timaeus222   Members

Yeah, this is sounding much better. The lead at 1:09 and so on could be louder if you can manage that without much overcompression. It sounds a bit more distant than I think you would want it. The piano's coming through, but it sounds kind of "plunky" and hard, no matter what velocities you had. I don't know if you wanted that, but that's how it sounds, and it makes the chords in the breakdown section sound "blocky" (very quantized). I assume you had the most trouble with 4:34? It doesn't sound too bad, actually. If you want the piano to come through more, you can look for the quality of the tone you want to come through, then notch EQ the sidechained saw wave a bit there and that should help. Great job so far. This is turning into a cohesive track.

Says ol' grandpa j00j Shariq

So they feel our pain.

So why doesn't halc capitalize his C?

ROCK ON! \m/

Yeah, that should be fine. And if you do a calm remix, it kinda overrides any violent theme of a game anyways.

Well, it no longer sounds muddy. Nothing sounds out of place necessarily, and things are relatively clear. The only weird EQ areas are perhaps 1:43 with the impact being resonant near 12000~16000Hz and the pad at 2:26 to the end being harmonically indistinct (the last chord is major, but is placed pretty far back in the stereo field). Overall, this gets the job done. I don't know how else to say this, but it isn't super impressive. It's nice, but comes off kinda generic to me, at least. Still, you did improve over the course of this, so good job man.

To others: Other ways to say these things are "modulator", "FM depth", and "carrier signal", respectively. Also, you can have FM pads, e. pianos (EX: DX7, or maybe this), etc. and have them be warm even without post-processing. You'd just need to be very particular about the modulation depths and subtractive synthesis incorporation, even if it's all internal to the synth, so that it sounds swell out of the box. Mixing in a comb filter may actually help, too, if done carefully.

Browsers can change text size, dude

Either the e. piano could stand to be scooped a bit in the mids to leave room for the piano or the piano could be raised an octave sometimes. The B3's pretty muffled too, like melody mentioned.

Oh yeah, you can contact me most quickly by Skype, but OCR PM and my email are fine too.

Aside from some synths being rather resonant above 12kHz, this is pretty cool. =)

I moved myself back. I apparently lived in the mountains yesterday. =)

The video demonstration had a whole bunch of fantastic sounds, even if it was only partial coverage. <3 Inspiring, ethereal textures. I highly recommend this.

Fixed. 10char

uh das clipping bro

I'm lonely. D:

Well then, maybe I wish he layered in a music box on full blast. Great job man. Fun live work, and that really brought the flute alive the most with the breaths you took.

FM8, if you're into bells, e. pianos, etc. I think it excels at that, but there's plenty else you can do with it if you put in the effort.

Ambient Hoedown Glitch Hop.

You. >3> 10char

We'd just pick one of the games and go with that one, probably.

Happy Birthday, Larry! Keep rockin' those grandpa ears! =D

Well, it's at about -23 dB RMS right now, compared to around a (likely) normal -18~-14 dB RMS for chiptunes. In other words, the volume is about 30% lower than normal. Chiptunes tend to have parts that play a large role in maintaining the harmonies anyway, so there's less of an issue with volume here than if this was some other fuller genre.

I'll admit, at first I thought the intro had Brandon saying "Gorillas". The metal production fell a little flat for me, but ultimately it's still pretty good.