Garpocalypse

hey hey hey now. Over the line. I was just saying that Freedom Planet was a better game than Undertale. Not that Undertale was a worse game than Freedom Planet. It's completely different! Your comparison, sir, makes a mockery of what Galaxy Trail accomplished when they released Freedom Planet. Which is found here: http://galaxytrail.com/freedomplanetsite/ ..and here: http://store.steampowered.com/app/248310/

I've been a huge fan of Metaphist's Sonic remixes since he posted Funky Side Up in the workshop. Love the classic 90's west coast vibe of this one. Solid work from O.A.!

Oh man, what's with all the philisophicles talkin' in this thread?! No I am not making a comparison between between the two games. That would be like making a comparison between between Freedom Planet and a dead stick. Sure the stick was fun for kids a long time ago, but our species has moved on since then. I'm just saying Freedom Planet Is a better game than Undertale In the same way Die Hard is a better movie than Forest Gump. Yea one was an instant academy award winner that was a poignant statement on a simple, well-meaning guy trapped between multiple social conflicts in the most turbulent times in this country..but Die Hard wasn't 2+ hours of extreme boredom. ...and it had shooting and explosions and stuff in it. Die Hard was considerably less boring. In fact, Die Hard was awesome. I rest my case. I win. FLAWLESS ANALOGY.

Now you're getting it! Just remember that in order to have a counter argument you MUST buy Freedom Planet and play through it a few times! Then you might be able to convince me if i'm wrong. Just FYI, there's no arguing with crazy people...! Which is why it's crazy if you don't play this game! And just so everyone knows I am in no way attacking Undertale. I'm just pointing out what a great game Freedom Planet is and at the same time pointing out all the flaws that are inherent in Undertale that make it not nearly the great game Freedom Planet is. Bleck, that's not a virtue!

Just starting to hear that it was terminal brain cancer that went undiagnosed until a few days before his death. Growing up Lemmy was one of my favorite bassists right next to Geddy Lee and Cliff Burton. His love of Rickenbacker's 4001 and 4003 series was what made me want to get one back when i was in highschool. Haven't been this bummed out about a musician passing in awhile but considering the difficulties he had with the last tour he did it's really not that surprising. RIP.

Undertale is not like sonic and rocket knight. I rest my case.

Freedom Planet is on sale for under 10 bucks on steam and if you sign up for beta you can get early access to the DLC that's about to launch! Galaxytrail has stated that they plan to have several updates to the game that will all be free of charge. Updated thread title to reflect awesomeness.

Just to echo what Brandon said, yes there are so many factors that go into guitar tone that it's become a signature of sorts for individual guitarists. which is why it can be so difficult to work with them and get them to understand that their guitar tone that they spent time and money perfecting NEEDS to be cut in a way that agrees with the rest of the mix. Strings, String Tunings, Pick Gauges, Pickups, Mic Placement, Mic Type, Mic MANUFACTURER, and the guitarists picking technique all go into the resulting tone. However, I was talking about post processing choices AFTER all of that was already decided. In many cases these choices have influences ENTIRE sub-genres of rock and metal and given that most metal-heads develop a sickeningly psychotic devotion to their favorite sound to suggest something outside of what they know they like could be grounds for starting a war. :)Generally, i find saturation to work better than directly compressing the resulting tone however as i've stated before i LOOOOOOOOOOOOVE high gain. The higher the gain the better. For a crunchier rhythm guitar i'm guessing that it may be a toss up as i would never use a saturator over a compressor for acoustic guitars. ONE SM57? If you're not using fredman mic'ing techniques you're doing it wrong. https://www.gearslutz.com/board/so-much-gear-so-little-time/432276-anybody-into-clayman-miking.html

I know i'mma saturation nut but with the way i'm thinking about it this could be accomplished in a much less abrasive way with saturation. A plugin like this gives you control over the saturation of upper vs lower freqs http://www.kvraudio.com/product/x_cita_by_elogoxa/details I use it quite often. I'm going to experiment myself with this but for some reason i'm completely averted to using compressors/limiters on high-gain guitars rhythm guitars. I've been around some indie-mixers in the past who swore by it and found that I couldn't listen to the mix for more than a few minutes without extreme ear fatigue even at low volumes.

I know i'm not as experienced as you guys are but my mastering chain is just a Multiband compressor used to give a slight pump to the lower and upper mids, a console saturator, and a booster/limiter (Boost11 it's called). I try to avoid EQ's on the master but if I have one it's usually a slight low shelf at -2db or something slight like that to balance out some of the lows. Blending Reverb and delay is taken care of via sends on the faders in almost all of the stuff i've done lately. I find that my metal processing considerations tend to change every few months but one thing i am pretty happy with is the sound of my rhythm guitars. 99% of metal rhythm guitars sound horrible imo and I don't see the point of a limiter on the rhythms especially if you are talking high-gain. Of course I follow power metal, which maintains a more aurally pleasing rhythm guitar distortion, much closer than metalcore/nu-metal/industrial where compressing guitars an insane amount is common. Since most metal mixing uses the rhythm guitars as the base of the mix in the first place, what exactly would you be accomplishing with a limiter? A much better idea methinks would be to put a multiband on the guitarbus or post amp-sim to give it a slight pump in the upper and lower mids. This makes the rhythm guitar a bit more subtly dynamic.

