Tensei
-
Posts
3,455 -
Joined
-
Last visited
Content Type
Articles
Profiles
Forums
Events
Posts posted by Tensei
-
-
Oh dude, it's not the fact that it's going from minor to major. Tensei san was just trying to say that G Major is crazy. I'll give you some examples of good keys that you can go to. Assuming that Tensei san is right about this being in Bb minor (It's the same thing as A# minor), then a few good major ones would be Bb major, Gb major, Db major, Ab major. These are keys that are "good" to move to from Bb minor according to music theory. However, I sometimes don't think about that when I make a song. Unfortunately, I don't think you know what changing the key of a song entails. If that's the case, then I can only give you one of those annoyingly vague, "professional-sounding" lines like, "Use your ears." But I hate that line, so I'll give you a little cheat sheet that you MIGHT find useful.
Key Signatures:
Bb minor = 5 flats
Bb major = 2 flats
Ab major = 4 flats
Db major = 5 flats
Gb major = 6 flats
If you change the key signature to one of those and move the song so that the first note starts on the name of the key (for example, Db major starts on Db) then you will have changed keys. Successfully? I don't know. Hahaha.
Do any of you guys know if I made any mistakes in those?I'd like to add to this that you have to have some understanding of WHEN to change the key. I'm not exactly good at theory, but you need to create a cadence with the chord progression (i.e. It has to sound like the progression has ended.) This is usually done by playing the dominant chord in the key ( I'm guessing E# Major, yes I know that is in fact an F, but this A# scale is just weird), and then back to the root (a A#/Bb minor chord in this case I think). If you have an established phrase it will be much easier to keep the listeners attention.
Now I THINK if you play the dominant chord at it's normal position, but you DON'T return to the root, and instead play a chord from the E#/F Major scale that's not in the A# Minor scale, you will have relatively succesfully changed key.
To Summarize it: If you can't change keys successfully by ear, you should rather not do it at all, because it's a f*cking pain in the ass to do it by theory. Focus on having a nice sounding progression (with cadence) in the key of A# minor.
-
this version is way catchier than the original and I want those damn japanese lyrics ripped and in a .WAV file since they sound awesome over it.
-
Also, I have no idea why Tensei san thinks that chord is so horrible. It makes enough sense to me.
Basically, the key that is implied by EVERYTHING before that chord is A# minor. The chord ( a G Major I believe) comes in without the previous progression being resolved at all, thus it makes no sense at all modulating to a different key, especially something weird like G Major. THAT's why I think it makes as much sense as a penis slapping a drum kit.
-
Geez man stop with the pads alright! =P
I think a big problem is the lack of a sense of direction. The vocal notes that start at 0:05 are borderline passable, but still I'd like to hear them be more coherent, they sound like they tend to start at off-beats. Use some reverb to mask it up, I don't want her singing directly into my ear.
Everything is relatively fine and dandy up until 0:50 holy SHIT man what kind of dissonant chord is that. It makes about as much sense as a penis slapping a drum kit (a Dutch saying, don't bother). By now the whole chord progression is non-sensical, there's all kinds of random piano notes, clipping going on and the intro has been drawing on for way too long.
After an iffy transition and a totally weird drum break the mix picks up pace which is okay, except there's still a lot of dissonances and nonsensical stuff going on (Even more clipping, crashes at weird moments).
I've been noticing an inherent lack of bass-like instruments in your mixes, which isn't exactly a good thing for consistency between the rhythm and the melody. Lose the pads and put in a nice bass patch when the faster rock-drums come in. Also, sharpen up that production man, you can't go around relying on your " I've only been mixing for 5 months, so I can be as bad as I want"-thingy forever. Learn to compress and balance your stuff so it doesn't clip like a mofo and learn to EQ and roll-off unnecessary frequencies so your instruments don't muddy each other up.
-
I think Snappleman pretty much nailed it here, so I think you should try to PM him about it.
-
amen to that! One of these days when I get good, I'm gonna collab with Zirc >:- D
Oh, HoboKa, who WON't you collab with?
Anyway, this is sounding very nice, I dig the surf-style drum rhythm when things pick up. I don't think I'm really qualified to make suggestions here, so I'll just say keep it up!
-
500 grains, level 33, which is pretty effing good considering English isn't my native language.
-
Absolutely amazing. The intro reminded me of Protricity's stuff.
-
A good soundcard/recording interface isn't necessary, but it makes a LOT of difference in the quality of the tone, especially the sustain. If your mac has a microphone input, theoretically a converter jack should be enough to get you rocking ( you just plug your guitar in, but don't expect anything amazing). Depending on the input I think it's possible to damage it, something to do with the input levels, so I really can't recommend this.
Ideally you'll want an USB or Firewire interface that has a dedicated guitar input, and a DECENT built-in pre-amp. Apart from that you'll probably want a software amp modeller so you can get relatively realistic amp tones.
Of course, you can mic your amp too, but to get a quality recording you'll need stuff like a decent mic and a good pre-amp.
-
Thanks for the link Tensei-San, but I've seen that thread and looked at the test, the guy never tests out Reason, and that's really the only DAW that should be in question.
