evory
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Posts posted by evory
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Thanks for the comments!
Is the robotic problem only in one part of the piece or is it the strings/clarinet in general. I'm trying desperately to avoid tweaking the velocities tediously slowly painfully and tediously D:
The samples are actually from EWQL Gold but I'm probably not using them right because I still know next to nothing about mixing/mastering (whoops). I'll go toggle the settings to lighten the reverb or something haha.
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<--- Remix!Also -->
If you for some reason want youtube's stellar sound
Source -->
This remix is entitled Shadow Puppetry for the Blind, which was ripped off from an old short story I wrote involving light, darkness, a magical grand piano, and as many biblical allusions that Google could find me. Nevertheless, I insist this remix is like shadow puppetry for the blind, because (1) it sorely lacks any sense of direction and clarity, and (2) it's utterly pointless.
The source should be pretty clear throughout, it starts with a slightly mutated version if the bassline, moves into a slightly more mutated version of the source, and finally into a disfigured, degenerate and defenestrated hack of an excuse for the source. Oh and Those Who Fight is thrown in somewhere because it fit the rhythm almost perfectly, and saved me the trouble of thinking of my own buildup.
Oh and I feel pleased to no end with myself for sneaking in a quote from a chinese orchestral piece (飞天, translated as Flying Asparas, and if you read that as asparagus you're not alone, and if you have no idea what an asparas is, you're not alone either). Which is pretty much the only part of the remix which made me feel clever. But that doesn't really matter very much, as does anything else I've said. Assuming anyone's even bothered to read past the words 'crunchy potato feather' up there. You scrolled up didn't you
But yeah, ramble's done, comments please!
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(Hope I'm understanding you right)
G Ab F G Ab Eb
D G Ab Eb G Ab D
Ab Eb G Ab F G Ab G
G Ab F G Ab Eb D C Bb Ab
(The second repetition is slightly different jsyk)
G Ab F G Ab Eb
D G Ab C G Ab F
Ab Eb G Ab D G Ab F
G Ab G D Eb Bb G D
(And then it goes down roughly like this)
G D F Bb D G Bb F G D F Bb D G Bb F
(Hope I'm right haha)
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Okay, I've taken quite a bit of music theory, but I've forgotten all the terminology, so forgive my explanations... The falling notes at the height of the first minor section sounds like it's playing the wrong key. After that your transition into the main melody in minor sounds very improvised, but that goes with the style I think you're going for. Personally, I don't like every single note of the melody played in chords there. I didn't like the transition back into the major melody, but I'm not quite sure why. Other than that, this sounds wonderful even while played by machine! Great composition.
The falling notes are actually a diminished seventh chord on B, but I do agree that the key at that point is rather ambiguous so I'm not sure if the chord makes any harmonic sense there. But I personally like it so I shall keep it haha.
[egoistic self defence]
As for the transition, it's meant to be an echo of an actual Pokemon battle scene in the game. The falling notes resolve in the little jingle played upon defeating a trainer before the victory theme plays. I just threw that in because I noticed the victory theme and SS Anne theme had a couple of similarities so I tried to juxtapose the two by converting the victory theme into the SS Anne theme after the modulation.
[/self defence]
That being said, the modulation was one of the big problems I faced when writing this, and until now I can't think of a more satisfactory one. Damn
[/ego]
As for the chords, I'll probably end up playing the notes in octaves instead then, too many notes do make it sound horribly convoluted.
D: you seem to be pointing out all the parts I myself thought weren't as good. So much for hoping it was my own strange opinion haha. Yeah that last modulation doesn't sit right with me as well (and it once again uses the diminished seventh chord haha) BUT I HAVE NO IDEA WHY EITHER D:
Anyway, thanks to all who commented! I'll guiltily say that I haven't had much time to practice this so it's probably going to take a rather long time to churn out. Unless someone's willing to collab and help me record this
(haha please pm or something if you are!) -
Thanks for the replies people =)
The chromatic section was meant to be a combination of the Pokemon healing music and the low health music (which I can bullshit to be a foreshadowing of the futility in trying to escape the ensuing storm, but that's not really the point. God my posting style is predictable.)
ANYWAY. (mm you could totally see that coming as well haha) Listening to it again, it doesn't seem to work very well, so I definitely want to change that before I finalise the mix, but for the time being, I'm leaving it till I can think of a better modulation.
ANYWAY. I've extended the remix to what is supposed to be the full length of the piece, so yep, hoping for more comments on the rest of the piece as well if possible. My thoughts were really similar to djsoto's, so it's basically an extension of the high intensity of the storm (I'm hoping the structure of that part isn't too repetitive), before the main theme is repeated once again.
