Gario
-
Posts
7,532 -
Joined
-
Last visited
-
Days Won
74
Content Type
Articles
Profiles
Forums
Events
Posts posted by Gario
-
-
I don't know what the OP stands for, but I've heard that opinion before, as well...
It comes from an older idea the the Composer is sacred, and that no one should/could ever hear anything as good or better than the original writer. That's a romantic ideal, at best... It's completely unrealistic, at worst, IMHO. I've heard a lot about this subject from some of the greatest performers in the world, so take it or leave it
-
Well I've had this idea in my head for some time, so I'll spill it for you all.
A decent performer performs other music either because they love music but can't write their own, needs the practice or just wants to enjoy themselves. An incredible performer, however...
With the best in the world, they perform music in order to allow their vision of what the piece should sound like come alive. Using a combination of theory and feel, they take the score of something and use it as a blueprint for their own ideas. Van Cliburn, for example, took Chopin's Revolution etude and changed it from a fast pace action piece into a dirge in a live performance that he did some time ago. It was amazing, not because of what he played, but because of his interpretation of it.
I heard Schick talk about this very subject. He spoke of performing as another form of composing, but instead of writing original music down, the performer brings out dormant ideas from music that is already written.
Hope this gives some of you performers some ideas!
-
Well, this is coming from someone with a shitload of midi writing experience; this isn't that bad. However, you need to work with your velocities a whole lot more.
By the sound of things, you don't mess with your velocities in order to create dynamics. This is the single most common problem that I run across when listening to midi writing. Please use them to their fullest.
It may sound strange, but you need some form of reverb to beef the sound up in the music. A trick that I use to emulate reverb in midi is creating multiple tracks of the same tune, moving each new track about a 16th ahead of the previous, toning the volume down and detuning the sound. Believe me, it makes a world of difference.
Here are some examples of that.
Without any reverb:
http://www.box.net/shared/9y0ze7ub71
With reverb:
http://www.box.net/shared/vzmbet7h4v
By the way, I use SBL for the fonts, so the GM sounds muddy...
SBL:
http://www.box.net/shared/f8jo7imdyt
I hope this helps you midi future!
-
Really, I like the name you've got there... I don't know why, though...
Nice chiptune there. I love that old NES sound, and this fits the bill. I really like how you reserved the triangle for a treble sound later rather than use it for the bass. It's different.
Nice work!
-
I've seen people mixing this from time to time in the WIP forums... but nothing that really stands out, as of yet (most recently Nekofrog had something like this, but it's unfinished, and he hasn't really settled on what he's doing with it, yet). I agree, though. This is a great song, and it needs remixing.
By the power of Arek the Absolute, Sinistral four, ASSEMBLE!!!
-
Personally, I'd try to mesh the styles so that from one song to the next there is contrast. Putting similar styles together runs the risk of getting the listener bored before finishing the album...
... then again, keeping things continuously different also runs the risk of losing the listener completely after every change (which would be very frequent if set up like I suggested)... It's a call you've got to make for yourself, there
-
No Buttville? No Guitar solo? NO GUITAR SOLO?!?!? WATZ THS SHAAAAAT~!!!!
lol, jk.
No source, but if I recall, the source was pretty simple to start with, so... yeah.
The bass sample you use sounds very GM. I'd find something else for that.
One of the snare samples sounds like the head of the instrument wasn't tightened properly... I notice you use that sample a lot in your mixes. Please stay away from it - it sounds like a sample of a high school snare drum. Ick.
The tempo is laid back, but the mix you made calls for a faster pace. Experiment with the tempo and see if you agree.
For me, the song didn't start until 1:36. Before that, it was a little boring... It could start there, and extend past the written ending and I don't know if the first 1:36 would be missed that much. After that point, though, it starts sounding pretty good.
At 1:36 - 2:28, I mean it when I say the piece could start here. This would be an excellent introduction to it. Because of the, erm, shortness of the source, you'll need a lot of material like this to make this song an acceptable length for OC. It's a good section; make it your first
When 2:28 comes rolling in, it gets a lot heavier (and cooler). I enjoy how thick the mix sounds here in contrast to the proceeding section.
It sounds like it needs to be longer...
I'd love to collab, but I'm using Sonar...
Eh, I use Reason; it seems to work for me. Use whatever is comfortable for you (trying to swat the angry wasps away...)uck...you should use FL studio or Pro Logic...*bracing for other remixers to come down on me like angry wasps*BTW - I NEEDS MOAR GUITAR SOLO!
-
I got so distracted on this thread I almost forgot there was music on here! Oops, I'll give a critique of V5 now
.I like the drums on this version much better; they're more varied and interesting.
