Garpocalypse

Brandon Strader, Rexy and Willrock did something similar for Dod's Indie Month if you want to check out how their mix sounded. http://dwellingofduels.net/dodarchive/12-08-Indie/01-Brandon%20Strader,%20Rexy,%20some1namedjeff,%20Willrock-BreathOfDeath7-Peace-DoD.mp3 There are a lot of ways to pull this off but personally i really enjoy a response that is wider and further in the background than the call or vice versa. Double tracking is an option but if you want to maintain better clarity of the notes send the part to an aux with stereo delay and low pass the entire part slightly and reduce the volume by 5db or so from the lead part. That way you have a call that is straight up the middle and a wide answer that gives a greater sense of depth to the overall mix.

Getting a new audio pc within the next couple of weeks and I currently budgeted an upgrade for my EWQLSO Gold to Platinum. However, for a little more I could subscribe to the CC for a full year which is appealing (i've been dying to get my hands on Gypsy, Silk, Symphonic Choirs and Goliath for years). I really just want to upgrade EWQLSO in order to get the close mic samples and I am aware that Platinum EWQLSO is not included in the base subscription plan but would anyone be able to tell me if the Hollywood Gold libraries include close mic configurations? I'm only finding the differences in included articulations between the different versions and the few people that i'm finding talking about close mic's seem to have bought platinum as far as i can tell. Edit: Finally found it. If the information isn't too dated it looks like close mics are Diamond only for Hollywood.

I like this game a lot and just recently got back to playing it but i'm not thrilled with some of the choices for the music in a lot of the areas of the game. Under no circumstances should an OST mimic, no matter how closely, any overplayed pop song from a recent era. In the case of FFXIV, It completely kills the vibe that the game is trying to set up. For this boss fight it would have been much more appropriate to have rearranged one of the tracks from 1.0 that got cut when 2.0 came out. I mean, Powerman 5000 over Epic Symphonic Viking Folk Death Power Metal? That could have been so much more appropriate. And let's not forget that this POS track that somehow was actually conceived, passed Yoshida's approval and came out with the new expansion. If there is any merit to this track it will need to be explained to me. :/

I went full fight stick in 2007 and i'll never go back. Much easier to be consistently accurate with the inputs and vastly increases thumb longevity when you use the dead weight of your arm and minimal wrist movements to control the stick. It takes some practice to get used to and its a much higher initial investment but it's well worth it. Trying to find out now if one of the sticks Hori made for the PS4 also works on the PC. Even if it requires a workaround like controller mk i'm ok with it since everything should be digital anyways. At worst though I guess i can suck it up and go with a madcatz stick... if i have to... It'll be a few more weeks until I get the game. In the process of buying a new audio pc (That also plays games!). once it gets built i'll have a better idea of when i can join in but i will definitely be keeping my eye on the game. Edit: Found the perfect PC/PS4 stick! Releases March 1 http://stores.horiusa.com/real-arcade-pro-4-kai-for-playstation-4/

Is the OCR community pretty big on this game? I generally prefer fighting games that utilize all 3 dimensions but if there's a chance for an OCR SFV gathering/league/whatever I would consider buying the game, and learning it, for that. All in favor of SFV supporting cross platform play, and since i plan on buying a ps4 later in the year is it possible to buy a stick that would work on both the PS4 and PC?

I'm curious as to the mic setup you have. Are you able to provide a picture? The piano mics sound too far away and are capturing a lot of the room reflections which are probably a significant part of your problems outside of the playing itself. Watch a few YT videos on mic'ing pianos and move the mics closer if you can. If it's a grand as you stated above make sure it's open and stick one of your mics as close to the strings as you can. Are you using any external reverb plugins? If you are eventually going for a Soule-esque reverb layering (which would be cheaper than mic'ing the entire hall) you need to start with the closest mic setup possible then use your reverb plugins to simulate mid and far mics and mix all of them together. For now, try taking them off, if you are using them, and see if you can just use some light EQ'ing to get the sound you want from the mic's you have. Just to echo Nebeblebix and the others there's a lot here that needs to be addressed and even flawless mixing won't fix it all.

This has been getting posted around a lot but I haven't seen it here yet. If you are looking to increase the performance of your DAW here is an overview of the basics that show the different kinds of demands a DAW pc has over something such as a pc for editing video. What's great is the amount of visual aides the guy has and how he explains everything in terms everyone can understand. Definitely worth the watch. ...and just in case you are about to throw money at solving whatever problems you have, this guy explains how that may not be good enough to fix the problems you are having.

