Tensei

NOOOO, EA, stop shitting on my fond memories of Planescape: Torment and Baldur's Gate 2

I'm guessing it's for the same Reason (hehehe, puntastic) the program doesn't have a multi-band compressor; You can create it yourself by wiring some stuff together, so there's not really a need for a dedicated device.

I'll have Dueling Consoles playing on repeat for the rest of the evening in your honor man, you rock! Edit: and happy birthday of course

Really?! I always considered Pantera's drum sound to be one of the best in terms of processing, and I've often enough tried to emulate it, but I guess it really comes down to personal preference =P

This is the point that immediately invalidates the rest of your post. I believe the proper expression here should be "RTFM NUB". =P

Nothing ccan possibly top this

Jumping on the AKG K240 (M) Bandwagon =P also, I tend to use my cheap speakers as an alternative to the headphones, after all, it has to sound good through those as well.

Woo, Avenged Sevenfold! And before they sucked too! Anyway, Jahan, I think a lot of the impact of the kick and snare comes from some heavy compression (basically everything except the attack gets subdued), so if you can't get a punchy sound by EQing alone I think you should try experimenting with compressors.

Fine, I'll have to say something appreciative because I promised, after having to listen to about 500 bazillion versions of your Valkyriemix. =P Umm I like how Malcos promptly responded to my PM to check out my WIP and gave a good overview of how to improve it. And I appreciate how quickly and easily I was able to update my already submitted mix by PMing Liontamer with an updated version. Am I doing this rite?

Original: http://www.vgmusic.com/music/console/sony/ps1/valley.mid WIP: http://www.tindeck.com/audio/files/iepf-Demo.mp3 I just liked the vibe of this song, and this idea immediately came to mind. It doesn't keep in line with the spirit of the original or shit like that, IMO it just kicks ass =P Should I work this idea out or should I just leave it as a short jingle and not submit it at all?

Very well, I might have misunderstood your assumptions on improvisation, but at least we agree on that. If you find out a melodic phrase during your soloing that works exceptionally well over that given point of the song, what's wrong with remembering that and applying it in similar situations? In an ideal world you'd be making up the solo as you play, but it just doesn't work that way for 99% of the people, you have to know at least a FEW stock licks to get by, even your favoured Yngwie does this. On that topic, if you want to know what I consider the greatest shredder, look up Marty Friedman, especially during his Megadeth years. The man uses NO STOCK LICKS EVER (might be an exaggeration but meh). Yet he goes through the most obscure scales in existence during his solo's, except he doesn't know it, because he knows shit about theory. Yes, all that soloing is based on his own sense of hearing and musicality. THAT'S what I call a real musician. I might have confused you with my notions on melody, but I tend to refer to melody purely as the sequence of notes that is used, without the rhythmic context, you obviously refer to it as 'the whole package' so that's probably where the confusion stemmed from. =P As I said, YOU might think Clapton is an overrated amateur, but point is, his solo's MUST have some appeal, despite being mostly pentatonic, because why else would there have been the whole 'Clapton is God' thing etc. Heck, every single one of my guitar teachers went on and on about Clapton. This is exactly why I think that it's more important to know WHEN to play a note, rather than WHICH note to play (of course this has a role too, but it's less important IMO). And ok, I digress, most criticism I have of Yngwie's persona is from circumstantial sources (Interviews, the UNLEASH THE FJURY video), but I remember reading somewhere that after Concerto for Electric guitar or whatever that was called, he considered himself to be a reincarnation of Paganini or some shit. Of course I'm biased by these things, but I've NEVER had anyone prove me he WASN'T some stuck-up prick. Especially if you compare him to a guy like Paul Gilbert, who could probably outshred him in his sleep. About my remix, it's not a really smashing example of my vibrato, but I do tend to experiment with different variations in speed and wideness a lot depending on the song. If I'm just jamming I generally do exaggerate it just for the heck of it. =P