The break is even better, as well, due to the 'echo' sound that brings it in
As I mentioned before, the dissonance is caused by your swelling bass. It doesn't move when the rest of the music does. Have that thing move according to what harmonies you'd like to represent, it'll help the piece as a whole. Listen to 0:48 for the first example
of when this is a problem, but it continues throughout the entire song.
The lead at 1:10 is off. Move the whole thing up a perfect 4th, to the same notes as the next part. If you need some variety, mess with something else (like the timbre), not the notes in this case. It leaps around from the correctly pitched tune to the incorrectly pitched tune, back and forth for a while. I'd recommend shortening this to a single repetition and move on.
I've always liked the Egyption-like melody at 1:48. Just thought I'd let you know
At 2:11, you do the same thing as earlier. I'd vary it a little bit from the last one.
I say again, it sounds like it wants to keep going
Keep it up; we're still listening to your track, here!
I don't yet have mixing knowledge or ability. Just theory. So with all of the electronica bias, I haven't bothered to submit yet. I'd love to try, though.We're on the same boat, there. I've got theory/comp chops, and I'm getting better at mixing, but it's still sub-par compared to the other mixers on the site. Post something - I'm sure someone with good mixing abilities will try to help you out (it's what I'm doin'
)
I don't know what the other person was talking about, there. They have the same key signatures and things, so you were probably right in correcting him...Major key and Ionian are indeed mutually exclusive, as are minor key and Aeolian.I actually had to correct somebody on this website who specifically said that Aeolian and minor key were not the same. I can't remember where, but that made me rage, too.
...although if you talk about how each is used, technically they are different. Minor is a harmonic phenomena, based on the theory and practice of ~1600 - 1900, while Aeolian is based on the contrapuntal practice of ~1250 - 1550. If you use the key/mode as it should be used, then the music produced will sound very different. It's like the fact that A# and Bb are the same note, but in the context of the music they mean something different, so they will sound different to the listener. It's a small detail, but as it looks like your into theory, SlyGeN, I want to keep things interesting
... -
Damn, this tread got hot real quick! I was gonna respond earlier to Hoboka, but it filled up with 7 more threads!
Well, the first 30 seconds seem fine, but the melody, rhythm and chords seem to all clash afterward.I see what your calling dissonant, Hoboka... I understand the mix up, there. The reason I didn't (not 'couldn't', by the way) hear it was because I create that clash purposefully all the time in my own music. The bass doesn't move while the rest of the notes (melody and the rest of the harmony) do. Perhaps not as much in this mix, but it often is a great way to create light tension. My ears have gotten so used to hearing this dissonance I really don't hear it as such anymore. I listen to music linearly (eg how the music works in motion, not harmonically, per se), so sometimes I miss certain things when I listen.
Gario that's a little dissapointing that you can't hear the dissonance here, I thought you're a pretty decent composer dood.Music is an interesting subject, in that a lot of it is really subjective. Listening is one of those factors; I hear the music differently than other people do, based on my listening history (everyone listens to things differently, BTW). If I miss something in a listen through, it's because my ears were listening for something else (or interpreted the music differently). That's why I ask people for what they hear - I need different ears to hear different things, not because I ar an stupid, but because my ears tend to overwrite some things to hear others
Ok, now that I'm aware of it, it's the swell that's causing the dissonance. The reason Hoboka believed it was the other instruments is because as the deepest bass instrument the swell will automatically sound like the 'correct' instrument - it's supposed to define the key. It doesn't do this very well here; I *cough sort of cough* agree with Hoboka about the dissonance, but to fix it, you'll need to change the swell instrument's notes to match the harmony, not the popcorn instrument so much...
BTW, in the new mix, the added bass notes are off. Have them match the harmony a bit better - those are dissonances that I am aware of
That's why everyone associates E with Phrygian, C with Major, etc.Heh heh, if you want to go there, I'd call it C Ionian...
You'll notice the motif then becomes higher in pitch. It's a "real" transposition.SLyGeN is right about the transposition thing. BTW, a real transposition (for those that don't know) is when a motive or idea's notes are transposed exactly the same amount, note for note, despite the key it's in. It's distinguished from a tonal transposition, which is when the idea's notes are moved up or down in relation to the key or mode it's in. He didn't clarify, so I wanted to give you an idea as to why it could be significant (possibly give you some ideas to use for your own mix
) -
HahahAhaHAhaHA!!! Thought I forgot about you, eh? THINK AGAIN!!!
BLEAH!!
Ok, giving this a go, now...
Sounds good, I like the whistle you've included. Sounds like Frog
It could use some reverb, though... it sounds a touch dry.Other than that, the only other thing I have to say is that the melody is often a little low... When the flute comes in, though, it pierces great. It needs reverb though
Sounds great! I think it's very, very close. I'd be surprised if your next version wasn't the final!
Great job, and a pleasure being hear to hear it through!
Edit: While writing this, you've sent it in. I think it sounds good, so I wish you the best!
