timaeus222

This whole thing. Favorite tracks were this and this.

The electronic elements are pretty solid. I'd just say the brass could use automation to add swells, and a bit of a frequency boost in the treble to brighten it up and let it come through more, and the plucked instrument at 0:45 sounded a little mechanical.

waddup with da buzz? o_o

Seems to me that adding an exclamation mark after 'Troid works.

Hehe, if you can get $100 in the next 4 days, you can get probably one of the most detailed piano Kontakt libraries yet. http://www.vstbuzz.com/products/production-voices-grand-piano-le

Pretty good. The upper treble in the EQ is a little bright, and the speech synthesizer stuff gets repetitive pretty quickly. I didn't hear anything off with the kick drum at 1:30. Overall the mixing could be a little tighter in the midrange. It gets kind of messy and occasionally has clarity issues.

Well, considering it's only 2 minutes long, it would need a good amount of development quickly, which it has. I wouldn't say it sounds close enough to Cornered with just half the chord progression intact. Also, where's the melody? It would have been easy to include it in the lead guitar (I just hear noodling in the guitar). You don't have to, necessarily, but it makes it easier to include enough source usage without worrying about keeping the chord progression close enough. And just to clarify, you CAN change the chord progression, but it should be accompanied with a recognizable non-chordal component such as arpeggios or melodies from the source tune so that at least SOME connection is there. You really only have four ways (that I can think of) to reference a source tune: sound design (similar sounds, or maybe drums in a drum-heavy source), chords/harmonies, melodic components (lead or arpeggios), or the bass (in , the bass is a recognizable part of a source tune). Additionally, what happened was you took the bass line in the original and made it into chords. The bass line is already single notes, so it may suggest to stick to having the root of each chord match the bass note, which happens to be in the first two chords in the progression here). It kinda depends. Try reading this topic for some perspective. This ReMix *might* make it, borderline, but I wouldn't worry too much about it. It's a funny listen though. Maybe just think about it and write something new later.

I almost fell off my chair laughing to this. This is hilarious. It's like Spanish Screamo.

There's likely a velocity curve setting in your DAW, if that's what you're referring to. With FL, I see "Link note on velocity to:" none, Velocity, Mod X, or Mod Y. I don't see "Other" or something similar, though.

Mashups are fine, as long as they're executed well enough. Obviously case-by-case, but it's not simply rejected right away if it's a mashup.

I thought the costumes were fantastic, but I didn't understand the story.

Yeah, I agree with Eino with the loudness of the leads, and I would also check 2:44 - 2:56 (those are kind of slight, maybe by only 0.4~1.2dB). I would fix the lead volumes to more closely match the backing and only after that would I try raising everything at once. I think the overall volume, putting the leads aside for now, is about good.

Poo. I can't go because it's during the school year. Now if it was like, the first week of January...

Yeah, I get you when you say you don't want to constantly measure your own growth, but here's how I feel about it: While I don't actually say, "Okay, let's see if I can write something that improves in this area of my writing music, in this piece! Legs go!!", there are probably more than a few times that I just attempt something I've never done before, and it turns out to be something I'm quite happy with. As a result of that, I get better at something I've never tried before, and thus, I improve. Then, I look back and see what it is in particular that I actually improved on. For example, I used to be pretty meh at orchestral, but I recently got about 1.5 minutes' worth into an Assassin's Creed ReMix that is in a film-score, orchestral style, and it's just getting so fun to do it, knowing it's a substantial improvement since my first attempt at orchestral music. I was basically putting all the tips I read all over OCR, directed at *other* people, into practice. So for me, I don't really directly think about getting better; it just happens sometimes. I don't beat myself up over it---I treat improvement as a "whoo!" moment. ------- Sometimes an original song of mine can take years to finish if I just write something that's hard to write connecting ideas for (pausing at a bad spot), and sometimes I just want to do something I can't do yet (EX: use a sound effect I haven't synthesized yet but was going to *eventually* because it's not available online). Sometimes it takes 4-8 hours, if it's short (~1 minute sound demos). I've taken breaks longer than a few weeks before, but so far I've been able to come back to a ReMix after many weeks and still write more for it. In the past 3 months, I've finished three of those kinds of WIPs.

Well, since we're doing this. Breath of Fire 3 - Game Over vs. Chrono Trigger - Wind Scene BoF never really goes to the lower notes past the first 6 main notes, but the 6 notes used are exactly the same otherwise. Dr. Franken - Main Theme (a lil loud, turn down volume) vs. Beethoven - Moonlight Sonata Essentially an exact match, though a bit stripped down to core implied chords.

Great job! I actually liked the mixing on the woodwinds and brass. It makes it sound like solos and duets in the midst of the ReMix. The only issues I had with this were that the drum kit felt a little out of place (or separate), perhaps from the reverb low cut, and that the guitar was a little mechanical when playing chords. Other than that, this has a serene quality to it, and the humanization shows.

Hm, there's a strange resonance right at 0:06 - 0:07. Try looking at a spectral analyzer above 12000Hz and see what you can find. The same resonance returns at 1:29, so it's probably from one of the guitars there. Yeah, you're right. I do kind of find this a little simple-sounding. In a way it's kind of a straightforward arrangement. I think the slow part was welcome but too short, and a little sudden. Hopefully we'll see more of you on OCR.

Yeah, I read that already. We just interpreted it differently. Can you just lighten up, please? I don't mean to offend you, but I would like you to correct people more politely. Thanks. Anyways, I've used Viena soundfont creator before, and I don't recall being able to link modwheel to scroll through samples, so there's my account on working with soundfonts.

Well, yes, but that didn't occur like you described (and what you described was what I expected, sans *substantial* popping). When I linked the modwheel to the program number in the FL soundfont player in a soundfont with many programs (i.e. FluidR3, Squidfont, etc.), it still scrolls through to a new sound, but the first sound that played didn't change, and I had to play a new note to hear the new instrument after I stopped moving the modwheel. Hence, I said nothing happened mid-envelope [of the instrument's ADSR envelope].

Okay, so just to clarify a few things: - Soundcloud streams at 128kbps, but that isn't enough to create the clipping (which is not a good thing) - The static did not make it sound live, but it sounded as if you plopped in a live recording of a headphone amp over sequenced material. Personally I wouldn't have left it in, though. It's somewhat like the line noise hum in a guitar amp being undesirable. - Winning the loudness war is not a good thing, but a nice way of saying that this is too loud. - You can be loud without clipping, and it involves proper compression and saturation. It's not something that's easy, though. Good to know that you're being open-minded about this. As for the piano, I just write velocity variations as I go so I don't have to go back and adjust it unless there are actual issues; then there are just less things to adjust.

Why are we talking about pops? Sure, I can see that that part of the sine wave is slightly off in its shape, but I was just giving a testimony on something I tried. To be fair though, I can hear pops, but it's not something your everyday human can hear. A few years ago, I couldn't.

Great update! I'd be happy with this.

Funny, I was actually imagining something would happen like the quick flashes you see here, but in sound instead. I actually tried it though with FL's soundfont player. Unfortunately it only changes the sound on new keypresses, so when I tried it, nothing happened mid-envelope.

Good job. You seem to be having fun.

Well, it's a nice idea, but I think this is too long without enough development in a quick enough time frame. The textures sound too similar as the piece continues on, and are a bit indistinct amongst each other.