Rozovian

Nice, but it seems a bit weak, as if you scooped out the low-mids. You might wanna rethink your output effects, or the mix itself. Cool cover.

I have a pretty short project checklist at the moment, in rough order of importance: x Send out feedback to ppl. x Get consent form data so I know what tracks I can use for the previews x Nag about the consent form and how ocr needs your consent to use your tracks on the album, see below o Put together an internal preview (if you want it, get me your email) with music and art o Make a public preview... of some kind o Make a new recruitment post in Recruit&Collab, pref. with some kind of preview, see above o Finish my first track for the project (hypocrite) o Get someone with a good orchestra sound on HoboKa's 102 midi Oh, it's longer than I thought. Oh well. Also, we need your CONSENT, fill out the consent form plz. Link in first post, and in the previous post too. No excuses.

ZL is in 3/4, so most of your writing has the wrong length to fit. Yes, you can use multiple time signatures, but it takes a bit of practice and understanding of time signatures and bar lengths to make it work. Here... it doesn't. Either adapt the ZL melody to 4/4 (you have a pretty cool drum rhythm) or rewrite the track to fit 3/4. The thick texture pad you have in the background sometimes clashes with the melody, already at 0:24 you've got some weird harmonies going on just between those two. Of course you can write different chords for the track, but the chords should still support the melody - the chords should contain the important melody notes. It makes for a more harmonious track. And then there's the mixing. Your lead is way louder than anything else. While the lead ought to be the foreground instrument in a track, this is too much. Tone it down until it's just a touch louder than the others. Think about how loud the instruments should be, study some well mixed tracks for reference. There's some crits for you to work on. Good luck with it.

As the song's key or as a chord in it? For the former, see Moseph's reply. For the latter, harmony works better if you support the melody with the rest of the writing, using chords that contain many of the notes used in the melody. Depending on the key and scale (or mode) of the song, a D minor can be a chord using a note outside of the scale, possibly leading to clashing. While changing scales mid-flight can be done, it takes a bit of planning (or trial and error) to make it smooth. You ought to know this stuff already, tho.

Same problem using Safari. Just reporting.

Okay guys and gals, I got the consent info so I can start putting together our internal preview package. If you want the internal preview package, make sure i have your email. (if you've received my info letter things before, I have it.) On a related note, a surprisingly large number of ppl who've submitted a finished track to me (or Usa or Meteo) have not signed the consent form. I'd hate to open up a dozen or so tracks just because you've somehow missed that ocr needs your written consent. Unlike the bios and track notes, this isn't something we can just make up. Finished a track for the project? SIGN THE FORM! Track feedback is coming, I'm just being slow. Got some updated wavs, too.

