Tensei

Synthenesia would be an awesome name for a softsynth but I digress (it's called synesthesia by the way, and it's another really interesting topic). You seem to miss my point. I was saying that to me it seems that the ability to analyze chords by ear is one that is mostly unrelated to having absolute hearing (I'm basing this on what I read in the book 'Musicophilia' by Oliver Sachs, it's a great read on this kind of topics) and is one that can be learned through training (i.e. The recognition of intervals, and thus, chords, is known as relative pitch, which can be trained) To me, absolute hearing is as simple as that, the ability to recognize the exact pitch of a note without any reference, nothing more, nothing less.

Good, we'll make sure you will be one of the people to survive once we start invading Belgium. ALSO ZOMG NETHERLANDS ITALY PWNAGE

Have I at ANY moment even ALLUDED to chords? Being able to recognize chords and intervals can be learned, afaik it has jack shit to do with perfect pitch, aside from the fact that people with absolute hearing will be able to exactly name the root note. Saying some people have 'better perfect pitch' because they happen to be better at recognizing chords than others is like saying that some homosexuals are more gay than others because they're better at dancing. Your comparison is flawed, and please stop quoting wikipedia.

I've heard two different definitions for the word " Relative Pitch", one is the ability to recognize intervals by hearing them (i.e. a major third), the other definition is the one I use, where you recognize notes by relating them to notes you know really well, which I have myself to a certain degree (I can pretty much flawlessly copy melodies on my guitar upon hearing them. Fun thing is, I don't associate the notes I hear with their names but with the frets I'd play them on on my guitar, so if someone asks me to identify a note by hearing it I visualize the location of the note on my fretboard and from that I deduce the name of the note ) As Analoq pointed out, there is NO middle ground for absolute hearing/perfect pitch, either you have it or you don't, you can't have it to a certain degree.

For the sake of derailing the thread, I'd like to elaborate (since I think this topic is really quite interesting and I'd love to hear some other thoughts on it). What you're referring to as 'being able to do it a little bit' is known as relative pitch, i.e. those people you're talking about have the ability to compare notes they hear to notes they know really well (for example guitarists generally know the approximate pitch their strings should be tuned to and can relate notes they hear to it.) Absolute hearing is absolute. There's no grey area, there's no comparing of different pitches, they hear a note, and BAM, they know the name and whether it's sharp or flat. This is an ability that, if you don't have it by now, you can't learn, even if you might've been capable of learning it as a young child. In fact, absolute hearing goes as far that if you're used to hearing a piece in a certain key (let's say you know the studio-version of Metallica's Master of Puppets really well, which is in standard guitar tuning, compared to a newer live rendition of it, which is probably in Eb tuning), the piece will sound 'wrong' if it's in a different key, something most people probably wouldn't even notice.

NETHERLANDS VS. ITALY. Shit will go down tonight.

Because there's a distinct amount of people who are either completely tone-deaf or have perfect pitch, both of which are traits you get at birth. In fact, the only way to acquire true perfect pitch (I.E. being able to tell that your refrigerator hums in B but is slightly flat without any other reference) is to be genetically predisposed to it AND having developed the skill early on in your life.

" I can't recognize notes by ear, that means no-one else can possibly do it"

Cool idea and good arrangement already. I can record the Guitars and/or Bass if you want.

I'm rooting for both the Netherlands and the Czech Republic, having a double nationality has it's merits.

How many of those remixes were made before 2006? Because the standards have definitely gone up since then. As a casual listener I don't think you have a very good idea of good production and sequencing, you listen solely to the arrangement, so you really shouldn't be telling people to submit something that's obviously not ready yet. While the arrangement itself isn't bad, I dislike the constant repetition where you only add or take away a few elements. It becomes very meandering towards the end, either the mix needs to be shorter or the changes in texture and dynamics need to be way more pronounced to be able to carry a mix like this. Same for the drums, this type of drums just isn't interesting enough. I could see this working with some bitcrushed beats or glitchy percussion (like in Back 2 Skala) The sound department is bleh, most of the synths sound like very basic FL Studio presets and the acoustic stuff (especially the piano) sounds very midi-ish and mechanically sequenced. In short, this needs to have a way wider spectrum of instrumentation and textures to make such a long mix work, I think it's especially the percussion that kills it. Try to have the percussion dynamically evolve with the mix and bring it to a real climax rather than just copypasting your way through.

