Rozovian

You can edit the mod review thing by click on edit then on go advanced. Rhythm feels a bit awkward in the beginning, and I have no idea why you're thinking the volume balance makes sense. Why are the drums so quiet? Why is the guitar so loud? Why are you singing off-key when you're just trying to sing softly? You could add a piano, perhaps a reverse piano even, or pads or something to fill out the sound a little more. Feels too sparse to fit the sound of the drums. This is a pretty cool adaptation, lyrics are cool, instrumentation pretty sparse tho, and you need to up the production values. Sorry I can't help you much with the vocals, but confidence is usually the problem with ppl struggling to sing (exceptions are those with too much confidence and being tone deaf), seems like ppl sing more in key when they sing louder. You should edit your thread title so ppl know you're looking for feedback on your vocals. I don't think ppl with ears for vocals are gonna stumble upon this one just like that.

You could start from a rhythm, a new chord sequence, or just a random adaptation of part of the melody, see where that takes you. The only thing in here that feels creative is the choice of drum loop. How about you use that as a basis for a more creative take on the source, see how different the source feels if you break it up, squeeze or stretch it to fit the drums more? Sorry to be hatin', but iirc you've done better than this.

Yay, syncopation. Bass is too loud, imo (but man that is a sweet bass sound). Funny how it's really dry and close when the drums aren't. Running it through a clean amp sim or giving it some room reverb might put in in the same space. Really cool instrumentation, digging the vibe you've got going here. Might be a bit sparse overall. The Dark Mountain-Tal Tal etc sound doesn't quite fit, but it adds a much needed layer. Perhaps if you'd make it less of a lead... or more? The sound doesn't sound jazzy enough imo. Some cool melody adaptations here, feels a little too aimless for ocr, you might wanna try to craft the dynamics towards making the last 20% more pronounced and ending-y, and previous parts more build-up-y. I know it's not the easiest thing to fix the direction when the arrangement is pretty much done, but do what you can. Nice work.

Seems like you've got two bass patterns on top of each other, starting somewhere around 0:50. Sounds a lot better, but the lack of drums/percussion means it sounds really sparse and the off-beat bassline just sounds weird. There are drums and rhythm instruments that work well with ambient styles, and there are ways to process less fitting sounds to fit in better.. Piano still sounds rather mechanical, but it has more dynamics now. Just be careful not to make it too loud (2:30). If you'd filter the piano or otherwise muffle it somehow you could make it fit into the soundscape better. I usually do that with echo effects, but see what works for you if it's something that you think the track could benefit from. Overall volume is ok if a bit low, but there seems to be a strong subbass keeping the normalization level like this. You should probably cut those lows since they don't do much. Still stuff to improve on.

To avoid clipping, use a limiter as your very last effect in your effects chain. Any peaks that would otherwise clip will then be limited. Also, use short attack and release on it to avoid noticeable volume pumping. With a limiter as your last effect, you can throw some more volume into it, but once it starts to limit other things than just the peaks, you're giving it too much. Check to see if it shows when it limits stuff - if it limits stuff when there aren't any hard transients (like the attack on drums) you're doing it wrong. That said, a lot of newb mixing (something I'm trying to get out of too) involves having too much bass. The bass needs to be loud before you notice it, that's just how our ears work. You don't need to mix it like that tho, once ppl turn up the volume there'll be too much bass. Dropping the lows by 5-10dB means you'll have so much more room to work with, and the limiter won't be protesting at barely audible bass. Subbass should definitely be cut from most instruments. You can't hear it, and you've got no control over it. See the bass paragraph. Kick and bass are the two instruments where you should keep it, possible some deep pads depending on what you're mixing. The rest you should cut it from. There's some pointers for what's worked for me, but it's still not the same as a proper mastering suite and the volume tools it has.

Why do all these n00bs keep thinking Prime is for the SNES? It's a little more than Mode 7 can handle. Also, PMd you back.

They just make crap up. It's like fanfiction.

Uploaded a whole bunch of my semi-finished avatars. Metroid, mostly Primes but also some redos from Hunters. I want Noxus! Final Fantasy X. Half of them turned out ok. Monkey Island. Should have fished for better screenshots. Should get Bill and Guybrush from MI3, stuff from MI2, and a better one of LeChuck. Should have made sure colors were a little more consistent. Lazy. Pick any you like, Larry. Finally, some Zelda: Twilight Princess. LT: Will sort through the mega-pack...

Well until the brackets collide, you could just treat bracket 3 as either X or Zero. You could run it until there's 6 remixers left, then an ABC battle, DEF battle, then A vs D. Would probably be best to randomize the trio battles, so you don't know which remixer from the X bracket goes against the two finalists of the Zero bracket. Or was that just what you meant? With 20 mixers interested, you'd end up at 5 mixers after two matches. Tricky. Feels like 18 would be easier, divisible by 3 until the finals. Makes for fewer rounds tho. Four groups might have been easier to manage.

If we're starting at 16 but have 24 mixers interested, first round X bracket losers could join the 8 mixers in the Zero bracket While not quite fair to the Zero bracket mixers (who just should have signed up earlier ), it evens out the numbers of matches to something that'll work in an elimination tournament. Otherwise, uneven matchups could be supplemented by close call losers from previous rounds. It gets a bit messy and somewhat unfair no matter how you do it, tho. Late arrivals could also be used, but that doesn't really make it fair to those who signed up on time. Or you could do away with the elimination for a round, instead do groups or three-way battles or something to end up at a number that is a power of two. A three-way semi-final or final would be interesting. But I'm just suggesting. Your call, Darke.