Just voted. Here's my thotughts on the tracks: she's a squirter: Huh, Brandon does chipstuff. The noticeable compression bothers me, and the track plods through and does some interesting retro-ish synth things along the way, but ultimately has little staying power imo. It feels forcedly loud, which is weird as it isn't that loud compared to the others. Must be the lows or something. don't make me cut you: I like the intro, it's nice and lo-fi with some cool percussion. Then it devolves into a genre medley going from dubstep to dance and on. It's got some nice dynamics and sound design, and cycles through the genres in a way that becomes less and less detracting with every switch. With some exceptions (esp. 2:39), the writing is cool, nice and melodic... not surprisingly so, considering the team. totally rad winter: Oh, what a surprising choice of genre. This has a typical but functional groove, likewise the sound design. I happen to like them both. double doctors: Aww, it was going so well... then comes voice clips. The choice of clips doesn't appeal to my tastes. The choice of using voice clips at all. While the writing was pretty cool it's quite messy. I guess it's caught in that tempo range where everything either sooounnndss tooo slloooww orwaytoofast. the knight who says rock!: Finally something with a little more attitude (or a little more attitude problem). Unfortunately, it seems to have its energy level capped early on, and while it does move down and back up, it doesn't really surpass the level it gets to at 20 seconds in. A subtle boost to the highs to give it a little more clarity wouldn't have hurt, btw. burn the castle: Lidawg, learn from the energy levels (dynamics) of this track. Don't learn from the clunky kick sound, tho. Really, the track is easily my favorite arrangement in this round, and I wouldn't be surprised if it stays among the top few for the whole competition. But that kick sound.... argh. the last of the clan: Voice clips. Voice that isn't singing. Urgh. Could be worse, of course, it's source-relevant and acted competently enough to be just a pet peeve. It's a nice little chill... downtempo.... slow... thing. Seems a bit lazily put together with the repetition and all. two minds without a single thought: You ha ve so merhyth mprob lems. Quite an noying. It also quickly starts to sound loopy. It also quickly starts to sound repetitive. It also has voice clips. And sound effects. What were you thinking? 6:33 of this? Not that there aren't some cool ideas in here, and the sound design is, clips aside, actually pretty cool with glitchy background stuff and bells and stuff. Considering the sound design and the cool arrangement ideas that appear from time to time in here, it's like you had a cool track and deliberately rewrote it to annoy ppl. Grr. dubious brother: High-passed triplet intro. Sweet. Voice clips from some song... you get the vote for least detracting use of voice clips. Chippy round, this one. I'm not complaining. Nice details in the chip stuff. This feels like the most cohesive chip track, and it stays varied throughout. under construction: Mixing problems, some rhythm problems, but a nice jazzier sound. I wish the drums were more upfront and clear, as that's probably my fav part in the mix. Lead is still too loud. I like the writing, especially the jazz flavor, but the production could have used a few more passes through our internal critique. And at the end, I was able to narrow the vote down to four, which is probably the worst number to narrow it down to when we can only pick three. Sorry NutS.

No he's not. He's critical, but not harsh. There's also loads of problems he's ignoring, admittedly not being "very technical". Really, the only track that got an all-negative review was ZTM's, which isn't too surprising considering the trainwreck it turned into... despite what I find to be a pretty interesting sound design and some decent ideas in there. ZTM, we all know you can do better, stop n00bing. As for your rhythm problems, put a metronome or drum track to your mix. It shouldn't be hard to hear the problems then. Maybe you've got a poor sense of rhythm and need quantization and/or rhythm tracks to stay in time. If so - make use of them.

Needs more dynamics. A quick fix for this in a simpler sampler would be to just up the attack time to let the strings come in slower. Not sure what the best approach to that is in what you're using, but see if it responds to the expression or modulation cc.

Most ppl start with nostalgia. If they're musically inclined they might find the interpretation thing cool (I do), or they could just develop a taste for specific artists or styles and wanna hear random video game tracks with some specific sound.

Or we could just pick three, each gets a point, and our team gets one point if our mixer for the round votes. That way we don't have to try to decide which is our ultimate favorite first place mix, and there's room to give equal points in different categories (eg best mixing, best arrangement, best name/sound/friend; punch, groove, expression; or whatever; if ppl wanna vote based on that). Just throwing it out there.

I might claim one of the minitracks, #65, to get back into mixing for this project. Stupid other stuff getting in the way and eating creative juices. It shouldn't take too long, seeing as it's a tiny little 5 notes in length. And then I'll FINALLY have a finished track of my own on here, something I made that's up to my own standard. Maybe I should have finished some tracks before taking on co-coordinating the project? Quality vs. quantity, you know. And those of you who do both, certain ppl on this album thatis, how do you do it? Also, I listened to the stuff I got last week. I've got stuff written down, I'll get back to you all soon.

From what I can tell from looking at Orion's at its site and from listening to a couple of your tracks, the problem is you. While working in a new environment might give you some new perspectives on things, you can do better in Orion. Read up on the stuff we tell newbs, read whatever guides and stuff you can find (I've got one in my sig, zircon's got a great one somewhere on ocr, etc..). In other words, learn to use what you've got before throwing money around.

I'm Rozo. Do what I feel is right. As for final wavs, they're due sometime after all tracks are claimed and being worked on. As awesome as it would be to finish this year (and possible, too), we've got time. That doesn't mean we're supposed to just sit on our sources, so GET BACK TO WÖRK! (edit: argh, for once I'm just casually responding, and it's at the top of a page. why don't I do that when I have important updates or something instead?)

