timaeus222   Members

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

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".