timaeus222   Members

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.

I actually meant a digital download separately, but my bad, they do. I have no idea why I didn't see that earlier. xD

I dunno, but the Transient Master component in Guitar Rig 5 saved me the $100 of actually buying it separately. (Side note: I also find it kind of strange that NI doesn't give instruction manuals to their plugins separately/for free. I mean, they're instruction manuals to commercial items. What would they lose? It's not the actual product. )

It's more hyped up than "OMGSOEASYTOUSETOMAKEGOODMUSIC". It's really not only about what you have, but how well you can use it. Getting the whole thing at once is just like buying a whole bunch of gizmos that each come with long instruction manuals. You have to learn it all, or you won't get your money's worth. Kontakt with external libraries of your choosing is a great deal that's much more suited to the person and actually reflects your likes.

Sweet synthpop, man! I liked this when I first heard it, but now I can appreciate it even more.

This is f**kin' fantastic. 'nuff said.

I rather like the playful percussion. Great job man.

AHA! ...wait, what? I'll take it! I couldn't resist working on it some more, by the way, so I sent an update.

At 0:30, it sounds nice, but there's some sort of bassiness below the sidechained saw bass that's obscuring it. The lead's alright; kind of staple for trance, it seems. It would have been nice if you had some sort of lead-in to 1:10. Perhaps a descending arpeggio would foretell that ambient impact, but that may just be me. 1:13 sounded like an opportunity to create an expansive soundscape, so personally, it felt kind of... incomplete, I suppose. Maybe some sort of ambient bells would contribute to the texture. The key change at 1:28 is also still abrupt; it's fine to have one, but it would then need to be foretold somehow in the melodic writing and previous harmonies. 1:50 has a harsh dissonance between the tonic of the key (e.g. C in C Major, etc.) and the bell lead. Overall, the dynamics are kind of flat, then drop for the breakdown, then terrace up to flat again. You meant 2:11 to be louder than the previous section, but it sounds like the same volume, except muddier. This flatness to the dynamics is due to the limiter being pushed pretty hard and the mix being muddy in the bass. Try high passing everything that's not the main bass or the kick until the timbre is unfavorable, then stop moving the high pass right before that frequency. I also feel like the lead at 2:26 and on is "not taking a break". It's just playing this super long, somewhat machine-gun arpeggio until the end where it stops playing notes. You're getting better. In my opinion, repetition is fine if it's used for familiarity and to make people feel like they're listening to the same song the whole time, but repetition to fill in when you don't want to write new parts is... just repetition. At some point, see if you can come up with a remix of something in a new (additional) genre, and see where that takes you.

I see halc's been having some fun with granular delay and FM. Really cool soundscape. Stevo, dat guitar. <3