timaeus222   Members

MERRY!

For me, it took a while to really take off (0:39), but once it did, it's pretty chill. The bass was the highlight IMO. Kinda sounds like something from Trilian.

This ReMix was on the site a while ago, but I just put the music video on a new YouTube account for just music, so I figured I'd post it here. [4 Stage Boss]

Yeah, that's something I picked up while watching zircon's Final Fantasy 6 stream.

Merry Christmas! Also... Jesi? Let's make that a plural word...

There's also stereo imaging. You can always widen sounds or pan them left and right, and you can use phase inversion to "pan" behind or reverb to move things back. Jeff probably automates the mids on the basses to make room for the vocals.

Merry Christmas / Happy Holidays! Thank you for hosting an awesome album!

Clarification: My sources were mostly MegaMan Zero 3 - "Snowy Plains" and partially (accidentally) Chrono Trigger - "Corridors of Time" (https://www.youtube.com/watch?time_continue=43&v=bNzYIEY-CcM). Because Chrono Trigger is just something you can accidentally reference.

zircon's track is a must-listen, just saying. *nudge*

Maybe you could try raising the low cut on the reverb to around 200Hz or higher? Then the reverb won't affect anything below that.

I never said a thing about guitars or bass. Where did you get that idea? It's not the sequencing of the kick that is the main problem (I didn't even mention that). The timbre of it covers too much midrange and the volume of it is so high that it steps on top of the other instruments rather than setting a solid bass foundation. "Blasting" just means playing often and loudly. It doesn't mean anything specifically related to double pedal kicks. I was referring to the drums overall. You could have done a dance track with that kick and I would have said the same thing. Try not to "fall in love" with your track so much that you don't want to change anything. Being in the workshop forums is about being open-minded and being willing to try the feedback that is given if you really feel it applies. If more than one person says the same thing, it's probably not being imagined.

There's some nicely designed reverb here. Just enough ambience without washiness. I agree that the intro piano is a little mechanical, but not so much that it detracts from the piece. Great job on this, Mike and Aaron!

Maybe a harp arpeggio and a cymbal roll instead of a crossfade?

Zebra2 is the bomb. My resolutions: - Talk more - Finish as many remix WIPs as I can - Survive college

Okay, my mistake. Anyways, sfz and sfz+ are alternatives if you want.

Congrats on the mixpost, Jordan and Kristina! You did a great job with this too, Wes! (I loved the "round robin" outtro) I could hear the strings and oboe issues the j00js were hearing, but I'm sure even now, you guys could find something to nitpick in your own mix, so I'll leave that to you. Overall, pretty solid track.

Check out Chris's music! This guy is a great buddy of zircon's.

@ OP: FL Producer edition will come with the soundfont player.

These articles might help you: Effective Use of Reverb Part 1 Effective Use of Reverb Part 2 Using EQ

It's fine, of course we were just kidding. Well, first of all, the sounds you chose are pleasant. Kind of basic sounds, but they're not grating for the most part, to me. The piano at 0:07 stuck out to me first. There's quite a bit of reverb on it, but the low cut on it is not moved up, so there's some ambience that covers the low end too. Also, the frequencies of the dry signal (ignoring the reverb) are too low, making it sound like it's being hit harder than it actually is. A high pass on the dry signal could help free up muddiness later in the mix. At 0:15, the same piano clashes with the low-cutoff arp, so that's one instance where it might help. There's also too much reverb on the supersaw. At 0:48, the distorted chippy arp there is dry, which you may have done to compensate for the reverb on the other three instruments. If you balance out the reverb amounts, it may help the clarity of the mix. Something else I noticed is that the mix is generally not extremely 3D. At 1:30, the arp playing widely is a good start at making a 3D stereo image. However, at 1:48 - 2:12, things are getting extremely muddy (especially at 1:58), and it's not helping that it's supposed to be a buildup. It's certainly less muddy afterwards, though. Also, at 1:58, there's some sort of resonant arp that gets a little bit grating. If you attenuate that muddiness, you may feel less of a need for that much resonance. At 2:40, you can hear the cymbal being very distant. That's a sign that this track is being pushed too loudly and getting somewhat overcompressed. The source usage is a little basic. You basically repeat the same 12 notes for well over half the track. At 3:35, there's the first sign of any sort of usage of filter automation, even though most trance I've heard loves to have that. It's mainly because it's a prime source of variation and helps to keep the listener's interest, even with a stale beat such as this. Speaking of the drums, they are definitely on autopilot for most if not all of the track. Add some meaningful variations, and don't just copy/paste the same four-on-the-floor pattern throughout the whole song. It's not a bad thing per se, but at the same time it's not a good thing either. I don't mind the ending, but I'd sure like the muddiness to be addressed. The arrangement could be passable, if the repetition issues are looked into. The repetition and the muddiness are the two major issues for me.

A friend of mine liked this, so he put this on his game Keyboard Hero!

The first thing that's apparent to me is, yes, the kick is too loud. There's loads of ~80Hz and ~150Hz on it, but it's a clicky type of kick, and that gets a bit more grating than, say, a tight, thwapping kick. The wobble bass is too loud, too at 0:34. It's really narrow, upfront, and taking up the center of the soundscape and making things muddy near 120~200Hz. I also hear the glitching being out of place in most spots. It doesn't flow as well as it can. You can use it for stylistic flair, but it may work better simply as a ~60% mix level to make it not so jarring, and you may need to get more comfortable with envisioning glitch effects first before adding so many of them. You need to evaluate whether or not a particular section really needs a glitch effect, or if it will just be jarring. It's pseudo-orchestral, so having the wobble bass so upfront and the glitching so prominent makes this sound weird. If the bass was more tightly woven, it could work, but this still needs more TLC in that regard. The orchestral elements sound alright. The sine wave is OK, but it doesn't feel like it's sitting in the mix well yet. Maybe if you fix the muddy production around it, it could work more.

Your mom's cancelled.