Rozovian
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Posts posted by Rozovian
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Not sure I would have thought of it without the thought planted by the post, but yeah, it might lack feeling. Or rather, it lacks color. It's got mood, like a sepia-toned photo, but those are its only colors.
Now you got me thinking about what actually gives something color, how some tracks are cartoonishly colorful while others are fps-brown. Can't just be sound design, can't just be melody, can't just be mixing... or can it?
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How did I miss this!?
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You can go the copout lyrics route and just
. Using the empty verse parts as interludes before verses proper might also work, tho then you'd have to write new verses with more content... unless you just add/remove layers, which could also work.Blablablah. Cool stuff.
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lol, intro sounds like two mixes played simultaneously.
Also, work on the sound design, stuff like how you get rid of the wind sfx, and how you place the instruments matters a lot.I like your brass.
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I... don't see the problem personally (pun intended), but if I get bored here tonight, I can do that.
Quote the first post to get the color tags. If I like it, maybe I'll copy it to the first post.
Good idea, BS.
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Little to add to what skryp already said. Your leads need work. Sweet soundscaping. Drums get boring, some additional minimalist synth drums would be cool. Original intro, conservative parts, long remix, a part I recognize but don't know where (could be way later in the same source, could be another dkc source, or something else, idunno, can't remember, too lazy to check...), rewritten source (which is too quiet, btw), the same unknown part again, and end.
Yeah, still agreeing with skryp, a pretty good shot at getting posted, tho not without its flaws.
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1:54 whut?
Other than that, this is beautiful... which is pretty much what I expect from your mixes these days.
It's a haunting source, but it lends itself to a lot of different styles. This works really well, tho with the occasional weird choice of harmony.But yeah, if I'm not itching for long ambient tracks, this would probably get skipped a few minutes in. Could be 4-5 minutes of material here, but 7 is pushing it in most playlists.
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If it's a compo primarily aimed at novices, every novice that wants in on it should have that opportunity. As a supposed star, I think we can handle having more than one novice per star.
MW's call, obviously.
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On a less exciting note, I just finished one of my mixes for this album. Or at least, I wrote the ending and bounced to file. I guess that means I'm finally half way done with it.
As for the rest of you, lemme know if I've missed something you've sent me. With 2-18 being some mixing polish and spuming from being done, we're one step closer to completely done.
Oh right, preview, mak's track, etc..
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The ideal situation would be to have a day job that pays the bills, and one that's flexible enough about your workdays that you have time to make music when you're hired to do music. I mean, I haven't made enough dough from my music (maybe I should start selling my music, that might help) to get the money I've spent on music back. That's a couple of thousand bucks, Logic, Komplete, and Omnisphere making up most of it.
Here's hoping my job will let me be flexible when the time comes to score a AAA superselling indie-favorite steam hit... thing.
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The guitar is a NI vst sample that I've never used (I usually use soundfonts). I purposely dumbed it down. It is kinda meant to sound mechanical for this remix. Plus, I have it playing through the dblue glitch VST, adding retriggers, delays, and reversing notes, so I didn't really want to focus on it too much. Originally, I wanted to use a bright harp, but I couldn't find anything decent sounding.
lol, I totally thought it was one of your usual sounds. It's very much in line with what you usually do, how you usually sound. Consistency, for better or worse.
But why's it supposed to be mechanical and "dumbed down"? Even with the glitch effects, wouldn't a more humanized source sound still sound better?
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Looks like we missed this one. Still want a mod review or is it already subbed?
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Bizarre scale conflict at 0:26 and 0:39. Sound is ok so far. Crash destroyed by compression, probably due to runaway lows. High-pass everything that doesn't need subbass.
Xylophone and reverb, the age-old struggle with making them sound real. This doesn't.
2:01 weird scale again.
Weird arrangement: driving part, breakdown, short driving aprt, breakdown, long breakdown, pause, stuff with big drums in the background... The first two minutes work ok imo, but then it becomes breakdown upon breakdown. If I wasn't seeing the track structure in the soundcloud player, I'd assume the track was ending after those two minutes, but there's almost two minutes more. yes you can have long, soft parts. Yes, not everything has to end with a bang. No, your arrangement still doesn't work. You lost direction after two minutes and spent the rest of the time trying to end the track. I know that feeling, that's how a lot of my tracks are written... but you have to make them work. The new melodies in the ending don't have any connection to the previous stuff, so you could cut those. Ending it at 3:21 might work, those last melodies don't contribute anything that's worth the extra half minute.
