Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by suikun

  1. Updated to V1.7:

    • Fixed clipping issues during tutti sections.
    • Fixed some balancing issues in certain parts.
    • EQ'ing on several instruments.
    • Changed reverb just a bit.
    • Redid the automation of some parts of the first violins (the story never ends...).

    I will let this sit for some days and come back with a fresh ear, but aside from some minor fixes I'd consider this (finally) done.
    I will probably never be entirely happy with the realism of the violins, but I've run out of ideas what I could try. The only real big option would be dynamic vibrato changes, but VSL Dimension Strings is fatally flawed in that patches with and without vibrato have different volumes with the non-vibrato patches being way too quiet. This makes the non-vibrato patches effectively unusable in any melodic situation.

    I wonder if there's anything I'm doing fundamentally wrong in the way I'm using the sound libraries, but from everything I've seen I've exhausted most features which could improve the realism.

  2. Updated to V1.6:

    • Fixed really obnoxious oboe as described in previous post.
    • Finished reworking all remaining instruments.

    There's still some things left to fix in the first violins, but aside from the last remaining task is cleaning up the mix. I've already eq'ed into the basses a bit to clean up some muddiness, but the lower brass probably also still has something to fix.

  3. Updated to V1.5:

    • Changed woodwind samples
    • Upgrade string samples
    • Redid all automation for woodwinds, brass and ensemble strings
    • Lots of reverb and mixing changes

    The solo strings still need a pass as well as the melodic percussion. Some things have to be fixed here and there in the first violins.

    Edit: Also after listening to it on some thin speakers...wow, that oboe doubling the strings has to go...

  4. Thanks for the comments!

    @JulienMulard Yes, I'm still working on this. I got halfway through the new woodwinds so far and will probably post an update after those are done. After that it's back to the strings because of course VSL had to do a christmas sale...

    @JohnStacy I explicitly dislike the modern "big cinematic" style of orchestation with lots of brass and percussion (oh god the overwhelming percussion). This ain't no Bach, but it's a lot closer to what I prefer an orchestra to sound like. The sound I strive for would be that of the performance of the Chrono Trigger/Cross arrangement in "Symphonic Fantasies".
    The second piano roll picture is me going "ok, let's write a counter point for the oboe and another one for the clarinet and then double the octaves and..." without thinking. Aside from the problem that you can't really make them out anyway over everything that's going on, there's a lot of minor seconds over long periods of time which make absolutely no sense. The first picture is just the main melody doubled in thirds/fourths and the counterpoint doubled in thirds/fourths which is really boring from an arrangement point of view, but at least it works (hence "ok-ish").
    Your remarks regarding the sample quality are actually a real downer because (at least for the current version) the strings are Vienna, the woodwinds are EastWest and the solo strings are Embertone, so the quality should be palatable at least. Could you give some more details where you think the sample quality is lacking?
    The strings will get an upgrade to VSL Dimension Strings which will finally allow me to access different finger positions to fix some issues which have been bothering me for the longest time (I used to played the violin half a lifetime ago, so I'm sensitive to strings in general). The woodwinds still need work regarding humanization and the brass I'd consider finished. I'm still not happy with the beginning of the solo viola performance because the empty strings make it sound too harsh, but the Embertone VST doesn't seem to support forced finger positions. The solo chello part I'd consider finished.

  5. Updated to V1.3:

    • Fixed a bunch of issues in the solo and ensemble strings that were really bugging me, mostly related to consistent timbre, volume and timing.
    • Fixed accidental double reverb on double basses and trombones (yay, less muddyness).
    • Dropped BPM from 70 to 68.
    • Stretched out ending decelerando to create more gravitas (?).
    • Added the same panning effect to ostinato strings at the end as is also used in the beginning. It doesn't really fit the song's storyline but makes the song overall more musically coherent and this section in particular a lot less fatiguing.
    • Added gradual crescendo in the strings for the opening part.
    • Decreased volume of the background strings in the ending part to better highlight the front melodies.

    Next up is a change in the woodwind samples which will finally allow me to do unison sections without phasing issues so I can unclutter the woodwinds. Right now there's lots of unison between for example a single flute and clarinet because unison between the two flutes just wouldn't work. This change should really de-clutter the sound scape a lot.

    While I'm at I should also rewrite certain parts of the woodwinds because this is ok-ish writing:


    And this is just me being a huge derp:


  6. Updated to V1.2:

    • Massively (in my opinion) improved the string sections by messing with attack and release envelopes.
    • General improvements to ensemble and solo strings regarding volume and timbre consistency. Also made ostinatos less robotic in general for all sections by varying CC1 more.
    • Changed the added phrase from V1.1 to not include high woodwinds any more because they seemed very out of place.
    • Increased volume by 2db, but this might break things in tuttis louder than in this particular song.
  7. Original song:


    I've worked on this on and off for way longer than I'd like to admit, but it's finally in a stage I'm comfortable taking comments.

