dannthr

The horns sort of dominate in the A section, and the Trumpets in the B section, I would say that's fine, but bring them to the back in the C section. Celli make a very nice sub/double for Horns, clarinets for the trumpets. If you want to chat more, pm me your AIM or MSN.

Hey Doc, Sounds good, great use of EWQLSO Silver. What I would like to see is more instrumental diversity earlier on. You have this A section withe horns and trumpets together, then you move on to the Trumpets in the B section, the C section also features the Trumpets, then you have a Bridge sort of section with the T-bones and Trumpets, and then finally, you have the strings come in at the end of that bridge/D section. It is so relieving when I finally hear the strings in a lead, I can not tell you. You want to keep your textures diverse and colorful because I'm literally tired of hearing that trumpet. Don't let me hear an instrument lead a section more than twice in a row, I think if you do that, you'll find your orchestrations are more refreshing and interesting to listen to on a loop.

A good tip on hip bass is to have the bass line end on the down-beat rather than start on the down-beat--as if arriving to the next harmony.

I'm rolling with Guitar Rig 4 Pro, it's great! You just need to dig in like any hardware unit.

Hey, So in addition to your music training encourage your teacher to also take some time to teach you about music fundamentals like Music Theory, Instrumentation, etc. You will want to also pursue the science of music and sound along the lines of engineering concepts, recording theory, midi, mixing concepts, etc.

Thanks Erin. Thanks Nate, one of the features of the track is Impact SoundWorks' Sitar Nation, which you can hear in the middle section (which is developed by our own BustaTunez and Zircon). I'm also using QL RA, LASS, QL SD1, and some custom percussion.

This thread is about understanding or more accurately misunderstanding what 16-bit audio means and has nothing to do with virtual instrument mock-up skill-though there is a real opportunity to address that (not sure what the HELL it has to do with divisi string writing since I don't even hear strings in the original audio sample). No specific offense to the OP's dad, but we are trying to interpret the language of someone who was vague and who may or may not even understand the "advice" he imparted. I quote the word advice because it was not actually phrased as advice but rather (at best read) a highly unhelpful and non-constructive statement that unclearly addresses any number of problems the original audio sample actually has. If the OP's dad actually knew what he was talking about he wouldn't even have mentioned that you can record at multiple bit-depths in ProTools because Mickomoo isn't recording into his DAW from any external source and at best MIGHT be printing a RTAS source inside the box onto an audio track. To compound this, ProTools blows for working with RTAS instruments, I don't specifically recommend it, but whatever.

Ah, I got to come back and do another sequel to the Wonderland Adventures games (the third and final installment--here's the thread where I posted tracks from the second one: http://ocremix.org/forums/showthread.php?t=17512 ) The Red Desert (2:50) Beyond the Stars (1:00) The client wanted a background for the afterlife but one that was not religious--so I went spiritual/mystical--it was fun to make. C&C welcome!

One of the Studio Control Rooms where I work with me pretending to work on the board! XD

Unfortunately/Fortunately, the closer we get to the real sound of an orchestra with our samples/mix, the more apparent our writing deficiencies become as would be revealed in an actual live-orch situation. We just have to embrace that as an opportunity to learn and grow and really develop our writing chops.

Here's a fun orchestral seating chart for the kids based on time-period: http://www.dsokids.com/visitthesymphony/seatingchart/default.aspx

The difference is that software is not performed--100% of profit from software comes from publisher sales. There are no software concerts, nor software radios, nor even software Performing Rights Organizations. Software depends entirely on sales of its product, whether virtual or physical. They are not analogs. I can't always expect Hollandaise Sauce to get every point or string the dots along himself, sure, but there is a threshold for ridiculous. You can't see the difference, so why do you care for me to expound on my point?

Ah cool, yeah, ET is the only version I've heard. I like the intro concept, just not the Kanye. As far as panning... um, not sure what you (erineclipse) mean by conductor, but that was an element that bothered me, that her vocals were mixed quite narrow, and there was no spatial depth when doubled.

