Peach

If I may humbly interject, I'm under the impression that you are both right. The recording lacks realism and humanised play, but that could be what works. Since the composition should sound like it is appropriate for a Zelda game (perhaps the GameCube generation), I am concerned about having an overly rich (and receding) sound that a true orchestra tends to project. Any suggestions for balance?

Sounds like a plan. Arigatou gozaimasu!

The next step I plan to do is to transfer the entire piece into a sequencer (Cakewalk, but eventually Cubase for other projects after I become more proficient with the interface) to quantise and tweak notes both automatically and manually. The Roland Fantom X series has an on-board sequencer, too, which I have used. It's called Microscope, and it allows users to perform edits like that which you mentioned. However, like you said, control is limited, or at least inefficient. Thanks again! ^.^

Thanks for the compliment about the composition, Neblix. The percussion has reverb—48/127—but certainly not enough, I agree. Admittedly, the percussion is part of the Roland Fantom X6's base orch kit. I may change this later to percussion found on the superior card. I can add more reverb to everything, as well (and change the environmental delay settings). Thanks for your input! By the way, many established video games and anime use samples made by Roland. Listen to this piece from Pichi Pichi Pitch, an anime known for its music. It's not the best composition example, but the samples seem pretty decent and distinctly Roland. http://www.designerpeach.com/Isekai_he_no_Tobira.mp3 Oh, and thanks awfully, Gario! With help, I'll have this piece in top form.

This is some great trance/electronica. I really love the dynamics in both pieces. The percussion in Twenty Mile Road transforms from traditional trance to a sort of chill out or Latin electronica, providing a pleasant surprise. What really intrigued me about The Photoelectric Effect is the accent of the lead voice sample played throughout the song, which gives the piece a feeling that it came from a third world country. Excellent job.

Like your other piece, this has good samples used in a good arrangement. However, I'm a little confused as to who wrote the original song. Is this your original song and you represent the virtual band Static Reduction, or is this a duplication of a song in the 1986 movie, Blue Moon?

Nice work, Nario. (Oh, and hi! Peach from VGMix here.) I'd like to comment on each track, so bear with me. HAX is a good chiptune that somehow reminds me of classic Rockman (Mega Man). It has a good progressive feeling. Chilled Cherry Pop Soda offers a great trance piano that corresponds to the synthesized instruments well. The instrument is very similar to the piano sample I have for my Yamaha's Chill Out set. In Retro Destroyer, the bass performs well at assuming two roles: the foundation on which the melody rests and a countermelody. I'm reminded a little of the main theme of Madou Monogatari on the Sega Genesis—the origin of Puyo Puyo. He Just Wanted a Friend emanates a melancholy feeling, which is most likely the emotion you wanted to portray, given the title. It's a simple but effective tune. If visiting an arcade during the 1980s, Conspiracy of the Panned Chiptune is what you might hear during a story sequence prior to a level in a dark game. The song may be a little repetitive, but it does a good job at highlighting an aura of distress. I may have heard Hallucinogenic Ethics before, since you posted it alone on the VGMix original music board. This song plays a risky chord progression from 1:12 to 1:17 and pulls it off beautifully. Frozen Contact really does give off an aura of a chilly landscape or a cold, emotionless character. The "flavour" of the song is refreshing, and not just because of the temperature it suggests! Improv is a concept I've embraced for years, and I'm Coming Home inspires me to upload some of the improv sessions I've managed to record, despite the errors I've made. You do a better job at the mechanics than me! Kel Tick Go Tee was quite unexpected. While perhaps inspired by celtic music and Western style (as your vocal ad-libbing implies), the composition seems to be of a more unique genre. That was fun. The type of inquisitiveness that Curiosity may depict is an unyeilding attempt to uncover the truth about a crime. Good job. Happy Castles for Sad People actually sounds more whimsically ambitious than cheerful, with the escalating tempo of the ragtime-like style. Nonetheless, it's a nice piece. I had just finished trying out a special tournament track (the Delfino Pier battle course, edited to be a traditional track) for Mario Kart Wii before discovering Wandering in Circles, All Is Uncertain. I was literally driving in circles in the northern part of the course, because the arrow signs are misleading. Upon seeing the song's title, I thought, "How appropriate." While I digress, the song itself certainly has an essence of ambiguity. Your Credits melody adequately reflects the other songs in your album. My only complaint is that it's too short of a song! Overall, you wrote an excellent album. I'd like to hear more from you, and don't be afraid to try out new styles! Oh, and Happy New Year!