I don't hate Yngwie because I live in America (because I don't), but I hate him for being a pretentious fuck with a relatively sloppy technique (if you compare him to Petrucci, Batio or Gilbert) and writing songs with NO musical content whatsoever. Seriously, EVERY song sounds the same, with the same harmonic minor/phrygian scales+ diminished arpeggio's being shredded over a half-assed chord progression. Geez, I don't understand how you can rip on Death Metal in your blog for 'being too pretentious in terms of technique' while happily proclaiming what a musical genius Yngwie is. At least Death Metal is funny and something you can nod (or bang) your head to. Also, I disagree with your notions on melody. Take a look at the solo to Stairway to Heaven. You can analyze it and say " Well it's pretty much just pentatonic noodling", but it's in the way the notes are implemented rhythmically over the backing that is what sets this solo apart. It's incredibly hard to get a feeling for WHEN to put a note over a chord progression (and for determining the duration of the note too of course) to create an effective counterpoint. Of course melody has a role too, but don't tell me Eric Clapton and Santana are bad guitar players just because they usually just stay in Major/Minor/Pentatonic scales. Also, NOT thinking before you play? How the hell would that work? I'm not referring to thinking " Oh Geez, a Dm#6 Arpeggio would work greatly over this chord progression", but to thinking (subconciously)" I'm going to play this note because I can hear in my head how it sounds over this backing and I like it". IMO that's the only proper approach to improvisation, what you're saying is basically "Play random notes". I don't have decent cam, nor am I planning on posting youtube video's but you can assume from me that I don't play like a random youtube shredder ( I'm not even that fast). If you're really desperate to hear some of my music knock yourself out but there's not much shredding going on. By the way, this thread kind of got derailed, sorry for that =P

God do I disagree with you on this. You can have the most amazing solo ever in your head, but if you can't play a steady rhythm and a lot the of notes sound dirty, people will comment on that, not on the solo itself. One of the most important aspects of soloing is knowing how to work in the notes rhythmically and use them to your advantage to build up to a climax. Playing sloppy doesn't make you more musically expressive than someone with a perfect sense of timing and absolutely clean picking, it just makes you sound amateurish in comparison. Also, I don't really see how practicing with a metronome makes your vibrato sterile and robotic, I practice daily with a metronome (apart from 'practicing' by playing along and soloing to songs) and I can assure you that I got a vibrato that's at least as fast and wide as yours, just doesn't sound that uncontrolled. Really, I don't mean to flame you, but calling me and most other people less of a musician just because they have the discipline to practice properly is just stupid.

Umm, I guess you should read up on what is considered a remix here. What they want down here is a complete arrangement of the source, not just a guitar solo slapped on an already existing arrangement. If anything, this video should be in Non-Remixes. Apart from that, the guitar solo is great. Some of the arpeggial choices show a definite knack for arrangement, but execution is relatively sloppy throughout (mostly referring to your sweep picking and tapping, though some of the alternate picking licks are quite iffy too, I can pretty much hear how you haven't been practicing to a metronome =P)

You're in luck

E----------------------------------------------------------- B-------------------------------------------10-10-11~------- G---x\-------12~---12~-------------10----12~---------------- D---x\-----------------*10~----/10----10-------------------- A---x\---/10----/10----------------------------------------- E----------------------------------------------------------- ----------------------------------------------------------- --15VVV^--------------------------------------------------- -----------------------------------------12---------------- -----------------------10-12-13-12-13-15---15-13-12-13-15-- --------/(13)-10-12-13------------------------------------- ----------------------------------------------------------- E---------------------------------------------15~----15-18-18~ B--------------------15---------------15-16-18----18-------- G--12-14-15-14-15-17----17-15-14-15-17---------------------- D----------------------------------------------------------- A----------------------------------------------------------- E----------------------------------------------------------- E-18-17-17~-----18----18\17--15-17-18-17-15----------------- B------------15----15-----------------------18-16-15-------- G----------------------------------------------------17----- D----------------------------------------------------------- A----------------------------------------------------------- E----------------------------------------------------------- E--------------------17-18-17-18~---20--20B22~-------------- B-18B20~--18B20B18~----------------------------------------- G----------------------------------------------------------- D----------------------------------------------------------- A----------------------------------------------------------- E----------------------------------------------------------- x\=Pickslide /=Slide into note from below *=Pinch harmonic ~= Vibrato V=Whammy Bar Dip ^=Whammy bar Rise ()= Ghost/Grace Note B*= Bend up to* B*B= Bend up to* and return Guitar Tone= Bridge Pickup, Slight Delay added ( very low feedback) Hey guys, I was bored so I decided to tab out Sixto's Guitar solo in what I think is pretty much the coolest song of the whole VotL project, Scenes From a Memory (On that day five years ago). The fast runs are probably inaccurate, and I'm not entirely sure about the crazy whammy bar note, but it should at least sound decent enough over the backing track.