Even though I'll agree that what they did for the fighting choreography fit the mood of the movie and emotion of the scenes perfectly, being a huge kung fu movie fan I would have liked to see some more interesting light saber combat too. The only beef I have with it is that it takes people years to learn to move correctly when doing a fight scene like that and the prequels had so many inconsistencies between the actors and the people who knew what they were doing. Not to say this movie didn't have it's moments like that, that fight scene between Finn and the Storm Trooper with the single giant shock tonfa near the end sort of details what i'm talking about. Finn went that entire scene barely looking like he knew what he was doing. I mean there were a few moments where he took way too long to prep for the next step and the storm trooper was pretty much looking at him like "hey c'mon hit me already! I don't want to stand here forever!" ...and you know what? With Finn being a former storm trooper fighting with a lightsaber, it worked perfectly!

Thanks! Actually, Chimpazilla was awesome enough to run some close mic samples off for the Field Funeral Tenor drum line that plays 5 minutes in. As soon as I put those stems in the drum line went from almost unusable to just what was needed. Once I saw how the close mics and the stage mics fit together I now can't wait to get all of the mic positions just to see how all of the samples sound when of the different mic positions are blended together.

Time for my first post-Mixpost post! I've waited YEARS to say that!! It's been a trip but OCR has been the primary driving force to improving my production skills. Been a fan of the site and community since 2005 and started actively remixing and assembling my studio in 2010. Feels great to finally be over that bar.

Just got out of the movie and i'm still floored by what I saw. I'll admit I wasn't as excited for episode VII like so many were but seeing it has completely reawakened my love of the star wars universe. I was amazed at the pacing of the movie. Nothing felt too drawn out or overly concise and the segues were all classic star wars without the feeling of suddenly dropping the viewer that episode I-III had a huge problem with imo. I'll gush more tomorrow but it was definitely everything it needed to be.

Hey everyone, In a never ending obsession with trying to achieve the largest wall of sound possible I did this track for the holidays this year. After noticing a rather severe lack of Upper mids and highs on the album version I decided to try to push this version's strings and brass a bit higher. However with it being EWQLSO Gold (and only having stage mics available) I was only able to get the samples brightened so far before becoming abrasive. Definitely going to be saving up for EWQLSO Platinum. It consists of 3 variations on Sonic 3's Icecap Zone Act 1 Sonic Advance's Ice Mountain a secret source, We 3 Kings and I saw 3 Ships. Here's a hint. The secret source occurs in the middle. Enjoy!

Just a quick word of warning for A Christmas Epic. The intro is at least a solid 10db less than the rest of the piece due to a small but significant oversight. If you're on headphones, protect your hearing, don't turn up the volume. Merry Christmas and a big hearty my bad for that one.

Glad these made it in time for christmas. I was given a date after the delay of Dec 30 and they made it a week before! For the record though I was REALLY trying to get you some of the other things on your list but everything I took to checkout wouldn't support international shipping. Hope you enjoy them! The download codes don't exist yet, that's part 3 of the episodic christmas. I have some music i'm licensing and when the process is all completed i'll be sending you some codes for them.

Wait. You're Gimmen Gong who did the score for this game? Awesome work!!!

Package came in the mail today. Got some guitar strings I've never tried before from whoever my secret santa is. Thanks! They will definitely be used! and yes, I tried to use the receipt to figure out who you are but to no avail. :/

I think my track is about to kill me. Seriously. if I go missing before the deadline, my track did it. Since this is the third time i'll be on this album I decided to go with the style I originally wanted to become OCR-famous for. Only, I think I went too far with it. Originally it was going to be just a Sonic related theme of some sort mixed with We Three Kings but I ended up going a smidge further. Some last minute arrangement changes had to be made but it will be in by sunday afternoon.

Just a heads up to my recipient, (who has no idea who they are) and the state of Garpocalypse's Episodic Christmas Surprise. Just received an update on what I had ordered from Amazon. It won't be making it there in time for Christmas but it will be there before new years. The seller ran out of stock and delayed my shipment by a week. I guess my order went through before they were able to put the notification up. :/

gotta love an end to an interview like that.

I was only addressing what would be the simplest transposition issue. Books have been written on covering all aspects of transposing and I didn't want to get too far into it out of fear of de-railing Mindwanderer's thread and the subsequent Darkesword'ing that was sure to follow. I feel that as you discuss the various aspects transposing it would be logical to start with getting the tonic right. Then Major/Minor, then use of the appropriate modes. But really, from there it's not far from also discussing figured bass exercises, key modulations through secondary dominants or secondary subdominants, extended 9th 11th and 13th chords and so on until hundreds of years of the development of western music theory has been covered. Seeing as how the person asking how to transpose is having some issues with understanding how to bring a source to a chosen home key I didn't think it was necessary to cover more than that. Are you saying you can't determine the key of a scale just by listening? That would require having perfect pitch to get it 100% right. Otherwise it's just a matter of taking a known pitch and working out the various intervals (knowing what a major 2nd, minor 3rd, Perfect 4 and 5th and so on) sound like then arriving at the resulting pitch that way. The various modes, foreign scales, pentatonics, blues scales and what have you all have fairly distinct sounds for the most part.

I snickered at the snickers.

Truthing. Truthing hard. ...and getting carried away about a fictitious line that was drawn for no reason. Maybe.