Rozovian

Can unfortunately not listen to it at the moment, but will have a listen later. If you're looking for feedback, use the WIP forum (work in progress).

Using Logic, I have no effing clue how to use any version of FL, but I think Skrypnyk's advice is sound... at least with some editing: I'm only a few years short on having spent a decade on writing music, both with and without electronic tools. I don't always know how to remix a theme I like. Think about the theme over and over, learn the tools, and play with it. or make original stuff 'til you feel you know your tools. Practice makes pancakes - the more, the better. With that, I wish you good luck.

Stereo sounds good on iMac built-in speakers. Gonna try it with earphones later. Should carry headphones with me. Noticed the bass now. Sounds good. Checked an older version, and found the bass was there too. Sounds much better now, tho. The piccolo is great! Gives the mix more color. Did a side by side comparison, switching forth and back between your last version and the one before... Yup, better and better. As for composing and arranging, I find that most good remixes, whether taking beginning, first "chorus", or climax straight from source, the end tends also to be very similar to source. I guess that's the easiest way, and a good way, of staying close to source without cutting back on space for original material, your own take on it. I'd say go nuts, do whatever fits, but throw in something from source in the end. It helps to tie everything together.

The hobo is right. It's essentially a six-track tune, tho there's some instrumental changes. Matt's right about the original content - there needs to be some. Right now it sounds like you've taken a MIDI and added drums, something the OCR guidelines doesn't allow in a submission. To me, it sounds like you've still got some ways to go before you're qualified for a submission, according to the submission guidelines. When it comes to dance tunes, look at the works of Blind, especially what he did for the FFVII and DK projects (albums), as well as his more recent works. I'm a big fan of his FFX piece, too. -- So, individual criticisms and pieces of advice The first melody synth sounds cheap. I think the backing one works, but not the main one. When the main theme then comes in with the more trancy instrument, it works better. Sound sound like it's ripped from game audio. I'd recommend using the same instrument for the intro, only with a heavy cutoff to make it smoother. There's not enough attack in the bass drum, and the other drums are also weak. Use a compressor on the bass drum, maybe on the snare/clap as well. See if you can find some nice crashes, maybe a reverse one, to mark key changes in the remix, such as when the "chorus" comes in, or ends, or both. The bass could use some more depth. Might be just my speakers, but that's how it sounds to me. I'd shove it an octave further down, but depending on the sample/synth, that could just as well just make it slow, solving one problem by causing another. There's not enough original content. So, listen to Blind, and see how you can improve. Good luck!

Do note the updated first post, people. ACTIVITY!

It's a great idea, but making it sound like a theremin is tricky, plus you need to watch out for making it boring. Long notes changing only when chords change... that's too simple for the judges, and ultimately, for a lot of people to listen to. There are instances where it works, but this isn't one of them, at least not yet. Plus it only sounds like a sine on a synth, not a theremin. Vibrato and tremolo, and more glide/pitch bend. Sequenced instruments can work as solo, but it depends on the samples/synthesizer. An audio effect on it helps to level things out, tho the best ones are either built into the sampler, or are different kinds of distortion and amp simulations. It depends on the samples and the sequencing. Probably. Some guitar-playing nolifer. One possibility is to record little parts of it, small sections at a time. Another is to use samples and spend some aspirin on getting it to sound good. Might work, depending on the modulation used. Actually, I'm pretty fond of your theremin imitation idea. Run it through a nice effect to remove the obvious human qualities, and what you have is an artificial yet organic sounding instrument with a human touch... The human voice can do wonders for the mood, and with a remix of this type and mood, I highly recommend trying it. -- So, Tensei-San got it working in FL. So it's possible. He could probably send you an FL file of it if you say please.

I think Industrial Light meant it still sounds raw, as I phrased it. If you get it to work in Fruity Loops or something you should have had half your production problems solved, and made the rest solvable. The right samples and a little more control can make a huge difference in the overall quality. I went from tracker software to GarageBand some years ago, and it was a big leap. Since then, I've taken smaller steps, but am getting further. it's all about that, steps. Occasional leaps, and a gazillion of smaller steps. If FL doesn't work, see if you can find some other software to use. If you understand MIDI (numbers, not notes), you might want to consider trackers. But have a look at the guides in the ReMixing forum, you might find some useful software there.