ANYWAY. Here's the remix!
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Hey there people,
I know Pokemon music isn't really the most well loved here (sadly), and yeah, the SS Anne music just screams out Canon (although not in D, but that's not the point here).
ANYWAY. Here's a remix of the SS Anne (which is as of yet untitled, but again, that doesn't really matter very much) for solo piano, which is at present just MIDI fed through my keyboard so it's going to sound really mechanical because well, it is.
ANYWAY. Comments on the arrangement please =D It's not (supposed to be) complete as of yet so this is probably just the first half or more but just treat it as a complete piece if you so wish, yeah.
ANYWAY. I shall here thank the community for feedback in advance, so if I don't get replies, you shall all feel guilty and terrible inside. But I know that won't happen because you are all awesome people, so. =P
Remix: http://www.tindeck.com/listen/fqeb
Version 2! Don't click the one above, click the one below instead =)
http://www.tindeck.com/listen/bqcr
Source: http://www.youtube.com/watch?v=9MeE__KUVoo
Ooh I like the thread number (Y)
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Well actually, there i put in a B7 chord, because it is actually a B(7) i believe. i kept it in its original B change, but idk if its actually a dominant chord originally (if it isnt, its my own perferred personal change for the solo section!) Either way, i think it fits there, as A is the b7 that makes the B7 chord (B D# F# A). What made it feel like it didnt fit?
To give credit where credit's due, the kind of effect you've created with this initially seems entirely out, but upon repeated listening seems to grow on you, so it's a bit hard for me to go back and think why it seemed off at first listen.
I don't claim to be a theory expert, so the following is more of a guess on why the phrase appears dissonant at first than anything. The progression is based more on the key of Eb than anything, and so the B7 chord seems to come as quite a bit of a surprise. The tritone D#-A within the chord makes the listener caught in two minds, firstly to want to resolve the tritone, although the resultant E major chord would make things sound even stranger, and secondly to return to the minor key it came from. Instead the B7 chord resolves into a Bb Dorian scale, which makes it unpleasingat first, even though the transition back into the B major chord after that seems more natural after the listener is first accustomed to the idea you're trying to create.
But anyway, I wouldn't see it as a problem now, because I'm sure the judges or whoever would give this a few listens and probably get the chord progressions you're trying to get at.
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@evory at what time in the song is the F# D# D# A part?
At 1:15, the melody goes F# G# F# D# F# D# F# G# F# A etcetc, with the bolded notes occuring on the 1st, 2nd, 3rd and 4th beats, so the conflict between D# and A is especially striking, and doesn't seem to fit IMO.
Haha and do take note of whatever slygen said about the key changes, because it's something I've wanted to mention, except that I'm bad at identifying keys in different modes unless I transcribe it first, yeah.
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The first minute or so seems pretty straightforward, since it's pretty much a cover of the original, although I thought you could have thrown in some counter-melodies or flourishes here and there to spice it up a little, because currently it's just a simple arrangement of the source melody, other than a small countermelody sneaking in at 0:34 or so. I like how the timbre of the instruments which take over the melody are markedly different, so it doesn't end up all fuzzy, and when it's a countermelody entering at 0:34, the timbre blends into the background, so if you do add in stuff to the first minute, make sure you keep with this and that the background notes don't rise above the melody. To me though, the pad following the melody actually seems fine, so it's up to each listener's opinion I guess.
When the original material starts coming in though, I agree it's a little dissonant. I don't like the style of the first guitar melody, which seems to me more like something a guitarist would improvise as a solo, mostly because of the repetitions of G# --> F#, B --> Bb --> B, etc. The slight dissonance still works here for me, but when it goes to D# F# G# F# A, the tritone between D# and A is really unsettling, given that D# appears directly on the 2nd and 3rd beat, while A appears on the 4th, giving the bar an implied melody of F# D# D# A, leading the A to sound like a random note chucked in there. I see what you're trying to get at with a higher melody line and a lower one playing exchange, but firstly the two melodies don't complement each other at all, and secondly I think it would be better if you assign the lower part to another instrument to make the distinction clearer. The ascending bit after this is fine though, so I just suggest you replace the phrase with the A with something less dissonant.
Despite what I said about the solo-guitar sounding style, I think it would fit better with the rest of the piece if there were pads in the background to help in the modulation to make it less dissonant, rather than a solo instrument which seemingly goes off-tangent to some, so if you can work the background well, the dissonance should fit better, otherwise, consider sticking to a simpler melody without dissonances if they aren't workable.
