Tensei
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The piano is tinny...I rolled off bass freqs to avoid clashing with the kick drum when it comes in. Next time I'll try sidechain compression instead but I'm not comfortable enough with it to jump in just yet.
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Actually couldn't you just automate the EQ on it to kick in once the kick drum starts?
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Okay, let's see, I quite like the arrangement, but there's some production issues. The piano sounds quite tinny, as if some frequencies have been rolled off, or maybe it's just the sample quality. The vocals sound unintelligible in some parts, though not in the Death Metal-unintelligible way, it's more that they're not up-front enough and get buried beneath the percussion and the guitars. The kick drum rolls, while well sequenced, need some harsher velocity editing to prevent the machine-gun effect, and there's something that just doesn't feel quite right about the kick to my ears, but I can't quite put my finger on it, maybe it's in the way it has been processed. Also, I couldn't hear any bass at all, have you included it in this newest version?
I do think you're almost done with this, but you need to clear up a few of the production issues. The biggest issue IMO is that the vocals need to be much more up-front, and need to find their way 'around' the guitars by the use of EQ, rather than be buried beneath them.
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Well I did most of my comments in my previous post, I like that you took up my idea of changing keys, but it feels a bit awkward nonetheless. I was actually thinking more around the lines of having the key change somewhere near the end as a sort of climax. Furthermore, I think the distinction between the different moons can still be done a bit better, I'm thinking shamisens and stuff for the blue crystal, and a jungle flute (as mentioned above) for the green crystal. Maybe some sampled electric guitars for the yellow crystal?
I do think it's almost done though, there's not much left you can do to improve it IMO.
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Ah great! More rockin' Follin tunes! =P
I'm pretty sure I'll be joining the mixing, while I don't have any cool ideas yet, I'll definitely come up with something. I'm happy that I got that wah-wah pedal for my guitar recently, so maybe I'll come up with something with that (since Follin uses it here too). I'll just say this source tune is going to be a bitch to remix, let alone improve on it, so it's definitely a challenge to win here =P.
Edit: Happy birthday by the way, I forgot to say that! =D
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Okay, arrangementwise, this is now officially 100% completed, and I will not change it despite my constant urges to start tinkering on it again, I'll just say the final version has a wicked kickass key changing hell yeah-ending that can't be heard in the latest WIP, so you'll have to wait until this is accepted or rejected for that.
The mix is now in the hands of Avaris, whose samples and mastering skills will eradicate any production issues that were present in my versions. It should be done in about a week, at which point it will most likely be submitted if I'm not on holiday yet, and if I am, it will be a week later, because obviously I have to hear the definite version and write a description
So uh, anyway, thanks for all the feedback ( the feedback in the previous threads too!). This mix really was a 2-month learning experience, especially in terms of production ( my arrangement skills are quite a bit better than my production), and while it came down to a lot of trial and error, it also helped that a lot of people could point out the things that needed fixing.
Well, here's to hoping the next feedback on this mix will be in it's own review thread, once it has been accepted as my first OCRemix! =P (hope I'm not being too optimistic there)
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The interaction between the kick, the bass guitar, and the rhythm guitars in the lower frequency spectrum can be a real bitch to get right. Typically, anything below 80 Hz, or maybe even below 100 Hz should be reserved for the bass, with the kick sitting mostly in the mid-range, so rather than boom boom boom, it goes click click click (at least, that's how most commercial rock mixes sound).
The interaction between bass and guitar is also very hard to get right on it's own if you don't want to sacrifice the power of the rhythm guitars, but still want to have a clear bass. I do this by having the focal point of the bass being at 100 Hz, while the guitars get a paragraphic cut here. Also, the guitars are rolled off below 80 Hz, which reserves all the sub-bass space for the bass guitar, while still giving the Rhythm Guitars some decent low-end (sitting between 80 and 100 Hz).
Of course, you'll still need to figure out what you're going to do in the lower and upper mid-range, and where you want to accent the harmonics. I'm not claiming what I just described is the right method for anything, nor that I'm an EQing pro (far from it), but it somehow works for me, and it might work for you too.