I call dibs on Joy to teh World. No promises I'll get it done, but *checks date* December 2nd - December 20th... It's possible. It's a little late, tho. Might be a good idea to start next xmas project closer to july than to yule. Like halloween or other holidays'/seasons' albums.

The people that can make these fast have been using a number of soundfonts for long enough to know them. Or whatever else they use. How'd you make the MIDI. If FL is being an a******, see if you can work around it by opening your MIDI in another MIDI sequencer, and saving it. I don't know FL, never used it, but most sequencers should be able to open MIDI. There's still some very MIDI-esque issues with this, the lead is choppy when it plays the same note over and over. Staccato might fix that, as you've planned. The boring sequencing of the background stuff half way through, the theremin, I guess. It's a great idea, but it needs more work. Too raw. Soloing instruments isn't a good idea when you're dealing with soundfonts, or any sampled instrument, really. Without really careful sequencing and note-specific modulation, natural reverb in the right amounts, and a plethora of other details, they'll sound fake. Also, something to consider, dynamics, that is, how loud and intense the song is at different times. The classic route to take is to crash-start it, cool down, and build up to the grande finale. Yeah, there's variations and alternatives, but essentially, everything needs direction. This is a bit lacking in that department, but work out the technical problems before addressing that.

I'm not hearing the lead melody from the source. Not saying I don't like your suppressed take on it, but I can't identify the source just from hearing this. The whole thing is short, so take everything you can from the source. If whatever sequencer you use can open MIDI, do it, and rip the melody. If not, listen and copy, note for note. I couldn't remember the theme when I heard your remix, so fix that. When someone hears a remix, they should also remember the source, at least the portions that appear in the remix. The rain lasts for way too long and is way too loud. The Wingless used rain and thunder in the intro to One Girl in All the World, which gave it a more defined first mood, but even so, it fades out kind'a soon. And for good reason. I'm hearing some tempo change, which gives it a more pro feel, and while I use and abuse the tempo, without notes that tell how the tempo changes, it just feels weird to suddenly hear something sooner than you expected, or not hearing it until a split second later. That's more off-putting than skillful, sorry. The strings in the background could change, find some simple rhythm, riff, pattern or something to play with those. Long chords generally don't get a high score from the Judges, either. So, useful suggestions: - Make sure the rain has faded out by 0:25 - Add rhythm to the background strings - Toss in the original lead melody somewhere, even if it's suppressed for the rest of the remix - Continue it as a march or something else with a solid rhythm - Change instruments further ahead, let a horn or oboe or something else play the lead - Consider changing the rhythm of the original melody, or slowing it down to use it as background for an original melody reminiscent of the theme - And the flute needs to be louder Hope this helps. Good luck!

lol, one of the funnier tunes I've heard in a while. Gonna use a theremin? AFAIK, a theremin generates ordinary sine waves, unless it's built to do something other than that. It's how it's played that gives it the unique sound, very precise tremolo and vibrato. Getting the sine to sound like a theremin is gonna take a lot of midi/modwheel-programming. But like David said, you've got the talent it takes. Can't help you with the soundfonts, but will happily have a listen to this once you've gotten a little further on it (as in having found soundfonts you can use and rendered it to audio).

Hey, don't bash the bg synth. Makes the whole thing sound mellow and nice, like the last song on prom night (on TV anyway, not like I know for sure). Although I have to admit, I didn't like it either at first.

All right! With the exception of the kind'a clunky drums, the first minute is great. Although the lead is mechanical, and when it loops, it doesn't sound good. Add some modulation, very slight, to pitch, maybe volume and pan as well, that should help. If you don't know what I'm talking about, let me know and I'll tell you. Think like a drummer/percussionist when you work the drums. They're not bad, they're functional, but they're boring. Adding a few notes before the start of every region, like you have done elsewhere with the ride would probably be enough. And while on the topic of sequencing, the lead is really mechanical much of the time. Change velocity (volume) to fit how someone would play it. At a later stage, work on timing as well. Something zircon said about my recently rejected remix: While he was talking about my way of building up a whole from boring individual tracks, I'd like to pass this advice on to you in another sense: when you mute all tracks but the lead, does the lead sound good? If not, make it sound good. Then try it with all tracks. It's something I should do as well. When I find the time to remix. I'm looking forward to you next update, to see how how you've improved.