-
...and I'm not sure what key signature this is in, because the source is using that little half step off thing.
Ya, this piece is difficult to hear the 'key' because it isn't in one - in the traditional sense. It's in the old Phrygian church mode - 1 - 2b - 3b - 4 - 5 - 6b - 7b - 8(1) - Those are the scale degrees. Another way to think about it is to start on the 'E' and play all of the white keys up to the next 'E'. That's why I'm such an advocate of Counterpoint - weird scales don't affect a thing, whereas in Harmony...
Also...there is still a lot of dissonance my boi.Actually, Hoboka, I don't hear that much 'dissonance' in this... Point out where; I'd like to hear what your talking about. Are you sure it's not the scale integrated in the music?
Take this into account when (if) you mess around with the chords - you'll be surprised how much this'll help.
Listening to this again, I like the break better than before. No more woos
The synth DOES sound like Ultima Underworld, though... I feel the break should feel tense, but not intense, if you know what I mean. Try building up to the break, then suddenly calming down, leading into the next part better.The bass could use some quick notes every so often to build up the sonic field a little bit... Just a few, though.
The end sounds like it's building up to really explode on the listener, but then it ends... It leaves me feeling empty... Add some more where it just unloads on the listener. It's what we (well, I) want
I didn't even think about the key of the piece. I hope my comment will help out in some way.
-
Hell, I want to participate!! It's not everyday that I find a project that still has openings!
I can do a mix of Wily Machine (as no one else is taking it)... if k-wix will let me, of course
BTW - I agree with Xenon... Why isn't Shnabub on this?!
-
Ha, this SOUNDS like it could be Iris' theme / Sinistral battle, but it's a VERY interpretive mix. It's kept my interest - I'll keep an ear on this one.
BTW - I thought this was cool in the OHC, too... but didn't seem to fit the theme too well to me
-
They're all squares and I have a round hole.
You know, I had the same problem as a kid. You know my solution? I smashed em' in anyway...
Terrible advice, by the way. Don't follow my mistakes.
-
This is a favorite of mine, to say the least. I've done countless speed runs of X-com - UFO defense to this song (and only this song!), and I still can't get tired of it.
Perfect.
-
well, they'd work in a horror flick, cuz it'd convey that feel of unease.
Yup, that's true. Of course, you've got to be looking for that sound on purpose to have a chance at using it successfully. Casually, though, it doesn't sound too great.
-
I'm not understanding what about the parallel makes this sound bad I guess? Is this some 'the sounds clash' thing that I can't really hear? The piece is written in parallel, so I can take the top off of it; I figured it was there to fatten the sound a little bit. It's a 5 note difference, rather than the entire octave, so maybe that's it. I always thought of it as a sort of eerie sound.
Eh... It's just something that can ALWAYS be made to sound better. Parallel octaves aren't good, either, and I'm glad you opted for something else. Try using 3rds or 6ths (even if it's not in the original), or even using a counter harmony
. Parallel 5ths are a nasty business. -
woo woO wOO WOO... (That's the break
)Ya, I like the idea of a break there, but... not that. Perhaps you can break the melody apart and have a piece of it open that part there, leading into the melody that occurs right after. It'll connect better, and without the rest of the instruments there it'll still work as a break.
The entire thing sounds very centered. That makes for too much sound in one area. Play with the panning - you'll find it much easier to hear everything and it'll make EQ and level work much easier.
The bass is better in this version. It could be a little more prominent, but better than before.
I've noticed that the swells are quieter sometimes. It helps the piece sound better overall
You changed the polysynth, but it still has the parallel built into it... Listen to it - it sounds like two notes are playing at the same time for any note. Try to find an instrument that doesn't do that. If your adding the notes manually, understanding that some of those notes are in the source... well to be honest they sounded terrible there too. I'd just get rid of the top line altogether.
If you want to add something to this piece, disect the original into tiny snipits. That often helps you get an idea as where to take the piece from there. One idea is to leave a lot of what you've got as it is and use it as a springboard to some more interpretive work, bringing the conservative stuff back in at the end. It'll create a closed system that'll sound complete in the end, and it'll make the piece longer. You'll also introduce more original material into the piece, so it takes care of a lot of issues and sounds cool at the same time
It sounds better, but there's room for improvement, so keep at it!
-
I listened to your slightly older one (and liked it quite a bit, BTW), and tried to listen to the new one. Unfortunately, now I can't get the new one... Is anyone else experiencing trouble DLing it from Boxstr.com? Is it just me?
Anyhow, sorry if you already fixed some of these things. Here's a critique anyway.
The drums that open the intro up don't fit. They've just got too much realism behind them compared to the rest of the song. Using the drums you use throughout most of the song will be fine, as long as you play around with the EQ like you do in the beginning normally.