Short, but good! The recording has some hum at the start and end so you might want to edit that out, and I'd suggest trying to widen the panorama a bit, instead of having everything coming out of the left speaker. Keep on it!

That, and probably because they're using NI's Battery as well. In my experience NSkit7free is workable, though it took me a huge amount of processing and layering with different soundfonts to get something that sounded more or less acceptable, and I'm still not very content with it, so I presume the full version will have a lot better sample quality.

here 10char

Um..are you kidding me? I don't see what's so great about 10+ minutes of pentatonic noodling + wah-wah wankery over a lame arpeggiated chord pattern that's probably been used in dozens of other songs, but maybe it's just me.

I think this was some time after I heard about the Black Mages, and went on a frenzy to download as many of their "remixes" of well-known songs when my filesharing program returned my search for "Jenova" with " Jenova for Piano" and " Jenova Trance remix" both with an added OCremix.org tag at the end. The rest of this story is pretty obvious I guess. =P

BASS, not brass, hehe =P I suggest finding some sort of synth bass preset that you like, layer it with some other bass/sub-bass samples you like, so you get a nice and phat bass sound.

Sensei-tan to the rescue I guess. Layering, Layering, Layering is the way to go. What OA meant was that you take the synth you have now, you copy it once or twice, pan one to the right, the other to the left, and you'll get a much meatier and phatter sound. I think this mix needs much more bass. You have the synth, some pads and the drums, but it really feels like there's nothing under the ~100 Hz mark, which is exactly what this mix needs for booty-shaking. Also, the " We are the reptites" voice was awesome, but put it somewhere in the intro, just before the beat drops.

Reason is not exactly known to have great orchestral samples included, but they are definitely moldable into something that sounds 'alright', if you know the necessary things about processing and articulations. In my experience the strings from Reason work best by layering them extensively, to create a lush soundscape. If you're just using the strings as a 'pad' then you'll only need to correctly segue between the different chords, which can be done by applying legato (i.e. smooth transitions between the chords). Play around with the ADSR-envelope (mainly the attack is of importance) and try to procreate crescendo and decrescendo (I think this should be done by automating the channels level, but there might be a more obvious and simple way). If you want a more flattering role for the strings, be prepared to load up all the different articulations (legato, staccato, marcato, string runs, tremolo, glissando, etc, etc, etc.). You'll have to understand how to use each of these effectively, and yes, this can be a huge pain in the ass. Even worse is the brass. Without decent samples, this will never sound convincing, but with correct articulations etc. this can come close to 'decent' even with sub-par samples. In short, same here with the articulations (sforzando crescendo, staccato, legato, glissando, and oh so much more). To sum it up, orchestrating can be quite a bitch, both in terms of composition as well as the production, but it really isn't so much about decent samples as it is about the processing and articulations. Even the most expensive sample library will sound like crap if you don't pay attention to those.

I'm pretty sure what you did is just a possible variation on it, and the bass-drum can be played at double the speed of the cymbal and the snare, and wikipedia agrees with me on it =P Really, when I think of the word blast-beat I hear this: --S---S---S---S---S---S---S---S- B-B-B-B-B-B-B-B-B-B-B-B-B-B-B-B-