Venting is okay, man. I did music for a student film. Then again, I was involved in it, in front of as well as behind the camera, in the writing stage, in the editing stage. Actually directed a cut, too. Anyway, on that film, I was able to talk music with the director pretty much any time, and he's a musician himself. No problem. Sgx... You're screwed. You're not being unreasonable, the wannabe director is. Just like he can't shoot or cut the movie in five days, you can't score it in five days either. He needs to grow up. If he's being so secretive about his precious film, maybe you should make the music without listening to it at all. Toss in notes and such, see what it ends up being. Seriously, some people don't don't understand the process, either because they haven't had anything to do with it, or because they're idiots. In this case, it could be both. If so, that would be proof of the idiocy mentioned above.

These christian games (one of which I, a christian, have heard of) seem to be good bad examples of games with an agenda. Also, tossing edible things at your enemies... no serious game franchize would even consider that. Right...? The magic of edible items... Besides, the mentioned games hardly represent the reality of described events from a human POV. Would be interesting to see a game model being developed to depict something in a modern christian lifestyle worth reproducing for a controller and a screen, but as far as existing games goes, christian games are ridiculous. Or does anyone have a good example of a christian game?

The changes you've made are spot on in some cases, and in others feel more like cheap shortcuts. I think you should listen to stuff in the same genre that you're working in, such as this. Just to learn. Ehrm, sorry man. I now did some research, and found myself having been fooled by Zas' amazing take on a number of OoT themes. Check it out, in case you haven't. With a theme this short, you should consider tossing in another theme from the same game, or from another game in the Zelda series that fit. Still true. From 1:12 to 2:12, quickly skipping through, I couldn't hear much difference. This is where you should be working with dynamics, rearranging the beat, tossing in a new take on the original melody or another section of it (which in this case is impossible). Jeremy Robson did a really amazing thing with a theme from Seiken Densetsu 3, Not So Ordinary People. Style-wise, it's very different from what you're doing, but you could learn something of how to vary a theme, and how to mix it with another. I realize there's not much I'm commenting on the new piece you linked to, but there's little I can say that hasn't been said. Learn from others that have done similar stuff. The links I've included should help you, and even if you've heard 'em all before, listen through again.

Actually recognized the overused phased hihat GB loop (which pixietricks made some use of in her Chrono Cross remix) in a news end jingle on TV. Dunno if that makes me feel like a pro or think whoever made it isn't.

Sounds like WW. Sounds like Zelda. So you've done right so far. Shorten the break, try not to leave a fully silent section anywhere besides the very end. Note that leaving notes to fade out and leaving only reverberation for a while, that's fully okay. Playing this on a loop, the break in the middle sounds more like end than the actual end does. Too long! Now that I finally remembered the WW overworld/sailing theme, I see you've done a good job adapting it to a much more mellow tune. Whatever you do to continue it, don't forget to vary it a little. The soft pad chords in the background are nice, but you could, somewhere else in whatever this becomes, give them some more function than to back it up, harmonically. Have them play something more complex than on chords. Also, listen to the backing sounds in the original sailing theme, you might hear some cool thing that should be heard more prominently.

I had a lot of trouble hearing what was Metroid and what was generic notes reminiscent of it. Some of it sounded like Red Brinstar, then I thought I heard the intro. I was right about the intro. If you're gonna make this into a submission, you should probably add some complexity to it, more stuff from source and incorporate it more clearly and earlier. The intro is cool, but the drums samples aren't the best. Also, I'd cut it shorter, the first stuff with drums only, before the synth stuff comes in is... Well, those drum samples aren't necessarily bad, but sound that way when they're alone. I think this is pretty cool, tho. But it's short, and is kind'a aimless. This isn't something you've worked on for very long, as you said, so if you're serious about i, just keep working on it, and come back to the WiP forum when this has some direction.

