timaeus222   Members

The drum timbres sound good, but I think the focus is lost when you have a wide bass and an irregular drum beat like that. I think this is 5/4 until 1:41, so maybe embrace that more and write drum rhythms more suited for that time signature. The drums kind of remind me of this (1:04). The lead at 1:43-2:11 is also really loud and piercing. People focus on the center instrument the most, so it'd help to have something centered.

How about mine? MegaMan Zero 4 Hard Mode 100pt Speedrun

Sounds awesome, guys!

https://www.youtube.com/watch?v=CI_a7cnmoRM

Hehe, it was the same for me too. Oddly enough, at times it rained for like 20 seconds, and at times it was pouring. Literally, I was passing through a building, and on one side it was raining, and when I got out the other end, it stopped.

If reverb is off in a packed build, it could just mean it's slightly off in all other places where it seems to sound good because it's not so busy, and that how much it was off was more noticeable with a bunch of instruments crammed into a build. So then, if you were thinking of automating down the wet mix in the reverb for just the build, you *could*, but my suggestion is to just try lowering it in general, and listening again on a fresh morning. I don't know how ironic this sounds, but headphones that I've tried out have mostly been pretty soaked in reverb. I literally progressed from "some" to "lots" to "a bit too much" to "just right" amounts of reverb. So then I'd advise comparing reverbs between headphones and seeing which pairs are drier, if you have more than one pair.

It's literally done conceptually the same way in FL Studio, so there's that confirmation. You can set a VST to take a particular MIDI I/O and all the MIDI channel instances can each be routed to individual mixer tracks, each channel allowing MIDI CC like expected. And yeah, I also think that keyswitches just add another factor to doing it conventionally. Yeah. I still haven't actually done a truly full orchestral track yet, but I've been focusing much more on imagining each instrument being played and considering the possibility of highlighting particular parts at times in a piece. I think that makes total sense. It's a subtle difference in polyphony, but most of the time it's a good idea. However, I think it's fine to do it the 'easy' way with ensemble patch + chords if the strings are not very exposed. That's just an excuse though, and not really the convention. It does save you some time though, if you're feeling like you're short on time for something. Kinda depends on the library quality, but yeah. And that would be my approach.

Ironically, I'm pretty set on my strong belief that this wasn't as loud as "mainstream" dubstep (AKA soundcloud dubstep and youtube dubstep), and that's part of why I said the execution wasn't super strong. That said, I liked the arrangement (the rap performance in particular) despite the straightforward approach, and production opinions I had were very minor, actually. Rap and dubstep *can* go together, because guess what? CHALLENGE ACCEPTED. It's possible; just takes the right person to tackle it, and my constant nudging towards my sister to go and request the stems from her band. Also kinda funny you liked the first seconds, because those *were* the sampling, and you'd be saying original > this remix. And about the standards... they tapered off in 2007, last I heard, but they were rising before then, so 10 years ago, this really would have passed. Highly probable. Yes, old OC ReMixes *generally* were more captivating for me in terms of the overall package, but hey, maybe the "more likable ones" (MUCH emphasis on these quotes) are still in the queue.

Yeah, I'll take you up on being co-director/assistant director if you'd like.

They advertise the size from uncompressed samples, perhaps to demonstrate how good their compression algorithm is, between WAV and NKI, and taking the time to compress your own WAV samples to NKI for Kontakt actually really helps the load time.

Technically, something from 13 years ago doesn't quite match the standards today, but with the 2~7 minutes in a submission, it really is just a recommendation based on attention spans and filesizes for the sake of bandwidth.

wat is dis i dont even

I technically agree with the heart of this, but I would rather take every interview seriously than take it as mere experience, then nicely decline any extra jobs that I prefer less if more than one happen to go well.

I actually meant to remix one of my sister's band's rap songs with some dubstep, but these guys beat me to the punch! (I'm completely serious) Ironically, that song was called "Break Ya Spine", IIRC (read the lyrics; you'll see why it's kinda ironic). Not sure I'm much of a fan of this though. It's not like I'm against these genres, but the execution felt predictable and a bit underwhelming.

It's alright; the arrangement totally makes up for it and beyond.

Some clipping here and there, though still as great and detailed as I remember.

So then does it have anything to do with variable (unpredictable what they are) speakers used for TVs, or...? I mean, you don't really know what speakers people will use when they use their TV. o.o; At this point, we're just asking you questions about your question.

The rhythm guitar sounds rather narrow. Did you think about recording a second take and double tracking it? Some other instruments in the background sound buried and off-rhythm in a weird way. Also, the lead guitar seems casually played, as if you were just playing around. o.o;

Sounds great! I think you've improved since last I heard your orchestral.

Now try listening to this when you're trippin' on acid.

Like me?

Really cool stereo field, man. Glad to see you're still doing remixes. =D

Great analogy. Yeah, that's what I was suggesting. You could try making it less full than usual, and Nase and you (and ecto, who agreed and made a similar previous topic about something like this) have a correspondingly logical reason of leaving room for sound effects. The challenge could then be to scoop the right frequencies so that the music doesn't sound overly compensated by itself and also sounds complementary with the sound effects. That just takes careful locating of the frequencies that create the particular qualities of each sound you want. So for you, Pete, I think grandeur can still be done, but it would then just be about finding a good balance in the frequency scooping gain, once you find those frequencies. Since you mainly use FL, I believe, it should be easier than in some other DAWs due to the visual EQ you have.

This could just be because of the audio system though. At least for me, my headphones hardly give me any ear fatigue. If your system is supposedly minimizing ear fatigue and it's not doing it, either it actually isn't functioning as intended or yeah, it's whatever you're working on that's causing it. (My guess is that thin resonances that are there but you may or may not hear is a cause. Oftentimes I tame resonances in FM bell sounds, for example, and their waveforms go from looking 'uncompressed' [dynamically all over the place] to 'controlled', yet no actual compressors were used.)

I'm believe zircon did something kinda like this for Fittest after listening closely to the mixing. For example, the strings sound great in Photosynthesis and the bass sounds great in Morsecode, but a little reserved in the loudness, I think. So, maybe whatever reason they have has something to do with not "distracting the listener" from the game, which could mean holding back on the fullness of the mixing?