Rozovian

Finally something worth considering somewhat complete. This'll be an interesting battle.

ppl might not express interest because there's yet no signs of this ever getting completed. I'm somewhat interested but busy so I can't contribute. Post screenshots or something to show you're not any random newb showing up trying to get assets for a game that doesn't exist and probably never will. Prove you're actually making something, and you'll see interest.

Before an angry Darke comes in and tells you - any recruitment thread in this forum is for recruitment, not project coordination, wip discussion, and egg throwing. Hylian Lemon ran his project in the remix feedback section, as did Bahamut and Taucer with DKC2 during some stages of its development. Other places to run the project at are KNGI (numerous projects) and ThaSauce (FFIV, dunno others). Project goal and style, progress, stuff like that is fine to keep here, but much of the stuff I see in this thread doesn't seem to belong in a recruitment thread. At least going by what's been said before when recruitment threads become everything but. As much as thread activity contributes to a sense of progress, it's not what recruitment threads are for. 5 tracks claimed. Come on, a cinematic music album, ppl! Even with the abundance of projects, this one needs more love.

Aargh, I hate this week. Too many things I should do. Track is coming along slow but ok, finally got a grip of Will's source. Stupid source.

Life stuff, stress stuff, and other stuff getting in my way, I probably won't send anyone any feedback until Sunday night or so. Also, we're in the process of restructuring the project (thanks to Kyle, Bahamut, and others pointing out what I'm doing wrong), so there will be changes soon. More about that later. No reason not to work on your tracks and actually finishing them. We're much farther along than you think, just not as far as we'd like. You can change that.

You're talking about Music Composition & Production, not Workshop (which is the subforum category containing MCP, the two feedback boards and the recruit&collab board). As useful as the board is for music ppl who visit ocr, it's one that's hard to miss once you're on the forum, and one that'll either pop up during a google search for composition/production-related stuff, or not something ppl need to know. I mean, the typical visitor comes to ocr, sees a list of remixes, a couple of albums, a graphic thingy for the past few cool things, some nav stuff, and most recent threads in the most visitor-relevant subforums. Then again, I rarely go to the front page. The forum stuff is far more accessible from the forum index. I don't care.

Level up, dude!

I have three wips I'm gonna send out some comments on soon (I've got a couple of other commitments that take priority over the sd3 project atm). Would be great to have Usa around more to listen, I tend to get biased after hearing a few too many version of them (and my critical hearing isn't always consistent enough anyway), but if anyone with good ears wanna join the project in a quality control capacity, let me know. Repeat: Got good ears and wanna help the project? Hit me up.

If it hurts your ears, fix it. Basically, I just listen for anything that hurts when I turn up the volume. Once I figure out when and where it is (time, instrument), I look for what frequency it is. I do this by making a thin, loud boost and moving it up and down the frequency range until I notice the offending frequency is worse. Then I change the EQ from boosting to cutting. Carve space for the foreground stuff. If I have tracks occupying the same frequency range, I decide which one I want to have in the foreground and which ones I can push back. The ones I can push back get a wide EQ cut. Where? Where they're leaving room for the foreground instrument and its harmonics. Because the harmonics give the instruments its clarity, those need to punch through. Lead vs pad, lead wins, carve some in the pad. A subtle EQ cut and more reverb make stuff sink into the background more. Needs to sound more like x. When a track is done, if I'm not too tired of it, I do some basic mastering stuff to help it fit in with similar tracks. Usually, the lows are too loud and the highs have some problem (too little, too much, or just seem boosted around the wrong frequency). This is why having some good tracks to compare your finished tracks with is so important, it shows the overall frequency balance you should strive for. Okay, I got a little carried away and forgot your question, but those are the three things I do when working with EQ (aside from filter effects and stuff). The first one should answer the question tho. Raise volume, boost an EQ, scan to find what hurts. Can't tell with my speakers, but I reckon it hurts more on headphones.

Your own, you mean. And that's after I'm done kicking it. Salad time. This means you, Will.

Congrats man, go make some awesome music.

*Copropha... No.

Cool start, tho at this point pretty simplistic. I think the sounds themselves will be all right, just needs more elaborate and varied drum writing, like ghost notes and velocity edits. Wouldn't hurt to change up the instrumentation now and then, it's a way of keeping the track varied. Just don't use that as the only thing that changes. Concerning the bass, you can EQ up the mids and highs to make the bass more audible. It's definitely got bass atm, but if you need to hear its mids and highs, EQ it. If it simply doesn't have mids and highs that you can boost, put an exciter or overdrive or something before the EQ. Just make sure to keep it subtle, its only purpose is to create mids and highs through distorting the bass, not to actually be a distortion effect or anything.

For about that price, I would recommend Komplete. I have the previous version, 6, which came with three powerful synths (Absynth, FM8, and Massive), a versatile synth/effect design environment (Reaktor) (and some synths that work in that environment), and samples (Kontakt, Battery). The new version has more cool stuff in it. About the links you posted... the first two might take some work but Absynth should be able to handle it. Most synths should be able to handle the synth stuff in the rest of the examples, tho if you're looking for a more realistic sound, the many sounds in Kontakt and the acoustic kits in Battery should help you out there. Something less versatile but more user-friendly (and imo a powerhog) and definitely a capable synth is Omnisphere, which leaves you with a little more money after the purchase, enough to supplement it with a scaled-back version of Komplete, perhaps? That's what I use, but there are others. I've heard good things about Alchemy, so that might be worth checking out as well. Tho I gotta ask, by synth, do you mean a synth or any kind of virtual instrument? Are you talking about synth sounds or samples? Or both? You are talking about a software synth, not a real-world synth machine+keyboard thing, right?

