docnano

Or, you could strive to add more emotion/edge to your vocal performance, if you want to avoid autotune. Right now the singing sounds a bit too "nice." It should sound like an adventurer's anthem, not their hash bash upon returning home. Check this link: red emerald. It exists. Or, if that's lame, you can always appeal to poetic license. I think emerald eye is ok.

By "demo," do you mean the new mix, or the original one (as on my youtube channel)? Seems I'm the only one who likes the direction this is headed. I definitely prefer the new drums, and I think the new soundscape is more crisp, polished, and the voices more expressive (though still unbalanced and maybe a tad dry). I can try to bring back some of the spacey vibe that some of you liked. In the original mix, I primarily disliked the muffled bass, unexpressive synth brass, bad snare, and generally excessive reverb, so maybe I can bring some of the other stuff back.

Yeah, I'm not totally convinced on all the new sounds. I do think the drums are generally better (from my synth instead of from Live Intro), though the new toms are kind of muddy. Still a WIP for sure. I do like the organ, though, so that stays. Thanks for the feedback on the new version. ***UPDATE*** I've fine-tuned some things that hopefully capture the best of both versions of this mix: - Lengthened attack slightly on arpeggiated lead thingy, so it's less chip-y - Cut off a few dB on the bass guitar and low toms, making the overall sound more crisp - Fixed some velocities on the drums - Made the synth brass more varied in timbre, and got rid of the annoyingly repetitive attack that was there - Some other minor changes

Well, here's an update. In the process of upgrading the drums and taking it in a more progressive rock direction. Also experimenting with some more automation, as well as a few performance glitches for effect. Still plenty of mixing problems, I think. I'll try to fix them, but in the meantime let me know what suggestions you have!

I'm a big fan of time signature changes from the source, and probably over-use them myself. It works very well here, and I'm really enjoying what you have so far! I like the little snippet of Bolero of Fire you put in there. The weak spot for me right now is the vocals. The performance is good, but the processing is a little weird for me. Given the synthy feel of your track, maybe you could go even more synthetic with the vocals, using a vocoder or some gratuitous autotune. Somebody else with more vocal experience may have better or more specific suggestions. I think adding some harmony through backup vocals would also sound good. Finally, here's one suggestion for the two missing lines: "Raising (or blazing) swords into the sky Braving fiends (or beasts) of water and fire" Also, this may be silly, but is the stone actually an emerald? On the Zelda Wiki it says it's red. A ruby? I do like the alliteration of emerald eye though.

@SwordBreaker Thanks for pointing out the Sega CD version remixes. I agree with djp that many of the SCD OST tracks are more memorable than their PSX counterparts, but Wind's Nocturne is one huge exception! Glad to see it remixed (covered?) here in style.

OMG, NO Lunar:SSSC remixes up to this point?? Shame on all of us. This makes one helluva debut for this gem of a game on OCR. Vocal performance is full of heart, and the chord changes from the (amazing) original are quite tasteful. Me like beaucoup!

A triumph! I never would have dreamt of such a take on this theme, but I love it.

Quite a variety of reactions! Thanks to everybody for your feedback. @dfcentre I definitely agree that many of the synths could be replaced or reworked. Is the synth bass the "low" instrument you don't like? I won't get rid of that for sure, but I'm sure I can find a better bass that feels tighter and bolder, and I may rewrite some of its sections. I actually like the finale (though a bit sudden) and dislike the intro, so we seem to have somewhat orthogonal taste there. @DaMonz Glad you could appreciate the old-school progressive rock influences. I really do hate the snare I'm using, but that's the only one Ableton Live Intro has... I'll poke around on my synthesizer or the web for a better snare sound, or try applying some overdrive as you suggest.

Somehow this simultaneously reminds me of both Paul Simon and Frank Zappa. Interesting harmonies and rhythms for sure. It's enjoyable, but I'd really like to hear what you could do with it now.

I like the new version, Chris. One additional suggestion: in the parts where the piano and violin double on the melody, you might consider moving the piano melody down an octave to move it out of the way a bit. This might help to reduce any tuning clashes and also round out the frequencies.

Just saw this on the New York Times about Max Mathews: http://www.nytimes.com/2011/04/24/arts/music/max-mathews-father-of-computer-music-dies-at-84.html?hpw I must confess that I didn't know anything about the guy until now. Apparently we all owe his memory some serious thanks and respect. RIP, sir.

