Tensei
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Posts posted by Tensei
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I'm pretty sure that it takes the frequency range of a sound file (usually recorded voice), and applies it to another channel as an effect. There should be some way to load up a .wav file into the vocoder or through the vocoder (I think you can find how to do that in the sonar help file), and after that apply it as an effect to the channel you want.
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I didn't know you had a bass, dude! You should have told me a long time ago.
I didn't! I have only very recently borrowed it from someone, and it's pretty easy to learn for someone who plays guitar. I'll have a look at that song and see if I can play it
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Good techno etc. is composed thoughtfully, though. There's stuff that was obviously written only to hear while drunk on the dancefloor, and then there's deeper stuff that I can listen to on its own merit. I think you can "get" certain trance pieces outside of the club context.
I thought I made the distinction clear enough when I ninja-edited 'mainstream' in before 'trance'. I would never go as far as to say any genre of music is shallow in its entirety, and I agree whole-heartedly with you that there is enough techno out there that's well worth listening to by itself, I really do my best to like every possible musical genre.
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they won't shut OCR down will they? T_T
I don't think I could live w/out OCR x_X
Maybe you should look up the word 'hypothetical' in the dictionary, or maybe it hasn't been mentioned enough, so it kind of got by you. Anyway, they won't shut down OCR.
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I just listened to the disjointed one too. Does all trance sound like this? No melody and just beats forever? Because in both versions the only part that I feel is worthwhile to listen to it the section that he stole. Maybe someone should rain on his parade simply for being such a bad musician. Hahaha.
Actually, you have to hear mainstream trance (and most club music) in the proper context to really 'get' it. Proper context meaning heavily inebriated in a packed club with dimmed lights and lots of special effects. The 'repetitiveness' quickly becomes one of the main merits then, in a club you really only need the beats to keep you going.
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Well okay, you have a valid point, but it seems unlikely to happen indeed. I think fan-made non-commercial remixes are actually giving the games more exposure, rather then taking away revenue that would come from official arrangements, since those aren't even that common anyway. With people like Mr. Soule himself supporting this site I think the industry agrees with me on that (even though yes, I know, Jeremy Soule isn't exactly the same as company execs).
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everyone who sells game music arrangements
Looks like we're excluded from this purely hypothetical situation then.
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'course it would be pretty sad if this guy got super pwnd...
If by 'sad' you mean 'funny in a sadistic way' then I agree whole-heartedly.
Oh and I wasn't planning on using my remixes as a base for my originals, I mean, come on, I have more inspiration than that, it really was just purely hypothetical.
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Ooh by the way, I couldn't find the live-performer thread in the project forums, but I got my hands on a (lefty) bass so I can lay down some wicked basslines now. The REALLY fast stuff I'll have to do with a pick, but I can achieve some decent speed with fingers and I can do some (simple) slapping as well. So anyone who needs a live bass knows where to find me, right?
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Fair enough, links removed.
I don't have a specific concept in mind for either of the options, but something may still come to mind in the future when the whole thing gets started up. I don't want to have a project that uses style or mood restrictions (such as Chrono Symphonic did) because as it is, it would probably be hard to attract good mixers, let alone if I'd only want mixers who are skilled in a certain genre.
A vague concept idea I have for the Banjo-Kazooie project might be that the remixed tracks have to move through different instrumentations and styles, possibly changing key etc. to depict different moods like the original songs did, but I don't have any specifics worked out on that.
Some of the tracks of the P:T OST tend to be 'too' ambient or copy one of the main motifs from other tracks, so in total I'm guessing you'd end up with 20-25 workable tracks which seems like a reasonable premise. The Banjo-Kazooie OST really has only 17 truly distinct tracks, so I guess that yes, it'd be covering the whole OST.
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First, before I get jumped by everyone, read this:
Yes, I know this is definitely not the time, with all the remix projects going on. Therefore I will not be starting a remix project in the near future, I will wait until at least the Xenogears project is done. Second of all, I know I'm pretty much a nobody around here, with no posted remixes (yet), but I'm definitely confident in my skills, and I do know quite a few people here. Relax, (AFAIK) I will not be hogging up 'high-priority'-games (FF etc.) that someone else wanted to do.
Oh, and to the jdgfgts, the link to the Site Project Guidelines is dead, so if I am doing something wrong just say so, and please don't lock this thread right away.
With that out of the way, let's get to the purpose of this thread. Even though it might seem quite redundant at this early point, I really need to have some information on the viability of the project's subject OST. I have to choose between two games that I picked based on personal experiences, very low coverage on OCR but high popularity among gamers, and of course for having amazing soundtracks.
My first choice would be none other than
Planescape: Torment.
If you're a PC gamer you should know this game, and pretty much have played it to death. IMO it trumphs EVERY other RPG in the story department, and it has an amazing ethnic/ambient soundtrack that's VERY different from other Black Isle RPG's (which are pretty much your run of the mill epic sounding orchestral music). The use of leitmotifs for every character and location is very obvious and should make it easy for remixers because of the defined melodies.