PRODUCTION
- Unrealistic sequencing - there's humanization, but there could be more. think like an orchestra conductor
- Overcompressed (pumping/no dynamics) - okay, only one instance of this
STRUCTURE
- Lacks coherence overall (no "flow") - really loses direction half way through
- Pace too plodding - too long without knowing where to go and it feels like this
In other words, a few technical issues, a few writing issues, main problem is the arrangement itself. You can keep the first two minutes pretty much as-is, structurally, but everything beyond that seem to be random ideas for breakdowns. Pick one, then end the track. Or write something else there. Find a direction and go for it. It's ok to make a short track, and if the direction you go takes a few minutes to finish, that's cool too. Just make it sound deliberate and directed.
It's otherwise pretty good. You've gotten a lot better since last time I heard one of your tracks. Keep it up.
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Your dubby wubby bass thing from 0:50 and on feels a bit too bright, its highs drawing attention that the piano and other instruments should have at that point. Maybe it's just me, but I don't know whether the piano or the dubwub is the focus of the arrangement.
2:02, that plucked string thing, possibly a guitar. I know you like it, you use it a lot... but it doesn't sound human. Seems like it's either difficult to humanize, or you don't care.
I mean, even if it's a dulcimer or something like that, it'd be more dynamic that it is now. Maybe I'm just not hearing the dynamics in it properly. Perhaps make your sampler filter the softer notes a bit?The source is long and tricky to wrap my head around, but I hear source. If it's too liberal, then... something. idunno, maybe my occasional source-deafness is getting in the way of learning sources. Maybe I haven't heard enough mixes of this to remember source parts from the remixes. Could be too liberal, but I can't tell.
A couple of mixing edits and a humanization effort and you should be good, afaik. Chill stuff, as usual.
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Eww, horrible choice of source vid. Good thing I've heard more than enough of the original.
Source is obviously there, and it's a cool take on it. I like it.I like the choice of background sounds. I like them more than the piano, actually.
The piano's loud notes are a bit too loud. You might wanna even out the velocities / compress the audio a bit to get it under control. The worst offenders are the ones that jump out, like at 0:35.
Really, the piano is the only problem I have with it. The low range is robotic and controlled, while the upper range is too dynamic. The piano could use some brightening too, whether a subtle touch of EQ or through controlled multiband compression. In any case, I'd want the piano under control before I'd pass this.
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Sounds like some of the mids got scooped out. Lotta sub power, bright and clear highs, but the mids feel overlooked. Could just be an effect the bass has. You could tone down the sub to get some more headroom to balance things out. From what I can tell, as the 0:53 instrument seems to have enough mids, it's as if you went a little overboard on carving room for it. Good idea, just a little excessive.
Yeah, I hear the source in here, and it's not a midi rip. Yeah, this works for me.
Weird structure in the middle. You go into the source's intro in a really weird way, changing the mood of the whole mix. Nothing wrong with that per se, but it doesn't quite flow as smooth as it should. Maybe the tempo change adds to the confusion, tho that's not necessarily a bad thing. If the judges were fine with it, I guess it's good enough for ocr, just... know that it could be smoother.
So yeah, some frequency balance issues and some weird arrangement choices aside, this sounds pretty good to me. If the judges had any problems with the percussion before, I think you've managed to address that now. Nice work.
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My guess it's a no for arrangement reasons. The electronic bit doesn't quite flow with the rest, but the medley structure is a bigger problem. There's plenty of source in here, it's just that the book ends Lone Star usage alone doesn't feel like enough for a cohesive arrangement.
That said, I still think you should sub it. The judges might have a different view of what counts as too much of a medley for ocr, and if it's passable, we really wouldn't want to let this one go us by.
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it begin developed since 2010
It's like totally almost 2 years. Some projects are just that slow amirite?
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ocr's idea of a good medley, one that meets its standards, is one that doesn't rely on a "source 1 source 2 source 3 source 4" structure in order to have new material, to flow, to change, but instead has all the sources tied together into a single cohesive structure. My impression of your track, not being that familiar with the originals and admittedly leaving that aspect for later, was that there's a chance of this arrangement being too much of a medley for ocr. The second half of my mod review is gonna address the source usage and arrangement... once I get to it.