Well, thanks for remixing another one of my favorites! Terrifically emotive work, as usual. I especially like the high points such as at 0:47. Generally great choice of instruments, too, and they are well mixed to create swells and changes in the mood. It sounds borderline coverish, but the more original part in the middle, and variety of countermelodies add enough to make this a legit remix IMHO. Probably no more conservative than "Quickening" from Humans & Gears, for example. The others have had some good suggestions. Here are a few of my own: - Always a good idea to keep working on intonation for the violin -- sometimes it seems a bit off, especially when the piano and violin are doubling each other on the melody - I'm really not a fan of the horn thing that comes in around 2:05. Maybe mixing it down considerably or adding copious reverb would help... but the best solution would be a different sample. - Tempo is more solid than your June Mermaid remix, but still could use some work in terms of evenness, particularly the piano when it's playing exposed arpeggios. I think this will be a great sub if you polish it up and address some of the concerns we have. Great work!

Great stuff, and some of the most genuinely jazzy playing I've heard on OCR. Keep it coming!

Awesome, thanks for the feedback everyone. I'll let this one lie, at least for now. If I feel inspired to make an extended version in the future, I'll definitely do so.

Hell yeah! This mix takes the listener on a soulful, meditative journey. The arc of the mood is perfect. I wasn't crazy about the vocals at first, but they grew on me quickly. Easily one of my favorite mixes ever.

The talkbox lead is brilliant, clearly echoing the distinctive "oh-up" sound Sonic makes upon inhaling a bubble. This is one of my faves from Sonic 1, and this mix totally does it justice.

Thanks, always good to get some stiff criticism from a real pianist. There are definitely some serious hiccups in the tempo -- not sure about skipped beats, but I do know of at least one spot where I hesitated egregiously. I may smooth these things out in the future. Length-wise I do think it's legit (similar in length to some Chopin preludes I've played) but might be worth expanding on at some point. As for sample quality, I'd be interested in hearing some good examples of the Tonehammer emotional piano put to use. The clips on their website generally sound compressed and yucky to me, but I can tell it would sound pretty good. Having said that, I do find the timbre of my keyboard more pleasant than 99% of the samples I've heard on OCR (which tend to have decays that are way too short and attacks that are too machine-gun consistent) and probably even 90% of the acoustic pianos I've played on. Anyway, thanks for the thoughtful listen and critique!

This is nice! I may have missed the earlier iterations. I like the piano sample and your use of phrasing. The ending is particularly delicate and beautiful. My biggest single gripe is probably the chord around 1:07. The dissonance there stuck out as somewhat ugly to me. You could also change up the left hand a bit more, filling out the chords with some eighth notes here and there. As it is, the bass chords sound plain -- like a blueprint more than a finished product. This would also help keep the third minute of the song from dragging, as I feel it currently does (slightly). Enjoyable listen as it is though, nice work!

Just for fun. Probably too short and underdeveloped for OCR, and not a perfect performance, but enjoy it for what it is. Remix: Source:

A darker piano sound might alleviate some of the robotic feeling you mentioned. I'd be happy to try rendering it for you, no charge and no obligation. If you're interested, send me a PM.

Just submit the damn thing already, I need to stop looking at this thread.

The new version is definitely moving in the right direction. I really like your vision for this, and the ambiance you're creating. Piano is noticeably more expressive. If I were playing it, I'd still make some of the soft notes softer and the loud notes louder. I'd also think about subtle timing changes here and there for expressiveness -- you do this in one or two broken chords in the beginning, but more would be great. You're really working uphill to make sequenced piano expressive, so do all you can. Agree with what timaeus said about the sweep at 1:55, needs to be more in the background. Also, that part seems to repeat too much, so you should vary it up a bit. It also repeats way too much later on in the song, IMO. Some panning may help, but I really think you need some other effects or patterns in there. The orchestral part at 2:55 sounds way better than the synths that had been there. Something is weird about the suspended cymbal transition -- if you're going for a crescendo->sudden piano effect, a strong timpani roll underneath the cymbal might help? If you want it more subtle, I'd quiet the roll down. You could also add more dynamics and phrasing to the instruments in this section. Enjoyed it, keep it up!

Right. Or a 3-handed pianist.

Haha, I was talking about the part immediately after those first four bars you showed. Where the same low- and mid-range parts are more or less repeated, but then another melodic line suddenly comes in at a higher register. Just a little unexpected and weird, but something about the mixing in your new post makes it stand out less. Or I'm getting used to it. I'm really happy with how this is sounding at this point. I'd say you're good to go. But you should know by now not to trust me on mixing matters.