ectogemia
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This is now a remix.
I have no idea how to delete threads, so go check it out in the remix forum... but here's a link!
http://ocrwip.fireslash.net/?fid=1287
If anyone could tell me how to delete the thread, please do! Or if you're a mod, go for it.
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This is the second most emotionally evocative piece of music I've ever heard (Overarrow by Anamanaguchi = 1st; that screeching square solo just wrenches me), and my pick for the best mix on OCR -- and I've heard 'em all! You really did something amazing here, especially in light of the simplicity of the arrangment. Every single element contoured perfectly with the next. Just excellent work
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I feel like I'm not entitled to post in this thread since my name doesn't end in ARIO, but rules are for kids, and I've been able to vote for a few years now. Sounding good, man
I love me some chiptunes. I'll probably pick this up when it's released, money permitting (or is it free????). -
sounds like buttse
I think you mean goatse. If I had a nickel for every time I've been tricked into gazing deep into the orifice of depravity...
i thought this song was great when i listened to it, but then i saw the song artwork next to the title and realized this song is actually the greatestHaha, thanks man
So fitting, right?Also, someday, we'll work on that Yoshi mix! I just had that game in the SNES today, too.
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I hope you enjoy it
I'm wondering if anyone else thinks the solo near the end is just a bit too busy? It works, but I'm on the fence about it anyway.
Well, go listen, smile some maybe, and give me your thoughts!
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Both your songs?? I saw three!!
Now that that's out of the way, this isn't really my genre of choice, generally speaking, so I can't give you too terribly many tips on lengthening your mixes, but one simple way to do it is to establish a strong motif -- some melody, or in the case of dubstep, some catchy wompwomp -- and vary it and add/remove complementary layers over time.
Listen to some of my music to catch mah drift.
Specifically, you could listen to my Starry-eyed, Empty-handed wip. I establish the chords in the atmospheric intro and some basic melodic motifs. In the first main melodic section, I establish a strong melody. I repeat a variation of that in the second atmospheric section near the end of the wip. I basically just wrote the melody, then varied it, then made some accompaniment, and I ended up with three very distinct parts to my mix that are all musically related. I plan to reprise the rockin melodic part for the outro right after that build at the end (with some variation, of course), then fade it back into some facsimile of the atmospheric intro. Blam, there's kinda the way I do it. You'll hear the same thing in my other mixes. House of Bits uses that, too, but I wrote a lengthy breakdown section in the middle with almost no melody, just a ton of automation of noise sweeps and such.
Anyway, your music was actually pretty good, especially Lament's pad stuck out to me as excellent. You've written a "Part A" for each mix, now you just have to alter what you have in some way, just have to carry some part over to Part B and begin building around it. Sometimes I write the transition first which guides my mind to something that would follow from the transition. Other times, I write the next part first, then bridge it to the previous part with a transition that would reasonably connect the two. Whatever comes easier at the time.
Sounds like you have some pricey synths... that, or I'm an idiot.
And if you have any feedback for my wips, please leave them in their respective threads
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Electric is indeed easier than acoustic.
Also, just improvise on piano. A lot. It's what I've done for the past 9-12 months, and my musicianship has improved by over 9000. I'm not fluid with radically different rhythms between hands, but I can do some pretty sweet stuff with ol' lefty while righty shreds out some badass riffs. With more improv, I'm feeling more independence in both hands, and it beats the hell out of playing someone else's music off a sheet.
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Major additions made this morning.
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Reminds me of Cyan at first for no particular reason at all. AND I HATED CYAN. But no, I enjoyed the first minute, it just wasn't as good as the rest. It was a little derivative til the shift in direction at about 1:00 which was welcome, and the piece got very cool from then on.
Drake is a loose cannon man with nothing to lose, so says the 80s crime drama bassline. Awesome.
The bass is a cool combo of chippy and modern. Very fitting.
I love the pulse lead at about 1:20. No complaints there at all.
Good work. Catchy. Crush those bits, and this could be in a SNES game for sure.
NES chords are very tastefully used here. By the way how did you make the NES chords? Just sequenced by hand? I've been looking for every different way to do it I can...
I've got a budding 9bit piece of my own posted at the moment, so... y'know...
By the way, hello. It's been like... 9 months?
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No idea, but I would like to add that I am also looking for anything that sounds like a nose trumpet.
I think you should sample this yourself because it would be friggin fun to do so. That is all.
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I like it, reminds me of older days when games were about storylines and gameplay instead of pretty graphics.
This man speaks the truth. Take it from someone who just played his NES pretty much for the last 24 hours minus sleep obligations. What a good day it was.
Also, this is a very enjoyable mix. Nice work
It sounds like something from X-Men Mutant Apocalypse.
Very good choice snatching the MMX samples. My god, they're so good...
It's a little plodding, but I listened to speed metal back in my metal days, so I guess I'm just used to bpms in the 4 figures. Agreed, the transitions are nonexistent, but each individual parts are excellent, if not just a bit sparse for (SNES) metal. The transitions will just be the icing on a pretty good cake you've baked.
I demand more solos to improve the quality of the cake.
EDIT: Justin Beaver?
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I woke up a few days ago in chthonic's apartment after a long night of sweet lovemaking. Maybe that happened, maybe it was all the greatest dream ever had, whatever, but I had a damn good day chilling with that dude, so I was a little inspired to write some happy, chippy music. I wrote the intro and melody pretty quickly, so I'm very please with how it turned out
There's a bit of a weak transition -- not much bite -- into the melody with that first cross-panned thing. I hope to fix that later.
