TheHands

Read posts, responded. It might be different between trying to record an instrument that doesn't plug into a computer, but for some reason whenever I try I get horrible looping feedback and it doesn't pick up my mic under any setting I have. Then again, we can't all know what we're doing it seems.

Frequencies are important because on various players (assuming you want to eventually do something with this besides letting people play it at reduced quality while having to go to a myspace page, like on an MP3 player or something), this will make them sound worse. If there's something missing, it makes it sound that much worse on other players. We're not asking things to be dicks, we're trying to help. I used to do this too, until I realized it was ultimately hurting me more than helping. Now that that's over with, if you're only looking for composition so far and not mixing: The first minute or so is very... interesting. It's hard to listen to and imagine what it's supposed to sound like with better samples, but I'd suggest very strongly trying to keep certain aspects more constant, like the use of the cellos and bass. Also, consider introducing a timpani for punctuation earlier in the song, like when it still matters for the orchestral section. Even if you're using Midi or some sort of soundfont applying device, I'd strongly recommend paying more attention to panning. That might just be myspace dicking you over, but it doesn't feel like most of the parts are panned enough once the synth kicks in. Speaking of which, do you feel the synth section does something in the song that the orcehstra wouldnt've been able to do? Honestly, it kind of annoys me. I lied, there is no kind of. It doesn't work in its current context. I'd say to introduce something synthy earlier on, or consider lowering the focus on the synth considerably. It's WAY too repeatitive. Break it up some once your synth comes in, or it's easier to close the tab with your page on it and not go back. It's a cute attempt. I will not give further feedback if it does not move to a different service.

Cut most of the distortion. It works fine for crunchy chords, but for melody and noodling on a neck, it gets in the way and makes it unsexy. I want to hear more layering, it sounds too much like a simple skeleton of what should be a decent song. I hear clipping all over the place, mostly in the intro. Play with the EQ, panning, and velocities until it has volume without losing parts of the sound you want. The huge amounts of distortion are making it hard to tell how many layers are there, I only hear the drums, a detuned guitar, and a more standard tuning guitar. I want some more of the source, since Great Warrior was a great song to begin with. From 1:39ish to the end is COMPLETELY bare, and needs more behind it. The fuzzy detuned guitar isn't strong enough to support the main melody in the way you want it to. What I'd recommend is adding a bassist into the mix (or if that lower one is bass, then consider making it a guitar, and adding a bassist), and changing the octaves you're playing in. There's too much mud there, and not enough substence. The drums don't feel lively enough, I'd consider playing with the velocities and panning to make them more real. The structure is interesting enough to keep the listener there while the drums are there, but there isn't enough life in them to make them happy while listening. It's a start, and you picked a fun source song to work with. You've already taken the time to start figuring out FL (honestly, I'm not much farther ahead than you as far as skill with that program), start toying with other things. Play with other instruments and tones, try out effects on tracks, like chorus, reverb, compression, and especially the EQ options. So far you have a lot of potential in this piece, I'm looking forward to seeing how much of it you play through.

I know I bitched about the intro before, but now it feels incomplete without it. The new section has an interesting feel, it seems like the perfect time for fresh vox until the weird synthy thing.

Since you've said what you're working on for it next, I won't jump too far into detail for what could be done. This is great progress, the only thing I hear that it desperately needs is an ending, which I'm assuming is part of what you're planning in the bits from 2:20 on. I like the crunch you've got there, it's a solid start for an ending. The drums are a little better, but still don't feel realistic enough early on. The samples are fine, but the sequence is unrealistic to the extent that metal takes pride in it's over the top drumming. I'm digging the changes made to the sequencing later on, they definitely help kill the monotony. Personally, I'd like to hear a little more cymbal there, but that's only because at the moment I'm listening only for the drums. In the overall it feels better than it did before. Slap an ending in there and I don't see anything else structurally.

Mostly stuff from Schenceut (I can never spell that album's title), specifically their version of "Stripped." Most of the time industrial will focus on a blend of dark, heavy sounds and overtly electronic noises. I'd argue that Orgy could sometimes be considered Industrial as well, even if they did aim for more of a glam/numetal.

5) When folks try to make you into a puppet by telling you how to write your song, instead of how to improve it. If I don't want an accordion solo in a metal song, I probably don't want it for good reason. Honestly, if listening to something inspires you enough to change it drastically, then ask the musician for a colab instead, and see how it works.