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I'll try to have an MP3 of One Winged Angel then, I've just finished the one major Remix I've been working on for two months, so I have some more time on my hands now.
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Steel drums? What the fuck? Or are those strings that somehow sound like steel drums? Whatever it is comming in at 3:09 is horrendously out of place.
Hah, that cracked me up actually. But I guess you're right, they do sound like steel drums. They're supposed to be Marcato Strings, and yeah, they'll be replaced with better samples.
The editing of the drum velocities was something I was already planning to do, so no worries there. And about the organ, while I won't be posting a new WIP since I'm almost ready to submit, I'll just say you won't be disappointed about the extended ending if you liked the organ.
Meh, and about the very beginning, I actually wrote that from my head, and I thought it was part of the original too. But, ah well, I don't think I'll be shot down for two bars that are similar to another arrangement, right?
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Sounds definitely ok, I'd tone down the guitars and up the drums and bass, it should sound much more powerful that way. Also, the guitar actually sounds surprisingly decent for a synth, props for that. And yeah, work on that transition from the piano to the heavy part. Keep on rocking! =P
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Okay, I'm definitely liking this arrangement, I can tell you have a good ear for jazz-comping (I'm jealous =P). I do think the soundscape is a bit empty, and something like a jazz-guitar would offer a good counterpoint for the saxophone. Then again, if you're putting Drumultima's vibes in, this problem might already be solved. Furthermore, I demand you whip out those sequencing skills, and put in a nice bass solo, because jazz, after all, is all about the soloing, right? =P
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Damn, voting was everything but easy, but I somehow managed. Great to see we had some awesome interpretations this time. I'll be joining in the mixing again for PRC 100.
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I'm listening through headphones at the moment, so this won't be 100% accurate lol. I feel that the bass guitar needs a little more oomph, and there are times when the compression makes the whole song duck somewhat (0.43 for example). Everything else is very good indeed. However the marc strings near the end sound a bit cheap. Don't forget to remove that portion of noise at the end on the mastered version. This has a good chance at passing.
How did you do the drum track?
Thanks for responding so quickly to my PM and taking the time to listen to it.
I was already planning on adressing most of the issues you pointed out, so it's good to know I'm so close to being done.
About the drum track, it's comprised fully of free samples, of course with the needed layering and processing, and as for the sequencing, well let's just say I like to look up drum solo's on youtube
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It's an original and well-written interpretation of the source, and it manages to retain a lot of the energy of the original heavy metallish source.
I really wish the brass didn't sound so General Midi-ish though..but apart from the sample quality, even the production is very decent. It's really a smashing example of how you can make the best of what you have, without needing expensive sample libraries, good job.
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Yeah dude I'm def up for it.
I'm not the greatest but I should def be able to get this sounding pretty good.Whenever you're ready would you send me the RNS file along with the guitar parts as seperate wavs?
The instruments except for the strings at the end are sound great. Everything is complimenting each other very well. I might use some of my samples like on those strings if that's ok with you?
We'll discuss everything about samples and stuff after everything is recorded and the mix is finished (which it isn't yet, mind you, it's not the real ending =P), so hold your horses for the moment.
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Well the stuff about the bass being too low and everything, that's really something that has to be done in the mastering session, I think I'm gonna let Avaris master the final version ( if he still wants), he seems to know his way around mastering tools a lot better than me =P
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Okay, I've added a decent portion. I apologize for my sloppy recording of both the new lead and rhythm guitars, but at the moment (It's just past midnight here), I'm really just too lazy to care. I'll re-record them for the next update.
Other than the new sections, I've done some other stuff:
- Added more layers to both the kick and the snare, they should have more of an impact now.
- Toned down the reverb and the delay on the synth, so it doesn't suck up as much sonic space as it did before.
