Rozovian

The synth sounds are kind'a basic. Even subtle changes like more cutoff envelope action or a chorus effect on them would add some much needed complexity to the sounds. There's some compression problems as well, but that's probably because the sounds aren't mixed well. Think through your track levels and eq a bit more. Arrangement is pretty cool, tho the way instruments just end some of the time (2:11 a pleasant exception to this). The world needs more 6/8, glad you're making some.

Donated. Gotta give back for the music and support. Note: 50% of my donation is a bribe. I want my music evaluated and paneled and passed and posted and loved and famous faster.

Visual spoilers I don't care about. Show everyone if you want to. edit: no need for me to make a new post, just posting here in case anyone checks the thread and wondering why everything is so slow... I might be getting a new job, so I got irl stuff going on atm. If things are moving slow right now, it's my fault... unless you're also being slow. tracklist update coming... soon.

...must...spume...lengthen...track...after...deadline...

Theophany (and everyone else), just throw the current state of the track my way. Okay, some of you really need to learn to name your files better. Sorting out a month or so of unsorted sd3 tracks - untagged and with just source or remix name... big headache for me. Especially now that Meteo has been receiving a lot of the tracks and I don't have contact with everyone directly. In other words, bureaucracy messing stuff up again. I'm pleased to announce that we have some really sweet wavs in, and a handful of cool near-finished tracks that I'm looking forward to marking as blue. Unfortunately, there's some ppl who really ought to contact me asap about their tracks, because I'm gonna mark then as available because I have no idea where you guys are at. I'm still in the process of digging through the tracks and updating the list, update probably coming tomorrow.

Not aimed at anyone in particular: If you're running late, you MUST LET THE PROJECT LEADS KNOW ABOUT IT, ASAP. Seriously folks, nothing sucks as much as not knowing where ppl are with their tracks. Should I ask some more reliable, faster remixer to do that source so there's a mix of it on the album, should I wait, should I cut? I completely agree that it's not fair to other remixers when a project is held up because of stragglers. At the same time, it sucks if life happens and you can't finish your mix on time, and you get cut for things out of your control. And letting real life suffer for some hobbyist music project isn't an option for everyone. As one of those project leads who's way too nice to ppl about deadlines and tracks and stuff (trying to change), I want everyone who wants to be a part of the project to have that opportunity. Taking into account time zone differences, time zone confusion, and late awakenings to the matter of a due date/deadline, I set those due dates/deadlines a day ahead of when I expect stuff in. Don't abuse this knowledge.

What matters is whether or not I have a recent version of your track. Which I do. I'm giving any stragglers 12 more hours so it's the 17th for everyone... and cuz I'm tired after a busy week and don't wanna do anything serious like this atm.

@Emu I'm just way behind on tracklist updating. This changes with the due date thingy which is RIGHT NOW. At least it's marked as not available to others to snag, @Moz No, I just don't use the hotmail one much anymore, and haven't gotten around to digging out addresses from that one. Haven't been on AIM much either. Will soon need guitar parts from you, so you can be sure I'll hit you up some time soon. In other, semi-relevant news, I've now applied to university, gonna continue my studies... if I get in. Glad so much of it works over the net. Most of my application-related stuff will be over on tuesday, but I should have time to update the tracklist and get back to ppl about tracks and stuff before then. All the preview package stuff I've promised is... delayed. Actually, most of my sd3-related work is delayed. Stupid real life.

It's the 16th in my time zone. This means there's about 24+12 hours until I clean up the tracklist. If I haven't heard an updated track from you this year, you're definitely off the tracklist until I do. (and then you're back on) It's so we can use just one color for available tracks and not confuse anyone wanting a track you're sitting on. I don't mind doubles of any source, but I do mind way too long delays. While I'm terrible at contacting y'all and reminding you, we have an assistant director who's a lot better at that. But even if we haven't contacted you (you should give us an email address to reach you by, it makes stuff A LOT easier for us), we love you and want your track. When your track is done, there's three more things we want from you: - some comments on the track, the source, the process of making it - your bio, formal or informal, not too long - your ok to use the track, link to the consent form coming later The last part is the most important, but the other two are great to have. Your profile will look silly without them. As for your tracks' comments, I can just make stuff up.

You fail to read sarcasm, then fail to recognize it when it's pointed out to you and then say _I'm_ lost? Wow, you really know how to read stuff. <-The previous sentence was sarcasm. This is for you: -- Anyway, I heard a GarageBand loop in the outro music for a news program on tv some years ago. It instantly felt like it was on my level (at the time) rather than professional. It felt newby. It felt like someone had just cobbled together some presets and loops and made money on it. You know how newbs get some music software and feel entitled to have their supposed genius recognized with whatever crap they post? This was the opposite, where I felt entitled to have my supposed genius recognized for making music that's not based on a bunch of presets and loops, stuff that's fully* my own. *tho I don't produce my own electricity, or even make my own synth plugins I mean, if newby mcn00bster* can get his music on tv, why don't I get mine on there? (perhaps it has something to do with that I rarely actually finish any of mine? ) *I have no idea how pro the writer of said music piece is.

neblix is being sarcastic. He's not very good at it.