It's not a matter of what I can and can't afford. It's a matter of what I want to make work. The guitar is actually two guitars, each hard panned through the left and right. That's allowed me to control the volume without clipping. They've also been velocitied to the exact way I play it in real life, emulating the fingerpicking pattern (where the thumb and ring fingers are louder than the index and middle because of the spacing on the guitar). The sample is naturally too echo-y, so I had to do the pannings and velocities to add the human aspect to it. I'll see what I can do about the piano sample, it does feel like it needs some more. I think I can fix it through track EQ rather than a whole new sample though. The ending is there as it is for a reason, the song tells a story without words. That ending is the culmination of so many things building that it had to burst. No need for soundfont excahange, but thanks for the offer. I commented on your stuffs as well anyway, a matter of respect for taking the time to look at mine . I'll post an update on it when I find the time to play with it more.

It starts way too abruptly. I hear too much coming through the center channel all at once. Later on the acoustic guitar feels WAY too midi chord strum for my taste. If that's the desired effect, then it works. I'd say to pan the main electronic backing in the beginning between the two channels, so you can focus more on the flutething. Seeing as that's the real focus of the piece for the most part, I'd also say to put more production into it's sound. Cut some of the unrealistic frequencies, and possibly a little bit of vibrato to emulate a human's breathing pattern. Edit: Hit "post" too soon through force of habit. The volumes of most of the background instruments can be played with, that will help give space for more instruments at different volumes. The end comes without payoff. Even in game music, there's a solid ending for any song that isn't a continious loop. Even for the ones that are, they've got fades in them so they can naturally loop. Even if you throw a fade in there, it'll make it sound less like an attack on the listener than anything else. I'd like to see where you take this, but really it needs panning and volume changes desperately for the time being.

I'm not too big into electronic style music, so I'm naturally more partial to the organ/choral bits. I agree with Nec5 about the slides that build like a warning siren, they don't seem as interesting to the piece as the rest of the song. The drums feel repetitious, the main beat never changes except for fills. This displeases the ear. While the focus isn't on drums, I kind of feel like they should be more interesting. I like the synth guitar thing you've got going on during the slide/siren, I'd like to hear that brought up more. Same with the piano in that section. I agree it's got a lot of potential, and that since production and sounds weren't a focus at all, nothin' can be said about it. I'm looking forward to hearing where you go with it.

Hey, it's been at least ten years since I played WCII, let alone installed it. Didn't remember it, that's all. Now it's more amusing, a better inside joke. Also, for ideas about industrial, check out Nine Inch Nails, Rammstein, and Wolf Eyes. Wolf Eyes is the most experimental of them, and easily the least melodic of them.

Sexy. I don't have to agree or disagree with anyone now

Was able to access it.

I was told that a good mic is best, lets you take your tone straight from the instrument/amp, but I can't afford one to tell you if it's as effective or not.

Video Games Live's version of the Medal of Honor music did, but I think that was mostly because of family history and the screens they had. Also, TSO is AMAZING.

Vid's been out for weeks. Same joke everyone else has told, only with Family Guy animation. It got half a smirk out of me when he called Bowser "dragon," but that's about it. He's a funny guy, but he needs to try different approaches once in a while.

Personally, I'd have no problem extending the deadline. But that's just one person, who's already finished with their own submission.

This trailer makes baby Jesus cry.

The snare/clap thing in the intro is overpowering, velocities/volume would help it. The layering doesn't feel like it builds fast enough, it only really made me very interested in what was happening after 2/3 of the song had passed. Not that the first two thirds weren't interesting, but too thin. I like this a lot, it has a nice groove and once it kicks in I can nod my head to it. Good job so far.

http://www.ocremix.org/forums/showthread.php?t=16935 My piece was said in this one.

http://soundclick.com/share?songid=6936488 I wrote this for my best friend before she moved across the country, as a last request for her not to leave. She left anyway, and came back two months later as a different person. I revised it as a memorial to who she used to be. I'd love feedback about anything that sounds like it needs to be changed, especially about the mixing.

That's pretty nifty, but I'm too broke for one. Maybe next year.

There was never the love for Raz that there should've been. I want a 2D platforming version for the DS. I must speak with friends who can make this happen.

I've been looking for an R4 for a while now (I'm a fan of home brews and the possibility of apps for my DS, like a very limited MP3 player), but they're really expensive where I live. As for the pirating: Having a ROM of a game isn't the same as having the game. Tetris DS is fun and all, but having the actual cart is amazing, even if for bragging rights. And honestly, if you only try it out but wouldn't've bought it anyway, then what's the point of downloading it if you knew you weren't going to buy it? That kinda seems like downloading something just because you can, and not because it's something you can't normally do.

Apocalyptica is the best thing that's happened to experimental metal ever, IMO. Tenacious D is right behind them.