I just do playlists. Smart playlists for different years is one way of splitting them up a bit, but if you prefer different moods or sounds, you're gonna have to make the playlists yourself. Tho once the files are all updated with new metadata, we could start sharing playlists.

So knowing she's in a Norfairish environment doesn't give her cause to even temporarily activate the Varia suit just to not die an unauthorized death? Yeah, that sounds reasonable. Especially as it's not her first run through an environment like that (and depending on the player, not her first death). I don't buy the tight military bonds thing. The game itself has her leaving the GFed after Adam got Ian killed. As another appearance of Ridley gives her a PTSD episode (rather arbitrarily), wouldn't she be also carrying quite a disillusionment with the military and with Adam especially? Makes this tight bonds thing look silly, especially as she's shown no sign of getting emotional in any of the other games. Inconsistent. It is.

We're hating on the story cuz it's inconsistent with previous games. That's it's rather weak and silly and forcedly emotional and overstated and mostly cinematic (ie interrupts the gameplay, a lot) and seems like any random "explore Samus' character"-type fanfic isn't the _main_ complaint. As for the powerups, only the power bombs are in any way justified in being prohibited and disabled, everything else being disabled is just stupid. If she wore GFed armor that Adam could control and limit the functionality of, sure. She doesn't. As it stands, he has her running through environments with the appropriate powerups _disabled_ and arbitrarily activated (grapple when needed, varia... not). Inconsistent, and kind'a stupid no matter how you look at it.

Seems like most of the instruments are of high pitch, which sounds weird. I like the patch you're using for the chords, but most of the rest sound newby. Lead bothers me the most. Not bad for someone new to trance tho. Not that I'd call it trance, specifically, but it's some kind of dance and that's close enough for me. Alternately panned snare notes? Annoying. Phaser on hihat, good that it's only for a short while. Some descending high-resonance filter/EQ on the bass drum, interesting. Strong bass drum, nice. Seems like there are some clashing notes in there, probably due the the source being in Lydian (I think). The mid range sounds empty with everything spread to highs and lows. Ending was probably my favorite part. Nice drums, nice synth, jazzy chords, no pitchy whiny lead. Even if you were going for something trance-y with this, some jazz-influenced dance might yield better results.

Haha, awesome. Might have too much bass, but can't tell for sure (need to re-learn the response I'm getting from my setup).

There comes a point where ppl don't care about a wip thread that has been going on for a while already. You're probably at that point. You're posting what to us sounds pretty much the same as the last version, with some minor edits. You still rely on other ppl's ears to point out what you need to fix. Work on your ears, learn to hear problems, learn to tell what works and what doesn't. You'll work faster and better if you don't have to run everything by the wip board. You've still got volume problems, especially between the soft bg bell notes and the guitar. The guitar doesn't sound very good anyway, needs humanization - making it sound more human, more performed, more real. Even with a conservative arrangement, you can deviate from it more if it makes the track better. Add stuff, like a crazy pitch-shifting pad, some percussion with delay, a countermelody or plain chords, whatever. Just make sure it keeps the track interesting. This might suck to hear, but it's imo the smartest thing I can tell you: Start over. With what you've learned now, both about the source and about your tools and skills, you'll be able to produce something better much faster. You're still at the point where you're learning. This should help you learn faster.

GB can do those things. "Create sound on the computer" means you're talking about a software instrument. GB has those, and can also use Audio Unit plugins. Create an instrument track, then create a region and insert notes (by cmd-clicking iirc, or by recording midi from a keyboard). Recording guitar and ocarina? It helps to have good hardware and a good room to record in, but software-wise, GB can handle it just fine. You create/select an audio track and press rec. You might have to set things up so it doesn't use the computer's built-in mic (if there is one). Not sure about macs' soundcard quality, you might have to get an external device to get good recordings. Like Kanthos said, don't be too quick to blame the program. And there is no "best" program. once you've learned what you can and can't do in GB, move on to the other aforementioned software, try them out and pick the one you're the most comfortable with and think will meet your future needs. edit: A few DAWs that weren't mentioned: Ableton Live, Digital Performer, Reaper. Try before you buy, you don't want to spend the money on something you find clunky, unintuitive, and lacking the capabilities you want and need.

Epic might be a stretch, but I also almost voted for you. Wonder what you could have done if you weren't pressed for time. Man I'm screwed if I don't get my music machine back in time for next round. This and project deadlines... eek.

I tend to work more like this: 1: Find/make a cool synth sound 2. Write part A 3. Write part C 4. Hate the lack of cohesiveness, mix 5. Write intro, ending 6. Write more ending. 7. Write part B, hate it 8. Mix more 9. Get tired of the whole thing, decide to like part B 10. Fix everything you can hear and do something about 11. Decide that it's finished 12. Realize something's still wrong with it 13. Repeat stages 10-12 ad nauseam Yeah, that's about it. I spnd a lot of time starting songs just because I had some idea or because I found a cool sound that distracted me from doing something more important. I've got a few thousand unfinished sketches. Stretched out over the 8 or so years I've been mixing, it's about one per day. Some days you just write crap. Learning to tell what arrangements you can finish easily helps a lot. With mixing, I tend to start with sound design and keep re-evaluating my mix all the time. If it hurts my ears, it needs fixing. If I can hear it, so can others. Fix everything.

Oh, I see his point. (also, shut up, Will)

[title]v5b1.mp3 is a far cry from Darke's overstated example. In my defense, let me just say shut up Will. edit: et tu, prophet?