That's neblix' point. Just like using a box full of effects doesn't make your guitar playing any better just because you have them.

Hi all new ppl, welcome to ocr. Come show us your remixes and originals, share your thoughts on posted ocremixes, cheer us on when we make bigass album projects, talk music and tech, see if you can help someone out with your instrument skills or something, join our competitions and projects and stuff. Enjoy your stay. If you have an older account, you can merge them by bringing it up in the username change thread and waiting for DarkeSword or Liontamer or someone to see it. If you wanna score some cool points by having an earlier join date or higher post count, thatis.

Haha, I get that it's not an attack on me. I mean, I did suggest making my own electricity in my first post in this thread. I just want my remixes to be just me and the source, and not be dependent on the sound design of others. I wanna argue against your point of it being counterproductive, since knowing how to tweak patches or make your own helps you tweak or design more fitting sounds. As useful as presets are when they fit, they're easily used when they don't fit, leading to problems mixing/getting a cohesive sound. Even when just a little editing would be enough. Consider what often happens with newbs (myself included, back in the day) when they try to be "interpretive" and alter the melodies of the source just to avoid being "too conservative". You end up with a track that's structurally the same but with arbitrarily altered melodies. That's not the creative arrangement ocr is looking for. Writing your own arrangement is the big idea with this site, and it's helped ppl learn and grow as artists.

As long as there is _NO_ autoplay.

Yeah, Uppsala is at an equivalent distance.

Indeed. Others options are to just get more songs, or to get into mixing and arranging yourself.

When I have no particular sound in mind, I jsut load up Omnisphere, pick something at random and play something to see how it sounds. Often times, that becomes the basis for the track. Still, I tend to swap out the soundsources or add some fm to make the sound more my own. I first hated loops because I couldn't write whatever notes I wanted with them, now I think they're an acceptable _part_ of the rhythm instrumentation of a mix. Unless they're used straight out of the box, raw, and with no variation.

As someone who prefers to at least tweak ALL presets I use and filter or otherwise mangle whatever loops I use, I might be able to answer the OP's question. I don't like having other ppl's footprints in my art. While I can't make everything from scratch (presets->synths->DAW->computer and OS->electricity), I prefer not relying too heavily on other ppl's work when creating my own stuff. That means I sometimes make my own sounds from initialized patches on the synths I use (which is a great way to learn how the synth, and synthesis in general, works), and when opportunity comes to use them, I do. That way, I can also provide a bit of continuity between songs. You'll hear the same fake shaker I made for Beyond Velocity in some of my other tracks as well. Same with the bass drop I found and modified for Braincooler. I based Aurora Australis on the sounds of Aurora Borealis. While I don't spend as much time designing my own sounds these days, I do want to modify whatever sounds I wanna use to make them more my own. Same with loops. Most of the drums in Eye of the Storm are from a single GarageBand loop. They're just filtered to keep them from being too recognizable, and for me to be a little more creative with them. I guess that's really what it comes down to - creativity. If you build your own sounds, your sound design is more yours than someone who just uses presets and loops. You probably don't wanna hear the same presets in every song by everyone. Maybe it's also a skill-related thing. Even if there's a thousand synths out there, most ppl will use the default ones that came with their DAW, or a handful of big names. Recognizing presets tells you what they're using, and reveals that they didn't design their own sounds. Maybe they don't know how. If I know, then I'm "obviously" better than them. idunno, I just like sounding more like me than like Omnisphere's presets.

Hours, probably. When you quantize, the note are moved but remain the same length, so while the attacks are lined up, there might be overlap or gap between notes. There's a force legato mode in Logic (the DAW I use) which might rectify the gaps/overlaps, but it completely depends on the instrument how well it'd sound. Dunno what's available in your DAW.

The dude is getting us more remixers, and making sure ppl aren't sitting on their tracks. It's progress. I like progress. -- new page addendum: we have progress, assistant director, check my previous post and the thread's first post.

Three tracks just changed color in the right direction. Nice work mak, Meteo Xavier, Jeremy Robson, Sam English, LuIzA, zyko, and other ppl Also, it is can be assistant director tiem nao. - luhny, what? You're on my list of ppl whose emails I have... yours is there. Something's up, pm me your email address again, in case I got it wrong. Check spam folder, dunno how your mail server feels about emails with a dozen recipients.

I like real-time feedback, so I'd prefer you catch me on aim. Then again, I'm busy most of this week. I don't think I have your email, send me something to my gmail, ad.rozoSPAmmITYvian, my gmail and I'll hit you up with the latest version. Actually, anyone interested could just email me. yes, it's ad dot rozo... btw, I wanna talk Sonic Elements with you.

When you record, no. Once you've recorded, you have to set it to quantize the notes... and then it quantizes -which means it then automatically aligns the notes with the grid. Attack differences probably come form the instrument itself, if the attack reacts to note velocity. Timing differences are indeed solved with quantization, tho it can take out a lot of the human qualities of the recording, too. Use with caution.

It's a problem when there's two threads for the same thing. But hey, the person gets what the person wants and every person is happy.