I am my only employee, if people steal from me, it takes food out of my mouth, that's all that matters. Why is music and software different? Publishers are the only ones that make money off of sales, Artists only make money off of concerts, and Writers only make money off of royalties based performances. If publishers take a hit, the artist doesn't care unless they're the publisher as well (Lars Ulrich anyone?) because the number 1 pirated song will still be a hot concert ticket, and people do have to pay for concerts. Radio stations make money off of listenership and advertising dollars and popular music means listeners, pirated or not is irrelevant, and radio stations still register with PROs and writers still make royalties. I don't know what Tensei's potential revenue is from sales of his music, I can't imagine that his potential revenue is all that different from his actual revenue. The issue is not whether or not Tensei will be able to eat tomorrow or go to the doctor or even earn enough money to pay his 1,000 USD a month in music expenses (which aren't enough to sate his lust for more gear). The only issue with Tensei is that he's proven that he is a sociopath--he simply doesn't care, and why should he? Honestly, some of the most successful people in the world are sociopaths, they have to be, in order to step on so many people for their own benefit. Tensei is well on his path to taking advantage of whomever he wishes, whenever he feels like it, however he wants. Good for him. We should all be like him.

Customers should be rewarded, but that's not going to stop pirates, it's merely a nice thank-you to the customer (and I agree with it, and already mentioned that way early on)--the problem with pirating is not developers, that's like blaming women who get raped for dressing provocatively. The problem with people who pirate are the people who pirate and internet forums with cred who wax philisophical about whether or not its justifiable. It's not. This is not some clinical debate on whether or not pirating is okay, this is real people being hurt by people who are proud to hurt them and that is NOT okay.

Poor baby, you spent so much money on your music, clearly it's not enough, you have to steal as well. I feel so sorry for you--will you ever get the recognition you deserve? We wouldn't want you to starve over there.

Exactly. One of the benefits to mixing in 24-bit is actually working effectively and accurately while still leaving dynamic headroom in your mix.

Agreed, focus on creating a natural, human performance--reference live recordings as often as possible. Mixing is its own can of worms, and yes, bit-depth can be set in project settings for almost any DAW. If you're working with ProTools, bit-depth is set at the opening of a new session. 24-bit is ideal as it offers the most dynamic range, but at the end of your session, you will want to Dither down to 16-bit for release. The only reason not to work in 24-bit is to conserve memory as 24-bit files are about 50% bigger than 16-bit files.

Seriously, right? I guess I'm not sure WHAT I expected from OCRemix... I just figured there were more people who cared about that sort of thing.

Oh, well, then by all means, it's totally okay. Rozovian, you make your own way in this world, but I have no respect for people who attack my family and I don't see WHY I should show respect to people who do. If you want to join that camp, if you really want to join that crew, go right ahead--but if you do, you don't deserve friends in game audio, you don't deserve to be in this family, and you shouldn't feel comfortable in this community.

Don't be afraid to place your instruments across the stereo field, that will help give your instruments a sense of spatial depth that will be invaluable to breathing life into your sequence. Check out some orchestra diagrams and think about the space the musician occupies and how each instrument group has its own space in the stereo field that is unique and singular to that group. http://www.mti.dmu.ac.uk/~ahugill/manual/overhead.gif

Cool idea, the song definitely is ripe for it. I feel like you need an intro of some kind, just leaping right into the chorus is a bit off feeling. Though, I am happy you got rid of Kanye West's raptro. This chord progression sounds almost identical to t.A.T.u's All the Things She Said. Maybe there's some mash-up opportunity to grab more vocal material. Similar theme.

It does. Working in a higher bit-rate in your projects gives you a greater dynamic range within which to work and that can be extremely useful for creating deep and dynamic sounding mixes--even if the ultimate destination bit-depth will be 16-bit. But what is standing between you and a professional is your skill at instrument programming, not your technical audio quality.

Virtual Analog... I don't know, man, unless I was a gigging musician, I wouldn't really buy it, I would rather buy a VST for less with more flexibility (like Zebra2), since, afterall, it's just Virtual Analog, eh? I also, I mean, in the studio, I am really a control freak, I like controlling parameters like a mofo, and when it comes to a hardware interface that is not automated, I don't know, it's just... they never keep track of the changes I make in the box.

It IS personal. The Game Audio community is special. Developers are tightly knit, we all know eachother, we all know what we do, and even in competition, we are all open and helpful toward one another. Likewise, the game audio fan community is probably one of the best fan communities of any game discipline--no where are the efforts of the developer so specifically honored. We have massive concert tours and we market separate soundtracks. There is nothing like this for any other discipline in game development. Moreover, we are a family and when a member of that family is attacked, we care. Joren De Bruin raped my cousin, and I have a problem with that.