I haven't really looked into the timing issues you guys seemed to hear, but it might have something to do with the humanization of the drums and piano. (I've dragged some of the notes a few milliseconds forward or back to avoid having a rigid timing)
Oh by the way, while this might sound like the ending, it really isn't! I haven't even put in my three-way Harpsichord-Organ-Guitar battle yet, so there's no way I'd end it now. =P
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If you want I can record the live guitar for you, this mix has some potential, and you're not going to spoil it with crappy synth guitar right? It doesn't sound extremely challenging so I could have everything recorded by tomorrow. I'm actually jamming along to it right now
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It sounds a lot better, but IMO it still needs more "oomph". I'm not trying to take over your mix or anything, but consider this as a suggestion to how I think it would sound cool. Really, the idea popped in my head and I just had to make it =P feel free to ignore it altogether though, it's your mix after all.
http://www.bestsharing.com/files/wu0zSI308974/Tetris%20Attack.mid.html
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I agree with the previous criticism, while the build-up with the drums getting meatier etc. sounds pretty cool (though the drums are panned weirdly), it's really unexpected and anticlimactic when the ethnic percussion and the flute suddenly come in.
It would sound absolutely awesome if you opted for a louder approach with overdriven guitars doing power-chords and stuff after that build-up. The intro reminded me a bit of U2-ish pop rock bands actually, so maybe that's where the idea comes from. The mix really needs a sense of direction.
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There's loads of ways to get decent sounding results for free, there's some nice free soundfonts out there, and with enough tweakage you can make them convincing enough. Really, you can have DFH quality samples, but they will still sound like shit if you can't process them properly.
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Arrangement is really nice, but a lot of parts don't seem to fit together rhythmically; like a lot of the intro seems to be a fraction of a beat off. It seems to get better as the track goes on.
The synth solo is decent but has too much reverb on it; its messy sounding. I'm also not feeling a lot of the bends in the first half. Once you hit the runs its cool, and the ending bend is nice, but the first half doesn't do it for me.
Drums and bass need a little improvement soundwise as well. The cymbals and such are decent but the kick and snare are a little weak sounding. They have a good shape for the music type, but just seem a little tiny.
I really haven't noticed any rhythmic anomalies, but I did have a minor issue with quantization somewhere during the production process, so it could be a remainder of that that I hadn't noticed. Maybe the guitars aren't perfectly in sync?
I'll fix the synth, but do you have any suggestions as to how I should make the snare and kick sound more powerful? Both are already composed of two layers, so should I add more layers, or simply increase the gain on them? Or maybe some specific EQing?
Anyway, thanks for the feedback, you brought up a lot of issues I hadn't noticed/ didn't pay attention to earlier. =D
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Well, really all I have are free samples to work with, and this is pretty much the best I can get out of them. The wide panning criticism has been noted, I'll definitely fix it. I assume you meant mainly the Tom drums?
I'd love to have a real bass there, but I actually weighed in the fact I'd not be using one during the writing of the part, so it's crazy sixteenth runs all over, and I assume next to no-one would be able to play them (Or am I grossly underestimating the bass playing capabilities of some of the members here?).
The only realistic solution would be to either rewrite the whole part (which is a lot of work) to something decently playable, or have someone with decent samples sequence it for me (same with the drums). While I do take a lot of pride in having made this mix from scratch, it might be a good idea to start looking for people who have decent enough 'tools' to actually realize what I had envisioned with this mix. =P
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There we go, presto drum solo!
I think you're going to like this section. Anyway, enjoy.
Edit: After hearing it a few more times, I think I MIGHT have overdone the harmonic excitation a bit, the cymbals are a bit too sizzly for my taste, ah well
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but can we really tell what song that is from just three chords?
I'd say yes, it's not really about the chord progression, more about the pattern, but meh I guess it's hard to hear. It does sound vaguely similar though. =P
amplitube and guitar rig acting slow
in Music Composition & Production
Posted
You should be able to decrease the latency (the delay you're talking about) from the sound settings window in both of the programs. How much you can decrease it really depends on the kind of soundcard you're using and whether it's ASIO-capable or not.
I have no idea how to solve the second problem you have, it might have something to do with the soundcard settings, maybe you should post what kind of soundcard/ recording interface you're using.