Up to 1:48, the melody gets ever so slightly lost in the mix. It's not too serious, as I can still hear it, but if you can bring it out just a little bit without screwing the EQ up that would be great. This goes for other sections where this is the lead, like 2:29.
At 2:01, it's great that the melody becomes a part of the texture rather than in the forefront. The variety that provides helps make it very enjoyable over all
2:18... I've never said anything about this before, but it's been there. The melody improve at this precise moment sounds weird. It moves down right there and sounds like it's gonna continue that motion, but breaks off and moves back up to the melody again. Let's see if my pitch is correct... I think it's a 'Bb' that plays there... Either make the improve move up before that note or complete the motion down and meet the melody later. It's nitpicky, but that's where we're at (that's a good thing).
Make the sword thingy a little louder; it sounds so cool
The key change at 2:29 is seamless. I love it. It's a difficult thing to do (and still have the piece move well), and you nail it on the head. Kudos.
At 2:55, try moving the Oboe up an octave - the timbre is better up there, and it'll soar over the texture a little better.
3:09 needs the piano to be a little louder than it is. Again, it's drown by the texture at the moment.
The echo at the end doesn't quite work for me right now. I'd lose the delay at the end there so it's just reverb.
Otherwise, it sounds great. Something I'll keep on my playlist, for sure. I'd love to hear the new version(s) you have as soon as I can.
-
Well, not to be cruel or anything, but this is a perfect example of why people shouldn't complain about the standards benig raised so high here. We would consistantly be getting mixes like this, and the other great music that comes it's way here would be drown out.
I don't even know if I need to say anything about this. It's an example of old OC (and why I don't really miss it too much). Even for the time, it's hard for me to sit through.
-
Interesting that this was for BliNd, 'cause he did this very song for his own album (and it's great... of course
).Interpretation is great, but it may just be a little bit on the liberal side. The chords are from the source, as well as some of the texture pieces that are there, but that's all I hear right now.
The hats are a little grating in the begining. Turn them down and they'll be just fine.
Perhaps it's just the style (as I'm no expert in DnB), but it doesn't sound like you fill the soundscape well enough. There are sections that fill it out, for sure, but in general it sounds empty to me. I'm missing the middle of the scape, in general, because the high and low portions are covered pretty well. Again, perhaps it's just the style...
The synth sample that you use for the swells sounds odd... It may be the release on it. It's good for an effect, but not as much for something that carries the song all the way.
Otherwise, sounds great. I like the beat to this, and the interpretation is very different (which is good for a song like this
). The singing at the end adds something that I can't describe, but it's good. Keep this one up - I'll be listening for updates -
I've downloaded this on a different computer, so I have it, at least. Unfortunately, I didn't have the proper setup on that one to listen to this properly. Now that I moved, I can't DL it again...
I'm gonna give feedback, just give me a day
-
And sure, 2003 has a really cool default battle system, but all of those things and more can be achieved in XP through the use of scripting
Really?
Can you script the battle system from RPG2K3 on XP (or VX, for that matter)? I've experimented on those systems and couldn't get around that whole 'one battle animation allowed on screen' thing (and I can't settle for anything less than the battle animation - those that I'm using are beautiful).
There actually are some custom battle scripts that you can download if you don't want to go through the trouble.If you have the links to those scripts let me know, you've caught my interest
-
Ha, it's a little on the conservative side (for you, Hoboka), which means the interpretation is probably just right
Like I said before, though, it is a bit too static for me to wrap myself around right now. When I talk about texture, I'm speaking about how the instruments shape themselves arounds the notes... kind of hard to explain. If the choir is singing in block chords, then starts to arpeggiate the chords, then your changing the texture. I seriously recommend changing up the texture of this piece from time to time.
The mix is muddy when all of the instruments are out. Seperate them using the powers of EQ or of panning. Right now, they sounds like one massive instrument.
I actually like this one better than the original. Yay, keep up the good work.
Sorry about the review that wasn't addressed to you earlier. He wouldn't have posted his stuff otherwise - Hope you all understand!
Norfair - Work In Progress
in Post Your Game ReMixes!
Posted
Well, I don't have any exact samples of music from 1250 - 1550 off the top of my head, but I can think of an example later using an older style. Look up Haydn's oratory 'The Creation' and check out the first movement. Try to analyze it harmonically... it'll blow your brain out. Haydn used earlier contrapuntal writing vs the harmonic style of his time to achieve the sound he had. Analyzing this piece as a giant counterpoint exercise, it makes a whole lot more sense. I might try to find a better example later (one that is actually from the time period...).
Compare the sound from this to another piece in minor. Same chords, same notes, but the different usage gives the piece a modal (not harmonic) feel. This is the difference I'm talking about
... Perhaps we should move this topic to another thread? This is the second thread I've helped take off topic here in a week
...
Sorry, Hewhoisiam; I've done it again