorrelating quantization errors from your signal when you sample or resample audio. Granted it's more way important for bit depth changes then it is for sample rate changes (where aliasing is the main gremlin) but it still has a positive effect on any resampling. The only effect is has on your dynamic range is you can potentially hear signals below the least significant bit of a shallower bit depth. By randomising all values a little dither might push some very low level signals just above the least significant bit where they can be heard, but thats right on the noise floor and already barely there at all. It makes a huge different for 8-bit signals, but almost no effect for 16-bit (in terms of dynamic range). This^. 44.1kHz all the way. If you wanna release at 88.2kHz, then go for it. No one will be able to appreciate it properly though. You need a badass setup and trained ears to really hear it.

You should dither whenever you resample. If you record and work at 24 bit, you should use dither when you export your 16-bit wav. Likewise if you record at 48kHz, you should dither for your 44.1 export. Dither basically adds noise equivalent to the level of the least significant bit available. While this adds a tinsy tiny bit more noise, it helps to decorrelate the quantization error of the resample from your signal by randomizing the error. End result: you get a pretty much inaudible increase in your noise floor, but the resampling process sounds less like distortion and more like harmless noise. "I punch those numbers into my calculator it makes a happy face." - Cave Johnson

From a guitarist, here's what they probably meant: You record the same part twice with the same tone and pan them hard left and right. This makes a nice image if your timing and articulation is tight. This is the minimum I do every time and is the basic standard. Some people go further and do this: Then you record the exact same thing two more times with a different tone and pan them differently, maybe 75% left and right. People will argue about the panning though. Some people prefer no fully hard panning, some people like all 4 takes to be hard panned. Some people record everything 8 times, I think thats a bit ott. Try it, see what works for you.

I like this:

No point, they're just bonkers. The Eklundh signature in particular is just plain silly. In a good way.

Ya srsly, that ring is obnoxious beyond belief. St. Anger wins by far.

Are you being educated? Fuck that, play some Call of Duty!

I'm not sure I can do this accurately, as the St. Anger snare deserves it's own forbidden imaginary section on the number scale. Its the square route of -1.