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Everything posted by Dissidia

  1. Looking for opinions/thoughts on this sample library. I'm guessing none has the CE version so if you have anything to say about Miroslav 2 I'd be interested to hear it. I read on a different forum about it and it seems very divided what people think of this library. Most notably the way MIDI programming is done with it seems to be offputting for a lot of people (lots of instrument "patches" instead of one "patch" per instrument with scripting behind the scenes). I think some of the demos sound decent overall but in some the release sounds really off. The difference between CE and normal version doesn't seem to be that big by comparing the instrument lists and yet the size difference is, I don't really get that.
  2. Thanks for the advice NPC and Brandon, I redid the levels from scratch and focused on bass, string, drums, vocal levels. Lowered the reverb a tiny bit on the vocal. Can't make it much louder because it has such a wide volume range unless I compress it which I don't want to. V3 http://tindeck.com/listen/vbgzh
  3. Updated to v2: http://tindeck.com/listen/jgdnk Mostly mixing changes, less reverb on piano, vocaloid. EQ on bass and drums mid-lows. Removed the Rhythm guitar. Pulled down the master fader 5~ db to get rid of the peaking at the loud parts which means it's more quiet but not as brick wall when it gets loud.
  4. http://tindeck.com/listen/jvcrn Even more Undertale! Is there anyway to lower the volume on all instruments at the same time in FL? It might be noticeable that the volume is going over the limiter by a lot during the loud parts.
  5. https://www.izotope.com/en/products/effects-instruments/ddly-dynamic-delay/ Easy to use and cool sound, it takes a bit of ram though (around 125mb). Just thought I'd post it here since I didn't see a post about it yet. Stops being free March 10.
  6. It's been quite the journey. Learned a lot along the way. Unless there is more critique (cause I can't think of what I could add/change atm) I'm going to continue working on Asgore's theme.
  7. I tried improving the guitar writing again, some of the mutes were really bugging me too. Glad you like it. Dual Mix is really nice, probably my favorite version.
  8. Thanks for listening and your feedback. I might have overdone the guitar and made it too loud now instead but it was definitely too quiet before as you mentioned. I lessened the amount of palm mutes but there is still quite a bit though (but it shouldn't sound as off now that I removed some of the lows because they were making the palm mutes sound weird/bad) I tried making the percussion at 1:20 feel stronger.
  9. New version with shreddage. I readjusted some of the reverb and volume levels and made the drum kit snappier. Tightened the stereo image further.
  10. That's good advice Dannthr, I usually put way too much stuff in my songs unless I'm doing 8-bit. Keeping ears fresh and being objective is really hard when you lose count of how many versions you have done. Luckily there is outside sources to help with that like you said. I would've been stuck a long time ago on this song if I didn't get feedback. I did most of the changes you suggested Slimy, the "electric guitar" isn't supposed to loud, I tried making it louder but it didn't sound good to me. (disonance, not the best "electric guitar" sound). I wasn't sure what you meant by the percussion at 0:15 but i put some compression on that patch (it's an "all hits" type of patch from Albion) anyways, I also compressed the bass and the lows in general. Also reduced the reverb on many things (mainly the fast/blurred notes instruments). Edit: Thanks for the feedback btw, much appreciated.
  11. Thanks for the advice I did changes after them, there might still be too much high frequencies in the synth.
  12. Thanks for the crtique I did changes according to them (and other changes as well): I didn't change the tone of the synth at 1:47 though cause I like how it sounds.
  13. How much RAM does IBZ use? Is bridging it in FL a good solution if working with limited ram? I'm guessing we won't know the price after the intro price since it'd be on the page from the start.
  14. If you haven't found anything yet you could check out iron drum from Spitfire Audio, it only requires a 2 pound (if I recall) donation to UNICEF and you get access to it. http://www.spitfireaudio.com/labsyou have to make a spitfire account to see the selection of instruments. The felt piano is really nice too.
  15. It gets a little muddled during some of the busier parts in terms of sound clearness (with the harder dynamics on the low keys) but other than that the sound is great, the melody really nice and the structure makes sense though 1:15-1:28 feels a bit like filler/out of place to me for some reason. What were your influences when making this I'm curious, it reminds me of lots of things.
  16. If you are super nostalgic like me they are magical, much better mixed and used in FF7 though. Apparently they used the same sounds in FF9 which I still have a hard time believing cause it sounds so different, the jump from 8 to 9 is huge.
  17. What seems to work the best from what I've heard and in my personal experience is writing the part that the song "craves" to go to. It's difficult to say when that is though but when the next part feels right in terms of pace, energy/full/empty or meaning. Example if you go from build up beginning into full into secondary-full into sparse into build again into build there's lots of ways you can do it. Sawano Hiroyuki has super full parts that transition into a sparse part for a while and then builds up again or stops and explodes. Becoming familiar with the structures that appeal to you is one way to do it. The biggest mistake to me when it comes to structure/pace to me is filler parts. If they don't add to the song, change them or remove them.
  18. https://soundcloud.com/williamthurin/unraveling-the-mystery The PS1 used Roland SC-88 Pro if I'm not mistaken.
  19. Thanks a lot, I'm probably going to revisit it in the future, along with Jenova's theme.
  20. The impression I got was how being almost obsessed with getting a certain tone isn't going to be something amazing for you. The tone you are going for might suit the music you make, but it won't make the music just because of the tone.
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