My issues with this game are it's limited exposure among non-pc gamers, who seem to make up a substantial amount of the OCR demographic. In an ideal world I'd love to only have remixers who have actually played the game remix it, but realistically seen that's barely possible. A pre is that I know pretty much everything about this game, so I should be able to provide the mixers with a good amount of 'lore' for use as stylistical and lyrical material (explanations of characters etc.).
I think I'll let the soundtrack speak for itself:
is a great example of one of the character's leitmotifs.The whole OST has the cool amount of 34 tracks, which seems like a near-perfect amount for a standard-sized remixing project (Of course some of the more ambient tracks would have to be dropped).
As a second option, I have picked the no-less amazing
Banjo & Kazooie
I'm confident more than enough mixers know and love this game and it's quirky and unique soundtrack. Even moreso than the previous option is there the use of leitmotifs for the different levels and characters. I was especially fond of the music changing stylistically but not melodically whenever you ventured to a new location within a level (For example in the desert level the fast-paced mid-eastern flavoured track would suddenly become bombastic and monumental as you scaled the Sphinx), and I'd love to see this element come back in some form in the project.
On one hand, this stylistical flexibility might make it seem like a breeze to remix, but my biggest issue with this soundtrack is the prevalence of its melodies, no matter what you do to them. If you take one of the melodies, you speed it up/slow it down, transpose it to minor and add different instruments, you get the boss music. Pretty much whatever you do, it will always sound like Banjo-Kazooie.
The instrumentation in the OST is varied enough, but somehow, at least to me, every song's melody/phrasing/harmony/progression seems to be in line with the other songs on the OST. I'd go as far as to say that the OST actually isn't varied enough to warrant a remix project, and this might very well be the case because of the minute amount of remixes from this game. Then again, I'm very ambiguous on this game, and it could turn out amazing as well.
17 tracks seems sparce, but this doesn't necessarily have to be that big of a remix project, I'd say it's more of a pro than a con, especially since all the tracks are such a 'world unto themself'. If necessary (given enough remixer interest, which is rarely the case) we could add the tracks of Banjo-Tooie too.
Now what I'd like to know from everyone who has read my long explanation is; which one of these projects would you more likely join? I'm personally very biased towards Planescape:Torment, and I'd absolutely LOVE to see some amazing remixes come from that OST, but if there simply aren't enough mixers who have even heard of this game that plan will definitely fail. Therefore, Banjo-Kazooie seems more in line with the other remix projects, and is pretty sure to attract enough talented people to it's cause.
So please post your opinions.
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MegaUpload?
If you're going to re-upload, try www.tindeck.com, at least you don't have to wade through that whole waiting process to download it.
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I would like to think that it wouldn't be illegal - but then again John Fogerty was sued for sounding too much like himself.
(in that he recorded an album at record label one, moved to record label two, recorded new music at record label two, and record label one sued because one of the songs on record 2 sounded "too much like" a song from record 1. Even though they were both completely original songs that he himself wrote.)
So, um, I would recommend not reworking a remix into an original piece for profit. It might backfire.
Hah, so I still haven't had a definitive answer on this.
OCR is not a recording company or anything, so I don't think what you described could in fact happen, I just wasn't entirely sure to what degree your material belongs to OCR after you submit it, but the content policy does seem to have an answer on this.
YOU are free to distribute and/or license these materials elsewhere, so long as they are not attributed to OverClocked ReMix, and such distribution or licensing does not conflict with the terms of this agreement. OverClocked ReMix maintains sole control of the distribution of materials under its name, as designated by "OC ReMix" in track titles, the "OC_ReMix" file suffix, or other indicators clearly establishing attribution of works to OverClocked ReMix.I think that means it is legal, but I still don't think I'd do it unless I was really desperate to have a song/tune/piece/track done in an extremely short time-span.
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I was actually mostly referring to 'ripping off' one of your own remixes, i.e. most instruments in the commercial release would sound exactly the same as your remix, except they would all play (mostly) original melodies. I was unsure about this because I thought I had read somewhere that by submitting a remix you're basically giving OCR a certain degree of 'ownership' over your mix, but that might just have been a figment of my imagination I guess...
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Well the situation hasn't been really played out yet, it could very well happen that someone notifies Square about it, and they take appropriate measures. I think it could be considered a loophole if there were truly no possible way to persecute him with any success, which is not the case. Ah well, guess it all comes down to definition of 'loophole'. Edit: beaten to it
Slightly offtopic, but I have a question in a similar vein as the rest of this thread (copyright issues and all). Let's say that hypothetically I have a remix posted on OCR (yeah right). What if I take this remix, remove most, if not all references to the source material ( of course the remix would have to be appropriate to allow this, but let's assume it is), replace those with original melodies etc. and then release it as an original song on a commercial album.
Let's also say that the final song wouldn't sound anything like the original source tune, but it would be almost the same as the posted OCRemix, and definitely recognizable as such. Is this legal or illegal?