    5.0 surround version (untested): http://www.kozanryusui.net/sakkyoku_nikki/20191101_surround.ogg

    5.0 surround version (untested): http://www.kozanryusui.net/sakkyoku_nikki/20191109_surround.ogg

    5.0 surround version (untested): http://www.kozanryusui.net/sakkyoku_nikki/20191121_surround.ogg

    5.0 surround version (untested): http://www.kozanryusui.net/sakkyoku_nikki/20191212_surround.ogg




    The titular castle is the 5th stage of Touhou Double Dealing Character (or Touhou Kishinjou), an inverted castle floating in the sky. The original title 空中に沈む輝針城 ("Kuuchuu ni shizumu kishinjou") translates to "Castle of the shining needles, sinking into the sky". I've tried to emulate a journey through the castle:

    0:00 - 0:40: Enclosing onto the castle through the cloudy sky, eventually reaching the front gates (which you can hear open if you listen closely)
    0:41 - 2:26: Journying through the increasingly grand corridors and halls of the castle
    2:27 - 3:08: Slowly tracking back while basking in the afterglow
    3:09 - 3:23: Falling out the main gate into the evening sky (the gate closes behind you)

    I've loved this theme ever since I first played the game. It was the first 5th stage theme for me to finally knock the one from Touhou Mountain of Faith off its first place pedestral, and it has become one of my favorites in the entire Touhou music corpus.
    Initially my main motivation for creating the arrangement was to mark the climax off with the bells at 2:12 and the rest of the arrangement was just fluff to get there. Later on the actual climax shifted two more measures to the part at 2:17 because I just love deceptive cadences.

    The rest of the arrangement should be a very straightfoward orchestration. I've taken some liberties with the instrumentation, chord progression and custom counter points, but it's essentially a single run-through of the original song. The seating of the orchestra is German instead of American (second violins opposite first violins, basses to the left etc.) which is mostly noticable during the beginning.

    Considering how much I fought with almost every aspect of the song I'd be grateful for any comments on pretty much anything. The 5.0 version is a byproduct of my workflow which I cannot test due to a lack of a surround setup, so please don't expect it to be well-engineered.

    I'm not sure if this arrangement would cut it for submission-level quality. Judging from the other orchestral arrangements on the site so far I'm tending towards no, but I could only find either Hollywood-style arrangements (i.e. with lots of supporting percussion and/or non-orchestral instruments) or rather mellow arrangements which tend to be not as thickly layered, so I'm not really sure if these comparisons are any good indicator.

  8. Thanks for the feedback again. I updated the first post with a new version.


    * Panning changes:

    - mirrored horns to the right

    - adjusted violins and flute to the right

    - tried and failed to center the harp; this is about as much as it can go without producing strange artifacts

    * Added percussion: timpani and (sparingly) cymbal

    * Removed harp offsyncness

    * Added direct download link.

    And btw, this is a double bass and I can assure you this song has plenty of it ;D http://en.wikipedia.org/wiki/Double_bass

  9. Thanks for the feedback.

    During introduction, the melody (harp) stays on the left channel for too long with nothing on the right. I think either put it in center (it's the lead after all) or introduce something on the right to balance out the sound.

    Hm, I guess the double basses alone are not enough. It's difficult to divert from the default panning because my samples are all prepanned, but I'll try.

    I noticed a few timing issues here, some notes are straying away from the beats .... but maybe I feel too sleepy now.

    I probably overdid it with the humanization. Fixed.

    A lot of stuff plays on left speaker and it feels a bit ..... uncomfortable. I think you need to balance this out.

    I think it's a problem that too many high and mid frequencies are on the left (mainly violins). I put the flute a bit more to the right and tried to separate first and second violins. For some reason the horns were panned to the far left per default (?!), I mirrored them to the right and reduced their spread a bit.

    You are right, the levels gets a bit messy at the end. keep them at the same level as 1:00 mark.

    It cleared up a lot after I panned the horns correctly. I probably should double the high flute (yes, it's actually there ^^;) to provide a highfreq counterbalance to the strings.

    You can also introduce some orchestral drums (timpani etc) to make it sound more epic. slowly build to an aggressive orchestral end.

    I'm trying, but I just can't find the right spot to introduce them as a new instrument.

  10. First post, first remix, first everything.


    Rudora no Hihou (Secret Treasure of the Rudras) is a pretty unknown RPG by Squaresoft for the SNES which hasn't been released outside Japan. Interestingly its composer is the same as the one for Mystic Quest Legend/Final Fantasy Mystic Quest. The soundtrack is great (listen to The Spirit Chaser!), why aren't there any remixes up here yet?

    Anyway, this my first self made remix, though it's probably more of an arrangement than a remix. It's a pretty straightforward orchestration of the main screen's theme, probably way too close to the original to ever meet OCR's guidelines.

    But it's my first try at arranging, so I'd love feedback anyway :P


    (downloadable here, please use sparingly)

    ...I forgot the ID3 tag -_-

    The volume is a bit low but that's intended to support the structure (yeah right ^^;).

    I know the end is pretty rough but I actually like it the way it is.

    Am I overdoing it at the climax and making it too muddy? I don't have any speakers, so I'd like some feedback on the overall soundscape balance. I am also very unsure of the reverb settings.

  • Create New...