I hope you hate it because I'd really like to know what you don't like so that I can improve
... and also that you like it so my ego isn't obliterated.
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this this this this this this this fuckin this ^
Mmmm, yeah, gonna have to second this. This is reason #1 my NES and SNES are the only consoles hooked up at the moment.
And to be relevant: I absolutely hope a new CT is released. I LOVED JRPGs as a kid, played em all, and pretty much despise them now. That said, I'll always have a soft spot for CT, and I'd definitely play any new iteration without a second though, despite the mindless pressing of the A button til the credits finally roll.
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EQ the piano. That could help. Add some reverb and wash the high end out a little. Just reduce the brightness
The left-panned square (triangle?!?) at about 1:30 was pretty disconcerting on my headphones. There wasn't anything to balance it well. It kept making me wink my left eye. Awesome.
Add some drums, maybe some minimal kick and snare, into the beginning. It was too minimal for too long and didn't build tension very effectively as a result.
I do have to agree with everyone else, though, the second half was very nice... loving the chord progression. Is that straight out of the source? If not, nice work on that!
Overall, I really enjoyed it! Just add some more hooks of some sort in the beginning to, um, hook me better
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I think you should keep going at least a bit more
And a bit more he did go...
Thanks for the feedback! I've completed the intro and some transitions now. I think it's a keeper
I'll finish this up asap. -
Because I'm a dick, I decided to make a Schala remix despite proclamations that may suggest such a thing should not come to pass
It's actually combo of Schala and Magus's theme done in a chillout style with some orchestral strings (not the best samples; sorry, out of my hands!).
Time to take a break on it for now. I think it's coming along nicely!! Any thoughts?
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The call and response synths about a third of the way in (sounds like a sine and some saw) didn't mesh too well, but I understand why you used them at that point since they interplay nicely later in the song.
Besides that, I really don't have anything negative to say.
I do have a couple of questions, though!
How did you make that nasty distorted bass? Is it layered? Sounds like a very distorted saw over a sine wave or something. Anyway, very cool synth, nice work
You put together a very cool mix! Can't wait to see the finished product.
And god damn, that bass... so good...
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It really depends. I always turn down the volume on magical8bit (thanks halc
) because the plugin is stupid loud by default. Also, yes, I always cut the highs a bit, roll off the subs, and boost the 4kHz area a tiny bit to make it cut. Adding overdrive, distortion, and reverb are pretty important to allowing chippy things to cut through mixes more modern elements.Anyway, I'm just about done with this mix. I'll probably have it posted within about an hour
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Thanks man
And I didn't abandon our collab, hah. I'm still up for it, but as you can see, I got a little distracted -
song is here (final)
My friend Rob hung out over at my place for a while today, so we decided to work on our first ever collab! Rob is a house-lovin' man who listens to entirely too much Dinka, so he immediately laid down a sweet house beat and put together a very nice and housey chord-stab synth. He gave me my assignment for the day: make something out of that beat and chord synth before he gets home from work.
So here's my first attempt at house.
Hope you like what's done so far!!
Please provide feedback if you listen! Anything is appreciated. I'd especially like to know how my mixing and mastering sounds.
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Must suppress shitty Wii jokes...
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Up til about 2:00, I honestly wasn't very entertained. The choir could use a longer attack and probably some more chorusing and/or reverb -- it sounded very dry. Anyway, there just weren't any strong hooks for the first 2:00. Maybe you could add some more melodic sections?
The downtempo part after 2:00 is gorgeous. Really, I love it! The piano that comes in around 2:00 sounds very robotic, so a little humanization might improve that fill. The kick around 3:25 has entirely too much sub to it for that relaxed of a section. The shift back into the intro section is done very well, as is the transition into the quick part. You could add an even more powerful element of "speed" to that part if you double-timed the drums, but obviously, that's up to you!
Overall, I really enjoyed it. In fact, I'll be listening to that downtempo part again right.. about... now...
And feel free to provide feedback on any of my mixes in the wip forum
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seriously into these
YOU A FUNNY GUY
hah, I had a laugh...
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i remember a while ago you posted about looking to collab with people, so if you ever want to try and write something, just let me know. cross-platform stuff might be kind of a pain in the ass but it might work maybe sorta
!! Rainmain alert: that was in August, my friend, haha.
I'm still very interested in doing collabs, though.
We could do it cross-platform... there'd just be a lot of .wav rendering and so forth. Hell, let's do it. PM me, and we'll see what we can come up with
writing basslines?
in Music Composition & Production
Posted
The bassline can help define the genre of music, as well. A heavily syncopated bass, for instance, is a staple of funk and disco. A walking bassline is an essential part of many jazz standards.
Experiment.
Write a melodic line, then write a bassline. Then write a different bassline. Keep doing it til you're out of ideas. Listen to each one separately with the melody and what each different bassline evokes with the melody. You don't necessarily need to learn theory to write good basslines, you just have to figure out what works.
When I write basslines, I usually have my melody and percussion written, then I write a bassline to complement that. I tend to vary the bassline at times to make the chord progression sound a little more interesting (mostly because I'm awful at creating interesting, evolving chord progressions in the first place).
This is all just kinda food for thought.