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He would owe money to the copyright holders if he revealed where it came from, so he's probably going to play it safe and deny where he got the idea. Just another musician who found a loophole in the system, I'm afraid.
I think he'd have a tough time denying this in court, it definitely isn't a loophole if the ripped off part is 99% verbatim with the original. Heck, even the name of the song shows where he got the idea, if Square were to settle it in court I'm pretty sure the judge would rule he'd have to pay.
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Anyone else concerned that he's actually getting a record deal out of this?
I like how he refers to his benefactor, DJ Tiesto, as "the world's #2 DJ."
I don't think that's his own opinion, but rather the outcome of that one stupid "Teh Wurld's Best DeeJay Evurr"-contest.
But geez, despite the fact I dislike Square for canning the fan-made Chrono Trigger remakes, I think they really ought to be notified of this rip-off. Funny how the song's quality seems to rise tenfold once Schala's theme comes in.
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Isn't this in the same vein as asking " I want to hear all metal/solo piano/trance/acid jazz remixes, why isn't there a search by genre feature"?
I thought that kind of stuff was not added to the site on purpose.
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Guys, I decided to be more active in the whole OCR community thingy, and help finish up some projects. I've registered at your boards, just waiting to get accepted, then I'll post some stuff as an audition. Got some good idea's for the Stage Boss theme. :3
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Um ya, but my point kind of was: is it really that much harder to press buttons on a guitar-like controller and imitating a strumming motion as opposed to mashing buttons on your keyboard?
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So is this Guitar Hero 3 thingy harder to learn than Stepmania?
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Ah, I can get out of my fetal position now!
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This is REALLY good stuff. I like how this is composed, and the sixto-ish feel it has to it.
However, I have to say that i feel that this gets spoiled by the production: The sample choosing, other times is bad timing on the drums (specially on the beginning.. the drum solos at the end are awesome)... sometimes the drums are ultra realistic.. others are ultra-fake (you'll probably realize when).
If i were you, I'd spend a day ripping off drum sounds from bands you like, and using them in this song to make your own rythms (a.k.a Sampling LOL).
In 0:41 the piano is playing some weird notes which are out of scale.
If I were you, I'd spend some good time mastering it. Some good things you could do:
1 - Put a compressor on the drums (everyone likes loud drums.. of course.. not too loud) and then some reverb to everything, but specially to the drums and the piano/harpsichord.
2 - Use SEVERAL crash and ride sounds. THat way, people won't realize they aren't real drums.
3 - Be careful about the realism of the piano. Maybe you could get Garritan Personal Orchestra, it has a very good piano preset. In case you can't find anything,.. put it less bright and with more reeverb.
4 - I would put a lot more of ornaments and littley stuff from time to time.. to make this better.
5 - Put something over those strings.. or at least don't put them so loud, because the sample is not da best ever LOL.
okay.. now after this badass criticism, I really have to say (despite it doesn't seems that) that this is VERY good and I liked it very much. The arrangement is 10/10, interpretation is 10/10 but production is 5/10. Work on that and you'll make this a classic.
Hey thanks a lot for the feedback! You're definitely right about the piano, the ostinato does tend to get a little lame (and off-key) after some time. I noticed the strings during the section around 0:40 tend to mask out the rest of the instruments, which makes it sound like the whole track goes softer and back up again, so I'll have to fix that too, I agree that the strings are a bit too up-front.
Your feedback on the drums was kind of vague, did you mean the way the samples are used sounds fake or did you mean that the rhythms and fills used aren't realistic? I am in fact using 2 different crashes, 1 China and 1 Ride (Which is pretty much like a real drum-kit) that all have some pretty intricate velocity layering, so I'm guessing if it's because of the samples I have to alter the velocities a bit more. If it's something else, I'm stumped =/
Ya, production and me don't make a very good couple it seems.
Edit: Some idea's that didn't make it (it's pretty funny to hear, even though it's midi, even has a totally unrelated FFVII cameo)
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Let there be strings!
Ummm almost-definitive version I think?
Apparently the stupid rattling tom sound is supposed to be there; the toms are apparently 'bleeding' into the snare's mic so it's completely realistic blah.
Can't listen to it on speakers now, but on my headphones bass, kick drum and rhythm guitars are RELATIVELY DECENTLY balanced, with only the bass-drum being a bit on the thin side. Might be possible that the lower-end is still a bit muddy. =/
Things left to do:
- Re-record lead guitars without Delay effects, (re)record guitar solo and make it not-sloppy etc.
- Mastering and stuff like that.
DJ Krush - Journey of time: Couple of questions
in Music Composition & Production
Posted
Um doesn't this belong in Remixing?
The way they're processed is more important than the samples themselves I think. The big booming kick pretty obviously is ran through some extreme Scream 4 setting (If it really is from Reason). I think you can get close to a lot of the effects by experimenting a bit with saturation, distortion and bit crushers etc.