I just want to say that "learn synthesis" is probably the best advice in this thread. Once you know synths, you can make most of the sounds you want. The rest of the sounds you can probably create with a sampler and some effects by the time you know synths well enough. Seriously. Get a synth (3xOSC or whatever), turn everything down to it's most basic state, then start screwing with it to really get an idea of what does what. I would recommend a synth with a clean interface like TAL-Ekek7ro or FreeAlpha (use google). They both come with factory presets that you can learn from. Read up on synthesis, look at other synths, listen to what ppl do with synths... learn that stuff. If you don't learn this, you'll always have to come to someone else to get the sounds you need, even when you could make those sounds in a minute yourself.

Where are we at, 13 or something. Around the time of GRMRB, didn't a lot of ppl say how awesome a maverick compewtition wouldn be? Where'd they all go? Or was it just me? Changing the order of my picks. Editing previous post.

To be fair, prophet, neblix' post isn't defending any stupid crap and actually answers half the questions about as well as you did. Besides, much of your post won't make much sense to someone who has to ask what synthesis is.

Listening on laptop speakers, so I might have missed stuff. I also only listened once. I'm tired. Anyway, while it's not a requirement on ocr to use the entire source, I couldn't hear the bassline and aggressive synth anywhere in the remix. If you're looking for material to add, there's two good parts to use. imo the coolest parts of the source. Source is there, with the blips in the intro and the lead melody used ostinato. Seems to rely on the lead melody to carry the track almost throughout, which gets dull after a while. The original saves that melody until later, giving the overall track a more clear progression despite the repetitive nature of the track, something your remix doesn't do. Turning the ending into something bigger, perhaps by adapting the melody or using another part of source, should solve that. Can't talk much about production here, but it sounds ok. Synths are a bit vanilla, but not detractingly so. I think. Laptop speakers. Nah, not finished yet.

I've started thinking about the imprortance of knowing the character's backstory... and I realized it's completely irrelevant to the game, even when it ties into the story. Monkey Island introduces Guybrush with his memorable line "I wanna be a pirate". That's all we need to know. Do we need to hear about how his family is poor, or how he left an orphanage, or is the runaway son of a wealthy merchant, or has amnesia, or anything? No. Master Chief, and what Spartans are? Not really. Link's backstory? Nope. Sonic's? Nope. Mega Man? Not really. Might just be that my gaming has been rather limited, but I'm having trouble coming up with a character whose backstory is actually relevant to the game. Sure, Super Metroid takes on a different character when you think of it as Samus returning to a pirate-infested former home of hers (the whole series gets more depth when you think of the deadly Metroids as part of the Chozo legacy she also is part of), but it doesn't change the game, and heavy-handedly forcing it into the game would be stupid. Much like it was in MOM. How much backstory do you guys think we need to know to appreciate the depth of a game's story, and how much is too much? (not a question of how the story should be executed, btw)

Ehrm, this is gonna sound ridiculous at this point, but there's a compression issue in one of my tracks, an issue that apparently arose during the post-wav edits. Not pointing any fingers here but it wasn't my fault. I'll see if I can up the levels or whatever was needed for the track myself, then upload an improved version.

I got everything but one without help. Yes the hologram screen thing was silly, but equally silly was the wall passage way earlier on, the missile tank one that's behind the yellow door - in the landing bay! Had to have my brother point out which room I could get to it from. As for making a movie out of the game stringing cutscenes and gameplay together, it's a cool idea but it necessitates a story you enjoy watching. Monkey Island - yes. Zelda - sure. Metroid... not with the cutscenes, no.

I kind'a liked the controls. Yes, the missile thing was terrible and the first person view has never worked for me with the wiimote. Also moving so slow was annoying. But the minimalist controls made it more immersive imo. That's something MOM did better than any previous Metroid game I've played. Haven't played on GBA tho.

Song page->download tab->right-click download link->select save/download/whatever. If you're on mac and don't have right-click enabled, control-click the link instead. Not the first time it's ben asked.

Yeah but we don't need them in every Metroid game. There's a lot more you can do on the topic of alien environment without resorting to those tropes. But that's a topic for the M:OM thread.

Indeed. I can't recall what game it was, but I can remember completely disagreeing with one of his previous reviews having played said game myself. Here... not so much. The story and execution of the story SHOULD be ridiculed to keep it from happening again. Tho by now, we've had recurring Ridleys, two space labs creating bioweapons and imitating natural habitats and (oh how surprisingly) breeding metroids, recurring Samus-shaped Samus-based enemies, Ridley, escape sequences, multiple warddrobe/armor malfunctions, inexplicable loss of powerups at the start of most of her adventures, Ridley, fire level ice level jungle level... Ridley... Seems like they've been out of ideas for a while already.

newb is not n00b.

Everybody, stop saying "it's ok to cut me (insert random newbness-related reason here)". Wanna do this? Yes? Good. Just do it and stop apologizing for being here. Also, us half-decent remixers are gonna need some newbs to pwn before we get knocked out by the pro pros.

The psychological progression of the story shows Samus as suffering some kind of bipolar disorder where she sometimes is fully calm and collected in the face of danger, at other times the slightest event upsets her. Sure, you can argue that this is because of her isolation and non-human upbringing, but imo it would all have manifested before, either in ZM or the Prime games. Hinted at or implied, maybe, it's still a huge step from that to overstating her bouncing between sociopath and feeble, emotionally handicapped to this extent. An arbitrarily added overstated disproportionately emotional superfluous story inconsistent with the previous games. Better not anything like that in the next game, cuz when it sells this well, there's gonna be a next game fairly soon.