I really like the piano bassline, and it gives it a sort of tension a normal bassline wouldn't give, and sounds very FF-like to me. I like how the first run isn't all consecutive semiquavers, and I think you can play with the idea of extending the duration of one or two notes in the bassline to make it more rhythmic and less mechanical. When the guitar comes in after that though, it's too abrupt for my liking, and I'd think slowly adding less pronounced instruments to the lone piano would make the buildup better, although if this is the effect you're going for, then by all means leave it.
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That's what I like to hear; thank you.
I plan to go over everything you said with a fine-toothed comb.
The transition at 2:19 has a stinger on purpose, however I do agree that it would flow better if I didn't pause for so long. I don't recall using the key of D right after Db; that's a big red flag that I'll have to look into. Sometimes, however, I think a half-step up sounds good in the interests of tension. Perhaps I'll instead move to Phrygian built on the sixth degree of the preceding key.
I also plan to add rain during the intro, and I also think church bells are a great idea. I'm eager to hear what comes of the next version.
I noticed what you meant regarding the anticlimax of the ending, and it did bother me. That was something I kinda liked in a masochistic sort of way; I thought that, along with the slowing tempo and frematta accented the feeling of sadness. However, I do love huge, epic V - i or vii - i cadences to finish a good song up as well. So I'm curious to hear from a few different people as to whether the soft ending is a good or bad thing. If everyone generally wants a big finish, I'm all for it. Perhaps I could also add more material between the huge Burned Tower section and the soft section after it, so that it has more time to die down.
Thoughts?
Sorry if I what I said was unclear -- I wasn't referring to the usage of the keys of Db and D (if I'm not wrong, although I suspect I may be, isn't the preceding key already Phrygian built on the 6th, i.e. C?), but rather, the second note of the scale, i.e. Db, stands out because it's unusual in both major and minor keys. So when you begin the next section with a D, in seems more like a poorly built medley due to remixer incompetence (which I'm pretty sure you're more than able of overcoming) than a properly constructed transition. I think it's not so much the length of the pause that contributes to this feeling of detachment, than the abruptness in change of key, so I think throwing in some proper modulation would make it transit better. As for the issue of tension, I don't think the effect plays out well in this case, and I was thinking maybe playing with bass frequencies or even multiple tempo changes would contribute to that effect more than this perceived dissonance.
Yep, I think rain would be a pretty nice touch, and I'm eager to hear it as well haha.
The slowing tempo was done up pretty nicely, and I don't think you should launch back into a big epic ending, because I like the effect you've created with the phasing out of instruments and tempo, although I think it could be extended a little bit more, and resolved in a more complete way. Ultimately though, it's still up to how you want the ending of the piece to feel, and if you like the masochism of the ending, that's all good haha. Adding a bit more material would be good, and if you do want to stick with the unsatisfying ending, it would make things all the more anticlimatic, so if that's the effect you're going for, it should work better that way.
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The soundscape in the first part does sound a little empty, and just a suggestion, I think church bells tolling in the distance, coupled with the gusts of wind, would be a pretty nice touch. I like how the music comes in after the intro, but I'm finding the piano sound in the first part way too empty -- sounds like high velocity on each note yet I'm not feeling it resonating with the rest of the piece. The transition at 2:19 is way too abrupt, and makes it seem like a poorly constructed medley, especially with the key change given the starting D conflicting with the previous Dbs, which seems a bit jarring to me. Again I suggest some bell-tolling or gong-smashing, because that's the impression this piece is giving me (although I have no idea if it's something you think makes sense). The little silences are pretty striking though, and I like that touch. The reintroduction of the drums in the end is pretty nice, and I think the synth fits in pretty nicely there. The build-up to the ending is really nice, but I think the actual finish was a tad anti-climatic, unless of course you plan to extend the piece after this.
Mm, just my opinion yep.
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Yeah I'm using the free EWQL giveaway from some time back, and I can't seem to find a way to change the tremolo -- I think the sample they use is recorded with tremolo already. But yeah thanks, if all fails I'll just try my best with tweaking soundfonts and whatnot.
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Haha thanks so much for the comments, especially for the tips on mixing issues, since I'm pretty new to the mixing part of arrangement. As for the tremolo issue, it may be a newb question here, but how do I route the tremolo to the mod wheel instead of using the one from the EWQL samples?