The soundtrack should be for the Zelda role-playing sim in Second Life. It won't be a game, but rather an environment. Some game elements may be included later, though.

Is that so? You sure fooled me. I suppose distortion technique is very effective. It makes the organs sound like overdriven guitars. Mind you, the instruments don't match the original song, but they do sound like the instruments you attempted to mimic. Great work.

That is very flattering. That was one of my primary goals when I was accepted as the composer for the Zelda SL project. I recall saying, "I hope to do Koji Kondo's style justice," when reflecting on the future soundtrack. So reading such a compliment, I feel as though I have accomplished that objective. Thank you. I hope you will hear the finished product once it is out in January (15 minutes away for me)! ^.^

Thanks! I think the "synth" feel you may hear from the orchestra is that the chord work is unrefined. I can switch to a different orchestra sound, but I will limit my selection to Roland's special orchestra pack, since I am composing on a Roland Fantom X6. The song will be complete in early January. Happy New Year to you and all readers. ^.^

Nice reproduction. After hearing the original song (with which I was not familiar previously), it seems you have created a bit of a remix, which is good. The overdriven guitar samples are quite nice. Sadly, I'm not the best judge when it comes this genre.

Inconstant Madness is an interesting piece. Nice use of diminished chords. My suggestion is to make the melody/lead a little more clear, unless you're going strictly for ambiance. Organ Grinder demonstrates a good use of dissonance. The composition becomes particularly powerful around 1:00 into the song, at which point it begins to have a gothic blues feel that is akin to Castlevania music. Perhaps the song should provide an essence of classic organ grinding at some point. Tears of a River does have a rather epic feel to it. It's well-done, and there's not much advice I can offer for it. Keep up the good work!

Nice work for the genre. Syncopation gives this composition a strong flair. The vocals (vox) are particularly interesting.

That's a rather cool composition. I noticed you used samples that matched that which you would hear on Majora's Mask as opposed to, say, Twilight Princess. The change in feel from melancoly to slightly demented in the latter half seemed to reflect the mood you get in Majora's Mask as time progresses. The only significant criticism I have to offer is that the mood of the song does not always match the scenes. Other than that, great job.

Greetings, fellow composers and remix fans! While I am a new composer/remixer to these forums, some of you may know my MIDI sequencing work from years ago. Such MIDIs encompassed both duplications and remixes of video game music, including songs from The Legend of Zelda: Ocarina of Time. As a fan of the Zelda series, I decided to compose a new Zelda-inspired song that I dubbed "Zelda'esque." Originally, this song was going to be part of the soundtrack for The Legend of Zelda role-playing sim in Second Life, namely the main overworld theme. However, plans have changed for the sim's setting from an original kingdom (for which this was composed) to future Termina. Instead, I will write another field song in Termina Field style (possibly a remix of a different official overworld theme) later. Please feel free to listen to and offer critique for Zelda'eque below. Thank you! http://www.designerpeach.com/ZeldaesqueDraft4.mp3 Required changes: Quantisation Velocity improvement for weak notes Corrections for smooth transitions between sections Alteration of the note run close to the end in order to avoid what sounds similar to the Spirit Tracks overworld intro If you like this WIP, you can also listen to other compositions that I have written in the past by visiting either of following web sites. http://www.designerpeach.com/ http://www.HarmonyOfArts.com/