timaeus222   Members

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.

Uh... this is not a remix, dude, so it *does* go in original music. Anyways... Not really my type of dubstep track. I actually , just not this one. The bass is quite grating and abrasive with its high resonance setting, and the mixing overall is rather loud.

I hear what you mean at 2:04 - 2:30, but personally I liked the lack of rests at 2:14 - 2:30 because it felt like a buildup. In my opinion, I would consider making the lead sound at 2:04 - 2:14 more lively with perhaps a few portamentos, a more delayed vibrato (slower attack), or even small arpeggiated fills/scales. Maybe at 2:04 - 2:30, it *might* be that the leads are slightly too loud. Perhaps try lowering their volume or velocity so that the background harp and synth arp (lol, harp arp), respectively, can be heard. I hear the note at about 1:47.5-ish, and though it's there, I'm not quite as bothered by it. Maybe because it's kind of quiet. The interval sounds like a clashing 2nd, I think.

Okay, something really bothers me in the beginning. There's some sort of upfront radio static until 0:49, and it gets a bit grating after maybe 10 seconds, so I skipped to 0:51. It just sounds like a live recording mistake to me. Another issue is that this is very loud almost everywhere, essentially clipping. Are you using a limiter or a soft clipper (limiters are less prone to clipping, as you could tell from the names)? The bass is narrow at 0:50, though that's not as large of a problem. Some other things that are larger issues: - The resonant white noise sweep at 0:59 is definitely clipping, and just too loud. I'm cringing. >.< - The piano at 1:12 is locked to a quantized grid, and sounds mechanical. Needs more rhythmic randomness (without sounding sloppy) and sensible velocity variation to make it sound more realistic, especially with all the organic instruments in this electronic/organic hybrid. Might not be as noticeable if it's the first time you've heard this type of critique. This might help you to hear the difference (read the description, too). - The low strings at 1:16 add substantial muddiness to the reverb amount, and clutters the low-mids frequencies, making things unclear. Also might not be too noticeable if no one's told you this before. - The kick at 1:29 is too loud and boomy, and muddying things up a little more. Somewhat hard to notice but it's there. The main issue for me here is that it's loud though, not that it's bassy (even though it technically has bass frequencies). - 1:52 is too loud, and again, clipping, so I skipped to 3:03, where it was quieter. This is an overall problem, and as you can tell, it makes it unlistenable. - The piano afterwards is OK, though it can have more interesting chordal undertones. It's just a melodic line of one voice (monophony), without a left hand part. Perhaps it could work as-is if there was a pad underneath to fill in the soundscape, or if the notes were not so quantized. So, I'm not sure I get the focus of this piece. Are you trying to win the loudness war or write a remix you like? The mixing choices you made gives some sort of notion of "epic", just from the sound choices, but the clipping, loud bass, mechanical piano, and overall loud mixing are just too off-putting. Sorry, but that's how I'm hearing it. Somebody had to tell you eventually.

Gotta love British rap! The execution was excellent. The production sounded purposeful; Bekah comes in more upfront than DiGi each time, but each time it works. I guess my only real crit is that maybe Bekah's vocals could have had a little more reverb on them.

Hey guys, is anyone who is/was using Firefox 31.0 getting random hanging (freezing but not crashing)? I chose to downgrade to 26.0 to try to fix it, as when it happened, I had to shut down my computer the abnormal way each time (pushing the power button). I'm using Windows 7 64-bit. EDIT: Okay, somehow it happened when I tried using Google Chrome. Maybe it's not Firefox? I scanned already and I didn't find any viruses... EDIT2: Oh yeah, and perhaps it has something to do with the power outage where I live, which occurred 3 days ago. My computer got shut down 3 times in a row in 10 seconds. No kidding. Everything was fine before that. ---------------- 4 hours later: I just did multiple restarts and system startup diagnoses. Things seem to be going alright now. I'm still using Firefox 26.0, but websites are loading faster than they were before, even when I force a cache refresh with Ctrl+F5. Seems to be a good sign.

Yes, and it mostly involves the contributions to creating a new context to a melody, adding your own harmonies, changing up rhythms, or other ways of modifying what you are remixing. A compressor and limiter are *almost* the same. Compressors are made to amplify and/or control the tonal qualities of a sound, keeping them from having excessively large volume differences/variations (+/- 10dB oscillations would be huge). Sometimes they are used to keep a big pumping bass from pulsing in and out too much, sometimes they are used to make drums sound stronger, and so on. Limiters are designed by default to be on the Master channel in a Mixer, and its job is to prevent sound coming from every instrument playing from going over the optimal listening limit as a whole (0 decibels). So then, the primary difference between them is just their purpose or their role. A limiter should not kill the dynamic range of instruments (in a bad way), whereas compressors are supposed to do that (but in a good way instead) in order to achieve a higher level of loudness than is typically possible without them. More detail: http://www.ovnilab.com/articles/limiter.shtml I like the http://soundonsound.com/ tutorials. They might be a little advanced though, so maybe bookmark it or something.

Ah, yeah. I guess I was a little distracted or something at the time, but yeah, the pulse wave with the delay.

Bluelighter has been greenlighted. Sorry, had to say that. The kick could have been a little more present, and 3:58 felt like an ending to me, but pretty nice overall. Inviting mood and fun arrangement.

Yeah, there's all these 'mastering' videos on youtube, and I just skip past them. Honestly, if there's something up with a piece's EQ or anything, then I would go back to the individual tracks and adjust those, rather than try to do edits on the master channel to compensate for what's off. For me, I just get the mixing (disregarding the master channel) to where I'm happy about it, and then I don't need much on the master channel.

I guess I would have liked it to go somewhere more than primarily trance/dance, but that aside, good production, energy, and groove.

Yeah, that I hear. Clash at the Mountains is one I haven't heard more than a few times.

seems private.