Just renewed my subscription to this game last night and today it was posted in the news that SE is having a music contest for Heavensward. People have until March 23 to complete their own rearrangement of "Night in the Brume" and record a video of themselves playing it. Unfortunately there are no cash prizes but there are a few tangible ones that will go to the grand prize winner and 3 Runners ups. Prizes Grand prize winner One (1) grand prize winner will be awarded the following prizes: One (1) decorative plaque signed by FINAL FANTASY XIV Sound Director Masayoshi Soken. One (1) in-game item package that includes one (1) Noble Barding chocobo barding, one (1) Ahriman Choker, one (1) Mandragora Choker, and one (1) Bluebird Earring. One (1) video message from FINAL FANTASY XIV Sound Director Masayoshi Soken to the winner Runners-up Up to three (3) runners-up will each be awarded the following prizes: One (1) “Heavensward: FINAL FANTASY XIV Original Soundtrack” poster signed by Sound Director Masayoshi Soken One (1) in-game item package that includes one (1) Noble Barding chocobo barding, one (1) Ahriman Choker, one (1) Mandragora Choker, and one (1) Bluebird Earring. 15 other will be rewarded in game items. Honorable mentions Up to fifteen (15) qualifying entrants selected for honorable mention will each be awarded the following: One (1) in-game item package which includes one (1) Ahriman Choker, one (1) Mandragora Choker, and one (1) Bluebird Earring. One potential snag is that the max length of the video can only be 2 minutes and 30 seconds so not much of a chance for a well developed ReMix for this compo but it's an awesome source and probably my favorite tune of the expansion. Yet another snag is that you must have an SE account to submit your arrangement and if you don't have an active game subscription for that account then that pretty much limits you to hoping for the grand prize. Official thread can be found here: http://forum.square-enix.com/ffxiv/threads/283332

...hey. I had pre-mag, during-mag and now post-mag depression for not being there and having to wait a year for the next one... this didn't help it Tekken 7 is probably going to be out this year on PS4. I say we all get a ps4 and wail on each other when it does.

Well, now that you mentioned F2P models that's actually a good point. DOA and Tekken both have F2P games that are well designed fighting games that limit you in your available characters or amount of matches you can play for free so spending 60+ bucks for similar features may not add up to most people. Tekken 3 definitely had some awesome modes for sure. Volleyball was one of my favorites to play on a sat night with some friends over. Most of Namco's motivation to include a large amount of extras in Tekken was probably because Tekken's only actual competitor was Virtua Fighter which, at least until VF4, seemed to make it a point that you were buying just a fighting game with no extra bells or whistles. Or even an ending for your character. Just a sweet looking still image.

IMO this is the one genre that should be exempt from this line of thinking. As long as the game itself is balanced and there aren't any game breaking oversights (like Kung Lao's ridiculous aerial combos in MK 2011 that were patched eventually) then a lack of "content" as in a few missing modes that won't see as much play as 2-player and online mode should be ok. The game that you're paying for is in the individual matches, not extras like story mode which no fighting game has done well anyway. However, one thing I haven't been able to find out is if the game shipped with a halfway competent practice mode as that would be the real deal breaker, especially if the rumors of the game going out early so people could practice at home for the coming tournaments were true. DOA5 had a phenomenal training mode that provided you with frame data for each individual move and allowed you to program CPU actions and reactions quickly so you could test the application of your characters movesets against just about anything you could think of. Soul Calibur V had a great one too though it's been so long for me since I played it i don't remember if it gave frame data or not. Regardless, a practice mode that lets you program commands for your AI training partner or set simple reactions such as block after hit(which i believe SF4 had as default for sparring practice) should be the minimum a game ships with.

Actually, MAG is that one weekend a year where music and game hybrid-nerds get crammed into a small space and any social awkwardness encountered is immediately forgiven. i'll admit tho AMAG sounds tempting....sorta.

so flippin' bummed i couldn't go this year. Hope everyone is having an awesome time!

Just sent you demos and contact info Clay.