Oh fudge! You actually got me there, I just assumed they tested Reason too since Zircon remarked that in his post. Hm, I stand corrected.
-
Geez, the source is absolutely horrible and obnoxious. Arrangementwise your version has barely any differences, apart from instrumentation. The guitar tone is ew, it sounds more like a kazoo at some places. I suggest you throw this whole thing out of the window and find a source that's actually featured in one of the games (and doesn't suck =P)
-
EDIT: Anso made some good points, but it doesn't make me any less disappointed by Reason's audio-export-thingie-mah-jiggers.
http://www.ocremix.org/forums/showthread.php?t=12274
I think there's your answer. Personally I can't tell the difference between a .WAV exported from Reason and a .WAV exported from FL with Reason ReWired into it (using the same settings of course), so I don't think there's an inherent lo-fi quality or anything like that to Reason's mixdown feature.
-
Oh f*ck yes, that is the mix that makes me kind of sad about the site-standards (not saying that they should be changed though).
-
some of the piano keys sound a bit off key at the end, asides from that it's pretty effing solid dude ^^
Hey, that's what it's acid jazz for, as long as it resolves nicely, you can pretty much put the craziest dissonances you can think of into it =P
-
Having seen the amazing movie One Flew Over the Cuckoo's Nest yesterday once again, I can only come to the conclusion that part of Schnab's inspiration for this mix, or at least the slower/softer parts, (and the name seems to confirm that) comes from the muzak that was played by Nurse Ratched for the patients. Eitherway, everything I could say about this mix has already been said, so I'll just say it's an amazing piece.
-
I'm sorry, but I have to agree with DarkeSword on this. When the introductory speech has about 20 instances of the word 'I' it can't bode very well for the rest of it, especially if you add to that the number of animu cliches that were present in the first 5 pages. I really can't see any composer wanting to read through 30 episodes of this before he even has a chance of getting on the project, professional opinions by renown critics like "stink_beetle" and "rgn7028" aside.
My suggestion is you write up a summary of the 30 episodes, with relatively brief character descriptions added (if you haven't already), and have anyone interested take a look at that, I think that's a much more reasonable proposition.
-
Free samples/soundfonts ftw
BTW Zircon, are those CD's from sampefusion that you have to buy, worth getting?
No offense dude, but before you start dishing out cash for sample CD's, I'd first make sure your production skills are up to a satisfying level, otherwise the samples you've paid hard cash for will still sound like shit, just saying. =P
-
Heh, sorry about all the stuff that was going on with this song. The Xenogears WIP forums are kind of dead so I've decided to post a small portion of the song here anyway (don't worry, it's legal this time =P). The feedback I need is mainly on the production, this being my first semi-electronic mix and everything. I'd like to hear some suggestions on adding some more airy atmosphere, etc., I think you get the gist.
It's a remix of the vocal song Stars of Tears, the vocal melody being played by the piano (which in the future will be sang by the charming miss DragonAvenger =P). I've aimed for a down-tempo, mellow arrangement, sort of a combination between acid jazz and trip-hop. I hope you like it.
ReMix: http://www.tindeck.com/audio/files/qccd-Stars%20of%20Tears.mp3
Original:
-
Hahaha! I don't know if the strings look is exactly what I'm going for, although they do add an interesting change in atmosphere.
Aww, C'mon man, the strings are f*cking awesome, you don't need to have it sound like a carbon copy of Amon Amarth. If it works you should keep it in IMO =P
-
-
There ya go, happy to help out
-
All questions about the viability of this project aside, wouldn't it be easier to have only a few composers working on this so you get something like stylistic consistency in the soundtrack, rather than a somewhat random collection of mp3s? I mean, even a little indication of the style you want the CD to be in would help a lot.
-
http://www.youtube.com/watch?v=0dBu5X3TvNw
That's definitely staccato bass if I've ever heard one. I'd say it's more about the placement of the bass (off-beat eighth notes) that makes it sound distinct than it's timbre.
-
By the way, is it me, or are the lead guitars out of tune at some points? I think a slight touch of pitch shifting could fix that.
Just signed up today
in General Discussion
Posted
OCR's standards might not be your definition of what is good music, and they're not even pretending to. No-one's telling you how to mix and if people like your music, you could really care less if it would get accepted here. If you want to submit you're going to have to follow the standards, but it's not like anyone is forcing you to submit your music.
So no, they're not telling people how to mix, they're telling people how to mix to stand a chance to get accepted here. I in fact think it couldn't be any better than as it is now, because just look at some of amazing works that are posted on this site, they wouldn't have existed if OCR maintained lackluster standards and every doof with an idea could get posted here.
It helps to think of OCReMixes as a broad, but reasonably well-defined genre; you'll notice that nearly every posted mix has a certain level of quality, and a certain degree in which the mix incorporates elements from the remixed song. You're not going to add trance-synthesizers to a classical symphony, since a classical symphony has a few set rules for what makes it a classical symphony. Same goes for OCReMixes, they're based on a few set rules you have to follow, except here, you CAN add trance-synths to a classical symphony, and people will applaud you for your originality (if you've incorporated the synths correctly of course).