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Bump
You can't all hate AoE that much -
Hey,
This is basically the Age of Empires III Theme, which is orchestral style music, remixed into... well, orchestral style music. I wanted to try something more challenging, instead of changing it into some far-removed genre and making things a whole lot easier, I tried re-arranging it for orchestra as well. Oh who am I kidding -- I like the music, I like doing orchestral stuff, therefore this popped out.
Well, anyway, the strings audio didn't really export very well (I've no idea why actually; probably due to a lousy soundcard or a lousy computer), but it's a WIP, so I'll fix that later I guess.
About the remix, it's supposed to start off as a prelude to war, before the fighting starts, and then at the end people die and it becomes sad and all. I haven't thought of what will happen after that but yeah, that's basically it.
Anyway, to come to the end of my rant, comments would be greatly appreciated
Remix: http://www.mediafire.com/download.php?2mywg2zokdn
http://www.megaupload.com/?d=VFSTZ0LL
Source:
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@The Damned/halc
Thanks for the comments. Hehe to be honest I'm still relatively new to DAWs, so this mix was basically just sequenced and exported with free soundfonts, not really much mixing or mastering involved.
With regard to the piano, I tried compensating for a perceived emptiness in the sound by flooding it with 3 chord-heavy piano parts for the supposed climax, but I guess it doesn't work that way. =)
Guess I've got to go read up on mixing first then =)
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This review may be a little biased, because this isn't really my type of music, but I hope that the advice appears constructive still
The beginning was a little too echoe-y in my opinion, the guitars playing the repeated Fs and Ebs in the background are way too strong for me (and I think the sound may be a little off the beat as well), and the supposed melody line fades a little too far into the background as a result. The frantic drumming definitely quite a bit of work in terms of velocities (but I think you've settled that problem already, so that's fine). I also found the fade out at the ending too anticlimatic as well.
It's a pretty good arrangement though, so good job.
Irrelevant, but I keep thinking the guitars are saying "mun mun mun", which can get a little distracting.
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Hey, that's a really good mix you got there.
The background atmosphere is done really well, maybe a little too well, because it made some parts of the melody sounds empty, especially the piano layer around 2:35. I think the repeated drum strikes around 3:31 could do with a bit of variation in velocity, possibly building up towards the richer melody line which follows it immediately after. I'm hoping that's not the proper end of the mix, because it's far too abrupt in my opinion.
Honestly speaking, I'm not too familiar with Super Metroid music, and to me the transition didn't seem that bad (I assume you're talking about 1:42?), although I guess you could make it flow better by introducing a similar element previously present in the early section again, right after the gong, maybe a bit of bass, or following up with a similar rhythm in one of the instruments, if that makes any sense to you.
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@Emunator
Haha thanks, I'll try sending it to him and see if he thinks it's decent enough.
Yeah I'll probably record the piano part myself in that case, or try playing around with the velocities. It was kinda a 2 day project so I hadn't gotten around to learning it yet.
@halc/darkmaster987
Hey really sorry about that. I used the site recommended in the first post of the WIP hosting thread, but apparently they decided to delete my file
I've uploaded it to a couple of other sites, hopefully those work. -
Hey,
I'm new here, and this is my first remix, using the Petalburg City music from Pokemon RSE. I'm not wholly satisfied with it, but i'd appreciate it if you guys could give some comments, the harsher the better. =)
I feel like writing a bit about the remix here, but feel free to skip it (just listen and comment if possible. It's a short mix; only about 2 and a half minutes)
This remix attempts to convert the tango-esque source material into a classical-like style, scored for piano, violin, cello, and vibraphone. The piece starts off with some original work in the style of the source, before the source itself is introduced. The piece rapidly ascends into a climax, which is based pretty strongly on two of Tchaikovsky's works, his First Piano Concerto (albeit in 4/4 time), and the theme of the 1812 Overture, hence the title.The source material is recapsulated before a prolonged cooling down period, as it ends quoting a phrase reminiscent of another tune from Pokemon (which I can't seem to place at the moment, any help identifying it would be appreciated).
Thanks in advance. =)
(YouTube)Mediafire (V2) (latest)
FF13 Blinded by Light (Battle Theme) Remix!
in Post Your Game ReMixes!
Posted
I definitely agree with your comments about the hard releases and attack, except that my computer isn't powerful enough to load all the different articulations, and I even had to leave out the trombone otherwise my Sonar would crash =X </excuses> I'll try to find a way around that soon hopefully, thanks for mentioning it!
Any comments about the ending though, as well as how this compares to OCR standards? If it's promising enough I just may get myself to toil through toggling the velocities haha