Tuned Logic

SO AWESOME. Props.

Donated! Thanks for everything DJP.

Your original, older version has long been one of my all time favorite remixes of this song. This one is really cool, but the super chill vibe that used to be there is gone. It sounds too synthetic. Maybe bring back that awesome flute?

Making the two numbers different implies that a variable bit rate (VBR) is being used to encode the track. If you were to make the range from say, 150-170 kbps, it might end up a bit smaller in size than if you just did 160-160 (constant bit rate), but I'm not certain. If you put 160 in both and your file comes in under the 8 MB limit, you're good to go.

The short answer is that you shouldn't worry about it. The long answer is that the track you make should have elements easily recognized by listeners who know the source tune. At the same time, there should be variations or parts that are brand new to any listener. The important thing is that the transition between these two extremes is natural and unforced. If you try to shoehorn original parts in between sourced sequences, people might be able to tell. Make the song your own, but keep in mind that you are paying homage to a particular source tune that inspired you. You definitely don't want to make the source too well-hidden, as that defeats the purpose of a remix. If you need hard numbers, I'd say 60-70% source and 30-40% original, with the source having small modifications of your own but still being easily recognizable.

EQ is your best friend when it comes to getting rid of muddiness, which basically signifies that there isn't enough space between particular sounds so that listeners can distinguish them from each other. Panning can help as well, but not as much in cases of lower frequencies. For example, say you have both a hard-hitting bass and a prominent kick drum. If they both occupy the same space in the lower end of the frequency range, you won't be able to tell which one is producing the oomph at any given times, which can create mud. Panning isn't as helpful here because bass is much more omni-directional than the higher frequencies are. One way to fix this would be to adjust the low frequency boost of one of them up 20-30Hz, thus giving them slightly different sound signatures.

I'll help you out. The premise of the song is very good; it's a very soothing and relaxing rendition. I don't think you even need percussion in there. That being said, this is a very "safe" remix, meaning there isn't a whole lot of deviation from the source despite the unique intro and some other bits thrown in. Because this piece is sparsely populated with instruments, you need to make sure what's there is appealing and interesting. As it stands now, this is more of a background track, which is fine if that was your intention. As far as sound, I hear some mild distortion in my left speaker on the release of your synth pad; I'm not sure if that's intentional, but it's a little distracting. Take aways: - Add some more instruments to your soundscape. Perhaps a light piano part or something would add some meat to it. - Check your sound levels regarding that distortion. I must say, after a second listen, I'm really enjoying the vibe of this. Add a bit more original material and a few more parts and you just might be good to go. Minimalism well executed (which is, in fact, a style that Yasunori Mitsuda himself is fond of). Nice work!

Sounds very cool, but some improvements can be made. 1. The electric guitar-sounding lead is a bit harsh. You don't necessarily need to lower the volume, but edit out some of the frequencies around 1khz (estimate). 2. The song gets way to busy around 2:05. I had no idea what was going on there - focus each section of the song on a different part. If you want to keep all of the parts in there, pan some instruments to either side of the sound image, and make sure that each instrument has it's own frequency sweet spot. In a lot of the song, there is frequency overlap, and one sound crowds out everything else. Experiment with EQ. It is your friend. 3. Your drums sound so quantized that they are somewhat arrhythmic and don't really mesh with the rest of the song. Specifically, your arpeggiated synth clashes with the percussion rhythm, although I can't put my finger on why. Maybe try shifting the arp synth start point forward or backwards by a quarter of a beat or so. Good luck with this one - it's very promising!

By the chord changes, are you referring to the arpeggiations? I didn't mess with the chords too much throughout the piece. I'm glad you like it.

Yeah, I already have a SOTF remix posted on the site, so what? I felt like doing another one. I'm not sure I'm happy with the "master", so let me know what you think. Source: http://www.youtube.com/watch?v=ZPjRTvMAptg