No, audio compression, not... audio compression...
It's not an encoding problem. Low-quality encodings do something akin to bitcrushers - just more subtle. It starts off just losing transparency in the background, then starts to sizzle and after that you begin to notice a loss of high frequencies. That's the mp3 compression, or pretty much any audio _file_ compression. Slower sample rate, lower sample accuracy. Some online players compress files to stream them faster. Dunno if SC does that, and even if that's the case, I usually overlook stuff that's obviously a result of the encoding.
What I was talking about was the dynamic compression - the compressor that changes how the audio behaves rather than how it's sampled for the file. The compressor/limiter effect. If you don't focus on the synth bass during that part of the mix, you should hear how everything else gets squashed by the compressor. This is what we call overcompression, when the compressor doesn't just push down loud peaks, but rather pushes down everything.
They're both called compression, which gets confusing sometimes.
I think it's just the bass that's the problem there, dropping it by a couple of dB should solve the problem.
Gonna have a closer look at the sources and the arrangement later, possibly today, just wanted to make sure you get what I meant in my previous post.
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I thought this thread was gonna be "The Fat Man has a guitar made of horse bones" or "Motoi Sakuraba did a little dance before sitting down to write or mix".
I am disappoint.
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In any case, ocr's a little more high-profile just for being organized, so we run a slightly higher risk of C&D's than any random remixer on youtube or wherever. If they wanna get us for competing for listeners of their soundtracks, that could be solved with a C&D... tho it's pretty bad PR.
On the other hand, C&Ds seem to be aimed at fan-games most of the time (anyone with stats on this can correct me if I'm wrong), because that's what the game companies make, that's the they distribute, that's what they primarily sell. Nobody in their right mind is gonna mistake an ocr album for the game itself, which isn't necessarily true for fangames.
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Some intense rhythmwork here. That thing that comes in at 1:51 sounds like it should be further back in the soundscape. It's cool, but it's not loud enough to take center stage like it does now.
The glitchy effects are sweet, you've got a lot of cool stuff going on here, in the writing, the sound design... So yeah, all that is cool.
Source? Well the first Oni stuff is obvious, so's the Yang backing. Oni-based lead. Yang-based breakdown. More Oni lead. Yeah, you know what you're doing source-wise.
Kickass track, Pete, nice work. My assessment is that this is postable.
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I'm gonna take your word on the judges' thoughts on the arrangement and focus on the production, just to expedite things.
The bass is strong with this one... but that's about it. It's surprisingly pleasant in this mix. Somehow, it doesn't feel like that's the intention. This feels like it should be louder. Side-chain more? Subtle multiband compressor on top of everything? A touch of tube distortion/overdrive or things that need a little more brightness and presence?
The bitcrushed tone gets old. You need to do more with it, change it up.
Some _careful_ loudening, some more variation in tone for that bitcrushed thing... I'm not sure exactly what this genre entails, so it's hard to eval. Cool track tho.
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As the judges seem to find the arrangement kosher, I'm gonna focus on the concerns they had. Those concerns, as codified by zircon:
PRODUCTION
[X] Low-quality samples
[X] Overcompressed (pumping/no dynamics)
[X] Cluttered/off-time sequencing
[X] Mixing is muddy - many sounds do not gel together, too much reverb, panning, compression etc
STRUCTURE
[X] Lacks coherence overall (doesn't "flow" enough)
So... my impressions... Didn't really care before, but at 1:07 it turned into an overcompressed mess. Really.
2:26, some kind of distortion. Not sure if it's clipping from actual overflow or if it's a sound design thing, but when it's this loud, it doesn't sound intentional. Doesn't help that it sounds like it's supposed to be a smooth instrument. I can get LP noise and radio filtering and all that jazz, but this doesn't sound right.
Up until this point, it's flowed all right for me... and keeps flowing. It works, imo. Some really groovy shit right here.
There's some weird mixing choices, but I'm willing to tolerate them in a track as weird as this.Really, my only problem with this is how loud it is and how the sound suffers as a result. Ease up on the compression, give it a little more room to breathe, and I'd pass this.
Well, there's also whatever that thing at the end is...
Seiken Densetsu 3: Songs of Light and Darkness - History
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My Last Audience, and possibly hakstock's track, could be purple. Haven't updated the list. It's summer.