timaeus222

If you're thinking of chords that are like triads and bigger, Archtop: Hollowbody Guitar can do that (though it's not specifically made for rock, even if you add distortion)

These instruments sound lifeless, basically. There's an overall loudness issue. The bass is rather boomy, some lead instruments are dry, and the whole ReMix sounds the same. I don't know how you first approached EQing this, but if you were like me when I first started, then you might have a whole bunch of EQ overboosts from just trying random things. What I'd recommend is saving a copy of your project file, then resetting the EQ in this new copy on everything, and thinking about what quality of what instrument you want to remain or come through the mix. Cut the EQ of what you don't want to hear as much and of what is clashing with the EQ that represents the quality of what you want to come through. Try boosting temporarily to identify where in the EQ the good qualities are, then decide what you want to do with them. If anything, cut more often than you boost (this is a really nice read). Boosting can introduce too much of a quality you don't want, but cutting can only make things sound hollow or thin, which is not going to give you much ear fatigue usually. Unless you just *know* that you have a reaaaaally good audio system, boosting might make things worse. The key is to find a good balance. EQ in context. Don't just solo each instrument and then EQ them individually all the time; EQ them when everything else is going on too so you can tell what's different in the final result. Eventually you might have to reduce the frequencies on a quality you actually like on an instrument to make things work better, but you may not have the desire to do that unless you EQ in context. This might help some more. Think about what you want to be loudest, next loudest, and so on. If you can't tell whether or not something is too loud, just pick a loudness (try -5dB for the loudest thing) for the loudest instrument, then change volumes in reference to that. Try starting really low in volume, then slowly raising the volume until you think it's just right. In most cases (other than solo pieces or pieces with few types of instruments), something's gotta lead, something's gotta hold the foundation in the bass usually, something's gotta keep the rhythm usually, and something occasionally should give a sense of musical harmony. Try reading this. Things will stack up and get closer to 0dB, but should not go over. That stacking is called constructive interference.

I think I've used that before (badly) for like a week, but I switched to FL Studio and am still sticking with FL. Based on this, Magix CAN use VSTs, so I don't know what's not working (by the way, just for perspective, I wouldn't trust it if someone said "this is high-quality" until you try it yourself and make your own judgment on it, as companies *are* aiming to sell their products ). I like German products, usually, but not always. Besides, Impact Soundworks makes some incredibly inexpensively-priced stuff, for example, but they compare very well with the more expensive libraries out there.

The EQ defines what frequencies are targeted in the compression (Q is the band token filtering width, by the way; high Q = thinner than low Q). I've never used Live's compressor, so I don't know how good it is, but I highly recommend Cytomic's The Glue. Never stopped using it since I got it over a year ago. The Glue Example: Dry Drums Compressed Drums (there's a parallel compression send, and individual tightness compression on the kick and snare) Compressed Drums (High Pass at 2000Hz on the built-in compressor EQ; small difference but it's there. Try focusing on the snare, which seems to have gotten a bit tighter) Basically they should feel stronger overall, but also a little bit more cohesive.

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Kontakt and Kontakt Player both work in VST wrappers. Unless I'm mistaken, if you can use VSTs, you can use Kontakt and Kontakt Player. What DAW do you have? You should list it on your profile. By instability in the tone, I mean that the notes "quiver" a bit for whatever reason.

I agree with Will that the production is rather odd, but it's cool hearing something this murky still sounding quite good. It keeps things from sounding too abrasive, but at the same time, there's that single-voiced center-panned bass gluing the piece together. The piano was well-written too. Very deliberate notes.

Good polish, dude! I liked Razzmatazz the most.

Cool, I like the ambience in this. Nice reverb design. Oh, and hi again.

I was actually going to suggest Xenogears until Shariq reminded me of that.

Haha, yeah. Mega Man is called Rock Man in Japanese. ;D And I think it was mixed fairly well!

Ah, but it'll be Bev's birthday too!

My parents kept leaving me at home by mahself so it woulda been rather hard to record myself and then be like, "uh... this camera needs to be higher, where's some big books and stuff D:"

That damn comma. I was hoping it was in Washington.

You only got 1 video? Ah well, it's Chernabogue, so I think it'll look awesome anyways!

A little boomy past the 4.5 minute mark, but other than that, this is awesome. EDIT: is it just me or is Chrono Trigger at 5:28 - 5:34?

In a hillbilly rodeo style. Someone should remix this. I dare say that no one could do it.

Rock for Mega Man Soccer. I see what you did there. *cough* Though I think I see a possessive in the game title. 4:26 - 5:00 was my favorite part.

Yeah, I get that, but I was judging based on the arrangement flow and dynamics with the time I had. Like I said, I didn't get the time to do that, but if I did, I would have. Lewis had more modern production, but what drew me in more with mike was the new time signature and the lesser repetition. I liked Lewis's too, but I thought it was closer of a round than it might seem to others. The gating contributed to that repetition for me. Besides, production isn't supposed to be the top criterion, so I put source adaptation (read: source transformation) above production.

Sometimes it seems like the vocals are out of sync with the guitars, but other than that, this is great! =D

The arrangement gets rather repetitive by 2:00. You need to change things up in bigger ways. I'd work on the drum programming as well. What you have right now is OK, but it's not really punching through enough IMO. The whole remix could also be mixed more loudly overall but it's not much of a problem. I like the concept. The arrangement is the biggest issue for me.

The acoustic guitar had less tendency to respond to the distortion with instability in the tone, so it gave you more control over what you could begin with.

To be honest, I actually didn't have the time to listen for both sources, but here you go: The leitmotif was changed to more heroic intervals, but I recognized it. I thought it was a pretty cool adjustment to the intended key, which is totally fine in general, as for example, Neblix changed both Plug Man (MM9) and Elec Man (MM1) to a minor key in Blackout Tower, and no judge felt like either source was missing. ChaosRayZero on YouTube said, "I was wondering where the Elecman music was when it hit me... Playing it in minor key like that was GENIUS!!! ^~^♫". It's basically a mood change with the source. Depends on how you take it, but I think it was a-ok. 0:03.51 - 0:05.94 = Source (0:14 - 0:22) 0:07.44 - 0:09.71, etc. =/= Source (0:14 - 0:22) <--- similar, sounds like a modal shift, same rhythm, but not close enough, IMO 0:19.55 - 0:22.04 = Source (0:14 - 0:22) 0:36.04 - 0:38.06 = Source (0:14 - 0:22) etc. Wherever that harp plays those notes.

Oh, okay. Yeah, I put one here: https://app.box.com/s/jvv3vo4g9s4oluosirev