timaeus222

Do you mean stuff like this, or something else? That was made using a Comb filter and its feedback knob, plus a ton of distortion. If you mean like ghost moans and stuff, the ones I have are pretty much all made with Comb filters for the metallic tone, then with random LFO panning and spacious reverb. EDIT: More stuff here. I have Platinum Percussion, and I think it's very well-polished. It actually inspired the Yu-Gi-Oh ReMix I wrote for the GB 25th Anniversary album.

Yeah, what's-his-face... Aaron Copland actually mentioned bass lines implying the underlying chord progression in "What To Listen For In Music".

Yes, because not every library is programmed to work fully with Kontakt Player for free, usually just the full version of Kontakt. Shreddage is compatible with Kontakt Player 5, however. Yeah, I'm sure I showed that to you earlier. =P

I think from many of the bass lines I've written, they tend to line up as fifths above the root, or fourths or major 7ths below the root on the note holds, and some other notes I just treat as passing notes. At least, that's how I instinctively hum bass lines.

When I write them, I make sure it's not crazy. Playing too many octaves is tiring, playing strange intervals the whole time might be too hard, etc. I try to hum a bass line to accompany a melody. Try doing that, and then writing out what you hummed. Tweak it a little until it matches the groove of the melody. With practice, that might be able to come naturally (that's what I do if I'm stuck). Generally if I want to check and see if it's 'good', I just think, could a normal person sing it, or play it? If not, what would they change to make their part simpler? Sometimes simple is good. Overall, it should fit the mood when you're done. EX: https://app.box.com/s/x19ibwfak65ni91jtbnr http://ocremix.org/remix/OCR01849 http://ocremix.org/remix/OCR02859 http://ocremix.org/remix/OCR02767

Me too!

Why not? You just use it like any other VST. Just locate it in your plugin searcher, and open it in your VST wrapper.

I somehow pass most games, but the one game that got me was Bug's Life (GB). There's one spot where I just can't jump over the damn gigantic mushroom thing. Couldn't proceed past, like, level 3 or something.

Will you keep rockin'? I dunno, I might call Bullwinkleshiz on that!

This is quite interesting. Not super heavy with the drums, so to me it feels kind of laid back, but the mallets and mega-distorted bass heighten the tension so it's not so low-key. Great take that makes use of what's available and makes it work!

Seems like the last few notes of the leitmotif are a little different, but the rest is exactly the same notes and rhythm, as far as I can tell. One of my friends sang that as a solo in high school.

Globulous. It's just too good for me to attempt (too fitting with what instruments zircon uses in their respective moods). At least, today. Maybe in the future.

What SnappleMan said, and like what Argle said about putting a more spacious reverb. It does feel narrow, lack body in the low mids, and feel harsh in the mids.

It was fun chattin' it up there!

Kontakt Player 5 is completely free, but Kontakt 5 is not. It also, IMO, does not come with super realistic guitars (they're OK, but not specialized). Okay, the WAV one works now. So like mentioned earlier, the most tell-tale issue is the lack of sympathetic resonance; it sounds like partial unison bends every time you play more than one note at once. Other things: - The EQ in the low mids is boosted quite a bit, and it's also boosting the result of the reverb. Seems like the reverb may be in the amp sim, with the EQ placed after the amp sim in your DAW. I usually don't put an EQ after the reverb, but reverb after the EQ. After the reverb makes the instrument sit better in the mix, it may add more low end ambience depending on the Low Cut setting if you have one, and putting an EQ next in the signal chain boosts that ambience too. - 1:28 - 1:41 gets really loud. - Consider panning on the lead guitar to add more spaciousness and subtlety, and double-tracking the rhythm guitars (hard-pan left and right different takes). The whole thing sounds so narrow in the stereo field.

Shreddage is used with Kontakt 5, but Kontakt Player 5 is compatible, so you don't have to pay extra money to get the plugin that allows you to play it. Yes, it works as standalone; it just opens in Kontakt Player, not by itself. For some reason the remix won't play for me. Maybe try uploading an MP3 instead?

Yeh buddi. Game boiiiiiiii

I think this is well-developed! I hear the differences between what at first seemed like copy-pasted sections, and they seem different for the purpose of progression, not just for the sake of variation. Great harmonies as always. You may want to compare this to this solo piano mix that passed in 2008 to see if this could pass. I think this may pass, but I'd like to hear some more personalization.

Personally I would have tried to not record the pedal pressing, but that doesn't leave the slightest dent on such tight playing and a well-thought-out arrangement.

The amount of controlled distortion here actually reminds me of what a pop star producer could do (in a good way). Kinda reminds me of Demi Lovato's " ". I don't think I've ever heard JJT's stuff before. This makes me want to hear more.

I'd suggest Shreddage 2 instead of Ministry of Rock. I've heard those two, and I honestly believe Impact Soundworks does guitars more realistically with Shreddage 2. Pitch bending in Shreddage is with the pitch wheel. There's no "special sequencing". No "secrets" or w/e. People with high quality sample libraries aren't automatically "pros" either. It's not completely about the samples you work with, it's how well you work with them.

That's true, though with guitars, it's important that you do the vibrato with a non-constant modulation, so a constant sine LFO will sound less realistic than a manually recorded pitch bend on the pitch wheel.

Well, I wouldn't say more 'powerful', but I definitely think it's a great addition to a glitch plugin arsenal, and provides some incredible contrast with those mechanized possibilities. Something I'm obviously going to get. EDIT: Feels straightforward; not too difficult to use, and although only 4 effects available, automating them helps bring out more variations. Pretty good for free! In about 10 minutes of trying it out with automation, and then deciding to press Randomize several times, I got these. And only ~20 MB RAM per instance.

If a ReMix was approved for an album but then later rejected for a site mixpost, does an approved resub become an "alternative site version" or does the album version get replaced too? Or something else?

For some reason, despite how well this is actually written, it still feels sequenced. Maybe because the same groove/rhythmic syncopation is maintained almost the whole time, and it just feels like the dynamics stayed somewhat constant. Oh well, I think this was well done overall, Kelly. Great action orchestral ReMix.