A DRAMATIC READING OF THE FIRST PARAGRAPH OF THE SECOND POST OF THIS THREAD. http://www.tindeck.com/audio/my/boxa/A-Dramatic-Reading-of-xrisingforcex [/effort]

I actually have pretty much the same, but I think it's not so much because of the Wii being bad or anything but just because of the fact I sort of 'grew' out of games, I don't see myself sitting down with Xbox or PS3 games either for any extended amount of time. I've become a casual gamer, sadly :3

This thread is utter cockteasery. Well done, good sir, eagerly awaiting this.

^^ Turn off your monitor or move your guitar away from it (or more specifically the pickups). If all else fails, noisegate is your friend (or you can just remove the hum by editing it out).

This was totally unexpected, I'm really happy with the fact that I know both of you guys pretty well (as far as IRC goes) so it's much easier to kiss some jdgfgt ass now :3 Congratulations!

Might as well submit it just for the sake of giving the judges a really hard time deciding whether this is eligible. I can definitely recognize the source and the drums are beautifully performed and recorded, so as far as I'm concerned this is perfect considering the style and source restrictions. Go for it.

Ouch, off the bat, piano is WAY too mechanically sequenced and thin, which shows especially during the intro. Adding some reverb generally helps to mask the weakness of the samples a bit but velocity editing and rubatos are where it's at. Once the rest comes in, arrangement is good but there's some definite chord clashes between the right-hand piano arpeggio's and the strings. That said, the strings could do with a longer attack and a bit of release in the amp envelope, to make them a bit more expressive and realistic. Needs to be kicked up a few notches in the percussion department as well, the 16th note hi-hat pattern doesn't work for me at all. IMO a quarter-note ride cymbal would sound great here, but a nice triplet feel for the hi-hats would work too. It's really not long enough for me to comment on the arrangement but as of now it's mostly production issues anyway.

Was it Gamekings? It definitely doesn't sound like something Uematsu would do so I'm leaning towards newer Final Fantasy titles (maybe ones that aren't part of the main series?). Might as well just be from some anime though

Mixing with holophonic sound on the other hand would be TOTALLY fabulous :3

^^^ Nice remixer tag you have there buddy Edit: Right, so, let's see. Nice atmospheric intro, but the single repeated notes on the steel drum REALLY tick me off, it almost sounds as if you're gating them while I believe they're supposed to be rolls, velocity editing should fix this. Strings are okayish. Could do with a bit of envelope tweaking (a bit longer attack and a bit longer release) on the long legato notes so you get a realistic "fade-in" on the notes. Marcato strings sound good. Around halfway this shifts into SGX-like awesomeness. I love the bitcrushed drums and the strings combined though I can't really recognize the source. The FM bass that comes in a bit later is kind of annoying, you might want to consider going with something a bit more subtle. Keep working on it, I'd like to hear more

Mixing in 5.1 is also really expensive, IIRC only the top of the line programs (Nuendo, ProTools, maybe Logic) have decent 5.1 support. There's also the fact that the majority of the people you show your mixes to here (in the wip forums or on the judges panel) are either listening on headphones or on studio monitors, so there's really not that much sense in putting a lot of effort and money in a 5.1 mix while only a few people will be hearing it in it's full glory.

Everyone's waiting till your birthday is over Anyway, this sounds pretty decent off the bat. Rather chiptuny though, I'd like to hear a bit more sophisticated instrumentation than the sine/triangle bass. I'm definitely hoping this is just an intro to something else because, while cool, I don't think this could make an entire mix by just repeating it and layering stuff over it. Looking forward to hearing more, this really isn't long enough for accurate feedback.

First really obvious one I can think of is Dream Theater's Jordan Rudess. As for organists, I really can only think of Nobuo Uematsu's stuff with the Black Mages. That said, there's a decent amount of Classic Rock/ Progressive bands who employ organists/keyboardists (Yes's Rick Wakeman comes to mind as well as the guy from Blue Oyster Cult), so it might be worth checking those out. Fake Edit: HOW COULD I FORGET JANNE WARMAN. (Solo at 5:55)

Snapplefag for Jdgfgt!