^Glad you like it! First review posted for those interested: DIY-er (“Do-it-your-selfer”) and one-man show Michael Feinstein, a.k.a. Tuned Logic, shows how far the imagination can escape by simply utilizing a computer and some electronic equipment to blend euro-techno rants with contemporary jazz aesthetics and electronic elements on his debut album, 24 Shades. As crafty and artful as the music is, the songs are sometimes formulaic in their structure and hence, become predictable after awhile. Still, they’re no less inviting and pleasing to listen to. These formulaic songs are ideal for movies and television shows that require dramatic, mood-creating loops. 
24 Shades starts off with mid-tempo easy-listener “Night Lights.” The glittery synthesizer strings and wobbly bass lines are effortless and make this song an ear-pleaser. Like most of the songs on 24 Shades, “Night Lights”’ melody and arrangement shifts smoothly through dynamic variations creating a multitude of moods within each song section. These mini-moods are a signature throughout the artist’s work. “Caught in the Rain” also starts off in a mid-tempo loop and includes a deliberate banging on a classical piano, but then quickly builds into a rhythmic breakout of boogie synths and electro drumbeats. It’s simultaneously playful and dynamic. 
The record takes a turn for the funk with “Never Better.” Its collage of big beats and synth sounds include a bass-like boom which pumps throughout the song. The song’s catchy melody is craving for some kicking vocals, but instead are lead by a lone electric-sounding synth. “Never Better” pushes an infectious and optimistic mood into the listener’s purview. Some of the moods created on 24 Shades are just the kind of sounds made for television shows and movies. “Still” is a delicate balance of classic piano laced with the sound of pattering rain, echoing clatter and acoustic guitar. The piano loops into a series of repetitive notes that create an eerie aural sensation. The mood and atmosphere is made creepier by the minute as the piano continues on in its repetitive hypnotic rage. Music producers looking for good soundtracks for their thrillers or crime dramas should pay close attention.
 The mood shifts completely with “Midnight Reflection.” The artist reaches into his contemporary jazz repertoire of lounge-sounds. There is enough musically going in “Midnight Reflection” to keep a relaxed listener engaged. However, at times, there were unnecessary touches, like the hissing synth sounds made to define a new verse. Even though the sleepy pace of “Midnight Reflection” borders on music heard in the background of medical offices, it is a well-produced track that complements the other moods played out on 24 Shades. Another techno track in the same vein as album-opener “Night Lights” is “Pulse.” Appropriately named for its pulsating bass line spouting throughout, “Pulse” illuminates the artist’s dance and rhythm tendencies with screechy synths, adding a symphonic dimension to the song. “Pulse” would fit in perfectly on an all-night dance-club set along with other electro-techno maestros like The Juan MacLean or LCD Soundsystem. “Unwind” is a trip hop respite from the dance and techno sounds prevalent on the album. It takes the listener into a dusty contemporary jazz progression, led by a series of atmospheric synth sweeps and delicate touches of rain. “Unwind”’s dramatic mood makes it good food for TV crime dramas or movie dream scenes. The pitter-patter of rain and pelting synths toward the end of the song add a haunting layer. “Pure Imagination,” the song from the 1971 classic film Willy Wonka & The Chocolate Factory, is a euro techno spin of the classic Willy Wonka song. The synth maestro pulls off his version using carefully drawn industrial-sounding synthesizers that whiz, ping and whine throughout. Perhaps a disco mash-up with “The Candy Man” would have been an appropriate touch on 24 Shades? Nonetheless, the cover song choice is a smart and whimsical selection, and will definitely serve as a fan favorite on this album. Music producers looking for some soundtracks to their crime drama or thriller projects would benefit from Tuned Logic’s ear for atmospherics, while fans of ambient and dance music acts like Moby, The Juan MacLean or any of the pioneering electro-dance music borne out of DFA records would perk up to the sounds of 24 Shades. Review by Michael Morgan Rating: 4 stars (out of 5)

The album is now available solely via http://tunedlogic.com in multiple formats, including FLAC, and on other online stores. If you haven't grabbed it yet, check it out! My pricing structure is... reasonable.

Well it's not like Retro made Other M. Plus, Kenji Yamamoto is a beast; I wouldn't be too worried.

Mmm, that's kind of an interesting question. I mean, a remix is a remix. I doubt there are any serious restrictions, but I wouldn't do a country remix here. Ha. By the way, I might get on this. EDIT: Well he gives us a remix pack, so it'll probably be similar in style to the original should you choose to use those

I would kill for a high bitrate version of Green Amnesia... My favorite OCR piece to date, and that says a lot. Does such a wonderful file exist?

Thanks for the comments! I'll keep that link up for another few days; after that, I'll direct to Bandcamp (given the pricing model I have chosen). Cheers!

Wow, I didn't think that many people would want Bandcamp. I'll definitely try to get it up there this weekend.

You can change the topic title by going to Edit --> Go Advanced.

Mooshoo Pork boss from Gex: Enter the Gecko scared the living crap out of me. I had to fight him with the volume all the way down. To a lesser extent, Big Sisters from Bioshock 2 creeped me out.

This is awesome. I would maybe add a tiny bit of reverb to the violin to give it an airier feel. Maybe also some more hi hat rhythms and raise the snare volume a tiny bit. Bass and kick sit well. But as far as production and overall sound.... my Westone 3's tell me this sounds epic. That is a large compliment, as they can be very revealing with bad recordings.

Sorry to double post, but I'm offering this as a free download for a bit here on OCR. See the OP for link and password. Enjoy!

I like music through my M-Audio BX5A's or my Westone 3 IEM's. Which of these I choose depends on my mood. The Westy's actually have more bass than my M-Audio monitors!

Hey all, Just an update with some more links, in case anyone is interested. Amazon MP3: http://www.amazon.com/s/qid=1287460964/ref=sr_shvl_1-all?ie=UTF8&keywords=tuned%20logic&rh=k%3Atuned%20logic%2Ci%3Adigital-music%2Cn%3A163856011%2Cn%3A%21624868011%2Cp_n_feature_browse-bin%3A625150011 Last.fm http://www.last.fm/music/Tuned+Logic/24+Shades eMusic: http://www.emusic.com/album/Tuned-Logic-24-Shades-MP3-Download/12151612.html GreatIndieMusic: http://www.greatindie.com/ipnmusic/store/list.php?item_number=884502786071 Bandcamp will hopefully be up in the near future; I have no time! Haha. Anyway, even if you don't buy it, please have a listen on YouTube! I always appreciate comments/criticisms from fellow forum members so I can keep making better music (including better ReMixes ). Thanks again!