Seems like a professional music library publisher would do some actual research instead of spamming random music and/or game forums. Stone Cold Publishing seems like just another spammer.

In contrast to Calum's allcaps. I'd say you should just go for a deliberate, emotive sound rather than realism. There's three parts to a good solo piano piece imo: arrangement, performance, production. The arrangement ought to play to the strengths of the instrument and avoid awkward and unrealistic writing; the performance, which is what most of this thread has been about, must be deliberate and in line with the emotion of the arrangement; the recording techniques for a real instrument or for the samples used, or the synthesis of those in a piano model needs to be thought through. Before I got a midi keyboard, I was sequencing stuff. I found that using the sustain pedal cc and focusing on rough velocity changes and making sure chords roll in makes for a good enough piano track and saves me the time and trouble to do more. The exception would be breaks with piano or other parts with a prominent piano, where some more attention to individual notes and melody lines would be useful. Still, don't waste time by trying to make it more realistic than it needs to be, at least unless you get paid by the hour. In other words, don't go for the level 9000 skills (such as über-realism) before you can do all the basics. Be deliberate, go for emotive rather than realistic, and don't overthink it.

9 tracks!? Dude is crazy. Yeah okay, I think we can make an exception for him, especially as that album is supposed to be finished soon. Then again, so is ours. Work on your tracks, folks.

Feedback on the tracks we got is coming, just not tonight. As for the tracklist, it could be better, but we've still got loads of blue. Sam English's tracks are now properly blue, and with a bunch of tracks marked red, we could get more ppl on board for this. Tell your music friends. Also, Rexy's now officially claimed her track.

Well, your track is safe. Good luck in round 1, Brandon. I hope you do second best, possibly tied with others who aren't on my team. Rexy, your track is officially claimed when I hear the wip. Tomorrow it is, then.

I just realized writing available in allcaps makes it looks misspelled. Weird. Also, tracklist update and some other edits to the first post. More blue, more red. The progress is solidifying into completed tracks, and we've opened up some stuff that has been slow.

Sweet, looking forward to seeing it. Also, yes, art notes would be awesome and your bio is a must. On the topic of notes, if we don't get any track notes or artist bios, then we'll solve it my way. Remixers and others involved in the project may get an opportunity to write something about a source and the remixers' take on it, if we don't get anything from the artists themselves. As for bios, I'll make some shit up. You might not like it. Send me your real bio to avoid that. Also, obligatory consent form signage reminder. Link in first post. Anyway, I've got updates from mak, Luhny, the OCPM, chris|amaterasu, Reuben Cornell, Blue Magic, Hylian Lemon, as well as Daniel Rosenqvist whose track you won't get to know anything about... yet. I'm also expecting updates from a few others, including DaMonz and Brandon Strader. Rexy and Dj Mokram are purportedly claiming new tracks. Did I forget anyone? (edit: yes, Archangel and pu_freak, who checked in in this thread. now I know.) Actual tracklist update coming asap.

Either there's a tempo change, or an extra beat or something, or you didn't get the right tempo. With a tempo that's close, you'll probably have something that works for a few measures before being noticeably off. For the first, find the right tempo for the new part and change the global tempo at that point, if GB can do that. For the second, just remember the extra beat when playing and recording. For the third, redo the tempo check and check further than last time. Or it could be a change in time signature, which especially with odd-numbered times can screw a lot with ppl's sense of rhythm.

I thought this too at first, then saw the question about alphabets. Neblix, really?

Um, north? Line up the first beat to the beginning of an empty project. You may need to cut out some intro from the audio if it doesn't start on the beat, or all the previous tracks if the medley's already done and uses tracks with different tempos. Then turn on/create a metronome, and hit play. Raise tempo if you find the metronome to be too slow, lower if too fast. If the tempo is close, it'll take some bars before it'll be noticeably ahead/behind the audio. Write down the right tempo for that track. Load new audio file/cut a new part of the medley, repeat.

Again, thanks folks. Birthday's over now, tho, so stop celebrating. Sixto, where's my birthday track mix wip wav present thing?