Bear in mind that getting yourself a "real" (as in expensive, complex) sequencer is a complete waste of money until you've mastered the basics. Would be interesting to have a GB contest on OCR, to see how good they can make it sound. When I got Logic, I was like a fish out of water. Didn't understand synthesis, got confused about the mixer, couldn't use Transform, was comletely lost when it came to Environment, could use two out of eight tools... And that's despite having worked with GB for over a year, tracker software before that. Learn GB, learn music. When you're able to produce something impressive with GB, get Logic, or some other more advanced software. When it comes to MIDI keyboards, I've been thinking of getting one too. Haven't needed one yet, tho. Just like zircon said, If you play piano or keyboard, you'll probably find it useful. If you don't, you're not gonna miss not having it. You're not gonna learn it either, tho. My advice: Don't get too eager to buy (or beg for) a ton of stuff (advanced sequencer, MIDI keyboard, sample CDs) until you know where to fit it into your creative process.

Before I started using Logic, I used GarageBand. I come from a tracker background, and prefer the oldschool method, that is, typing notes rather than clicking them into place. Still, I found the piano roll (the clicking notes into place) more creative than using the loops. The green loops are fully customizable, so you can move the individual drum notes around to remodel them to your liking. The blue ones are audio only, so while Apple Loops can be set to any speed and key, you can't change the individual notes. Which is a little annoying, as those sound way better than the customizable ones. I recommend playing around with it. Make a practice song with a simple bassline or something, then write your own drums, and vary those greatly. Couple of measures beatcomp, couple of measures something else. Experiment. I spent a year or so using GB, and ended up making some pretty cool stuff. While I can't say the GB drumkits are great, the right effect treatment can make them sound good. PM me for details, I'd be happy to give more in-depths advice on GarageBand.

Man, I really like the voice samples/instrument you've used here, it's so eerie. 1:17 and now it's picking up some momentum. Nice, really... and ominous, greatly so. Just lacks a big bad ending. With samples like those, a little more of the stuff you had you had around and after 1:17, and that with a little more power intensity (as in whatever it can mean), and you've got my recommendations for submitting it. As a side note, I played this for my sister. She has no idea what Maridia sounds like (or pretty much anything from the Super Metroid era), and didn't think it sounded like Metroid (as she only knows Prime) at all. She then asked: "Is it like this the whole time?" That's a valid question. I think this really captures much of the feel Maridia had, still has, but as a remix, as standalone music, it needs that grande finale. At least something to say it's getting bigger and badder towards the end.