Not to throw anyone under the bus but I honestly don't see the benefit of keeping feedback at the level of the remixer's skill level. Outside of it being impractical to maintain such a thing even without broad generalizations, part of the benefit of receiving feedback on any forum is possibly coming across information that you had no idea existed, researching the new method or technique, and then making it a part of your unique process. If this was learning an individual instrument it would be much easier to see the point of limiting the amount of information given but speaking just about the writing and production aspects of remixing, the more you are aware of the better. You never know when that one piece of information is going to open everything up for someone so I don't see a point in restricting ANYTHING "based on skill level." However I feel that there should be a logical order to how feedback is given and it should reflect the overall production process based on importance. The broader parts of mixing and arranging (what gets you 80% or more of the way there) should be stressed the most if someone obviously isn't getting the basics. So the flow of information for mixing feedback could look something like this. Instrument volumes->Eq/Compression->Surgical EQ'ing->Delay/Reverb->Automation->Mastering suggestions. 1. Instrument Volumes: Is the given remixer listening to the correct part of the instrument during initial balancing? Do their ears seemed sufficiently trained to hear slight changes in volume? If not then they should know that they need to work on that before spending hours being distracted by processing that occurs further down the chain. 2. EQ/Compression: Are the dynamics of each instrument working for or against what they are going for. (somewhat open to interpretation) Is the remixer cutting freqs they need to be keeping or boosting those they shouldn't? Is the mix sonically organized correctly? (Multiband comp sweeps of commercial tracks can expose a lot) 3. Surgical Eq'ing. Are two or more instruments clashing with each other? Is there something preventing them from being spread across more octaves? (ties into arranging) 4. Delay/Reverb. Is the soundscape set up well enough so that there is an obvious foreground and background? 5. Automation: never stressed enough on these forums IMO and it's the most significant part of making a dynamic mix. 6. Mastering: kept to a minimum because that's what it should be if the mix is solid in the first place. The point of this is to keep someone from hammering away on an incorrect part of the chain and wondering why nothing is working. i.e. over eq'ing parts of a mix that was poorly setup in instrument volumes. Just some thoughts on the subject that i've had when commenting on the work of others. For simplicity I kept it strictly production related but a flow of organized information like this really should pertain to all of the other aspects of this art. Really though i think the mods (and timaeus) are doing a fine job as is. There is a lot that goes into remixing and it's impossible to cover it all in one or two paragraphs. Given the limited contact between us all it's really up to the person posting their work to want to continue to figure things out based on the feedback given and not just post something they did for gratification.

International copyright law is very tricky. Here is a design of a home by a construction company in Brazil to illustrate just how much.

2015? Dreamcast game?? Start spilling.

I don't use FL but just to offer a possible solution to the problems YP is having is there a quick and easy way to bounce the audio from each VST? I've been using a 4gb machine and also get the stutters and skips when i use a large sample library. The way I get around this is by sticking to running two instances of PLAY at a time then using Sonar's freeze synth function to quickly (sorta) bounce it to a wav that gets deleted when I need to reload the synth to work on it. The trade off is that even though it takes an ungodly amount of time to go back and fix minor details in the midi, I am able to load a ton of synths on a relatively low ram machine.

Not sure if there is a one remix per game limitation for this album but I am working on a remix for it and i'd like to throw my stakes into the SFV claim.

Nah the Sigma Gauntlet was the highlight of the summer for me. Life hit hard this year for me and i'm expecting some major expenses in the near future. I'm also between jobs right now and hoping to get all the interviews I can over the course of the month so dealing with the MAGflu risk (which took me out of commission for a few weeks after mag 2014) on top of my dwindling finances makes it tough to justify going this year. It's always a great start to the year though and i'm definitely going to be bummed out when MAG week hits.

Depends on where you want to go next. Were you planning on being a composition major at a university? If so maintaining a high GPA is a must for both financial and academic reasons. Keeping a high GPA will give you a lot more opportunities than an average one will. Music majors tend to have higher than average grades and if you don't fall into that category it will reflect poorly on you and probably affect you socially as well. As far as freelancing goes, probably not...? People who are looking to employ your skills are more likely to judge you by your portfolio/past work experience/social network since it requires a number of hoops to obtain your transcript in the first place.

You're missing out on some of the most horrid acting and dialogue you'll ever hear in a game. how this didn't make the list on Audio Atrocities is beyond me. "Kreel's army can appear out of no where, set up installations then vanish. No one knows how or why." best not to think too hard about that one. the game itself is very much ripped from twisted metal. All of the weapons behave in exactly the same way. It's pretty much twisted metal with wings.

The first wave of PSX games had some great titles but one that completely died in obscurity was this one, Which no one seems to talk about anymore or even acknowledge that it once existed. Also ACO, if you are going to praise all of singletrac's early games for the psx and not mention the first Warhawk. ...for shame.

Greendog. I never understood why the game used to get panned so much back in the day it's actually really enjoyable with a great soundtrack. Sooner or later i'm gonna have to remix a track from it.

Sorry guys, even though I always look forward to MAG every year (and have several months of post MAG nocturnal illusions) it's looking like I won't be able to swing the trip this year, which sucks because there have been some awesome guests being announced lately. Still, hope the OCR panel goes well and everyone has a great time!