All right... First impressions of the new version: Something weird in the intro, it's weird but not bad. 00:43 - You've managed to find the key now. Nice job! 1:00 - Theme plays with double instruments, one a little later than the other. Really cool, but there's something a little off with them. The problematic source (in terms of key) doesn't make it easier. Here's a suggestion on how to fix this: use an echo/delay instead of another instrument, and/or let the other instrument play an octave below, no delay. See if that solves it. 1:15 and forth, you've got that weird pause in the lead instrument. It worked when you had that really weird and fat pad in the background, as the pad masked it. Without something like that, it just sounds choppy and... bad. I think it's funny, but it's hangs and falls by the execution, and in this case, it falls. As you have another instrument playing, although delayed, let the other instrument (without delay) play the full thing. With that, you might not even need the lead in this part of the remix. 1:29 - I think I figured out the problem. You've got some kind of detune or too much pitch modulation on the lead. Hearing the lead together with the cool bass you've got over at this part of the remix, I think I figured it out. Check the settings on the lead, if you can fix the tuning or modulation on it. ***other ppl*** Someone could give me a second opinion on this - am I right in saying the lead is the one causing all the problems with key and tuning? Strange. Hearing the clap alone with the pad and a few other things made me like it much more despite hearing how much more attack it needs. Find something a little stronger, or tweak the settings for a quicker clap. We're talking milliseconds here, but a bunch of those cut from the start of the clap could make the clap sound so much better. Before this break in the remix, I thought the clap had too high sustain levels... it should end sooner, it should be shorter. I like the slow fade-in sawlike sound just prior to the 2:32 section. That section, tho, needs more reworking. You've got a lot of stuff right, rhythmically. I think the first few notes of the lead just makes it unfitting. Rework those to fit in some other way, and I think this section works. Although by now, I'm getting tired of hearing the same stuff over and over again. I know that's how it is, there wasn't that much source to work with (as far as I remember), but see if you can find some other order of sections, or let another instrument play the lead part... the melodic ticking, in lack of other words, that comes in pretty early in the remix, what if that would play the lead? I'm just tossing weird suggestions here, but see if you can vary this a little more. The du-um...du-um...do-om...do-om... bass thing is disturbing here. It's killing the pacing. Use something else, or play something else with it. Something more fitting this rhythm. Impressive sounds bridging into the ending. And the long ending is as amusing as always... Why not toss it in earlier as well? Use it to bridge some sections, the same notes backed with drums, maybe played twice as fast somewhere in the middle of it? Tho maybe not that long, if used in the middle of the remix... But whatever you do, keep this ending. Always makes me smile. -- Man, this is the most impressive step-up you've taken with this so far. One small step for remixer, one giant leap for remix? Those key and tuning issues are getting in the way of me hearing if this has gotten closer to the "build-up-ing of the grande finale" that I mentioned before. Right now, that's not important. Fix the key and tuning, and the other things that need to be fixed, whether I spotted them or not, and post. Let's see how to build up towards a grande finale then.

Nice intro, a little heavy on reverb, but otherwise okay. Felt a little fast, but it's all right. That nice intro is followed by a cheap and "out-of place-y" synth. Use the intro to set the tone of the remix. it's not a bad synth, but it's very unlike the intro samples. It's also got a little too much attack and not enough release, making it a little too sharp when the next note is played. I recommend fixing that. The synth playing the main theme is okay, but the square wave or whatever follows before the beat comes in is really cheesy. The beat is nice, and it's got a way better sound than the lonely kick before, which only served to make the whole thing feel very n00by. It gets repetitive really quickly, tho, when you use the same little section of melody over and over again. Do some research, this melody was, if I remember correctly, made for Zelda for SNES, as the prologue bg music. Grab a few more ideas from there. I like your original melody played on the lame square synth. At 3:14 there's a really weird sound coming in, something scratchy about it. It feels out of place there. Introduce it earlier, more subtly, or save it for 4:19 or whenever it returns. Nice ending. Not too abrupt, but not too drawn out. Overall, this sounds better than I thought when I hear the transition from orchestral to electronica, and when I heard the lame lone kick. Still, you need to fit things together a little more. Nice work!

I like the beginning. Slightly reminiscent of the load/restart theme. Drops, that's so cool, really! 0:39 - now I'm recognizing some Maridia notes. 0:48... Oh no, is this trance? Great. (sarcasm) The instrument that comes in at about 1:00 sounds a little too high-pitched when it's not all noisy. Reconsider the filter you used on it. All throughout, there's piano notes playing something close to the theme. I don't like your take on the melody, but it's not bad. I'm a big fan of the originals, that's why. 2:09... Here we go. Hooray. Listen to Blind's stuff, he knows how to mix this kind of music. The mixing is really lame here, it's sounds like there's just samples complete with effects, leaving you with little control over compression, EQ, gate, multipressor, none of that. It's too shallow, you need a deeper and more powerful bass drum, more tempo in the hihats, more prominent snare. Play around the EQ to see what frequencies you should raise to get it. It's quite similar to Prophecy and Prophetess' "Back To The Place I Once Knew", except not as good. Sorry. Needs more work, and you should try to find Prophecy's take on this, just to hearhow he did it. Try to make it sound cool without making it sound like a newb's copy of it. I am hearing some promise, tho, and it's not bad. Nice use of the sounds used, with one noisy exception. Bonus points for the drops in the beginning. It needs more work on the mix side, the arrangement is passable or better, says I.