timaeus222   Members

You can always rely on Mak to deliver a heavy chugfest. It was a pleasure to work with him on the album!

It's right in the first google search result. http://www.metroid-database.com/harmonyofahunter101.php It's also right on OCR's album search: http://ocremix.org/quicksearch/album/?qs_query=harmony+of+a+hunter

You use the main CV riff for a good long while, and put off the main melody until around 2:20. I think that does differentiate it from other CV remixes. I do think the drums feel separate from the other instrumentation though. They're very simple and repeat without much variation, and if you listen to the piece as a whole, the dynamics stay fairly constant. I like the solo at 1:55 - 2:20 though.

https://www.kvraudio.com/news/4front-truepianos-40-off-35312 A physically-modeled piano VST I've been using for years, on genres like cinematic, jazz fusion, and classical. Includes six piano models with over 8 distinct presets each. I think 40% off is a pretty good deal for this---it would be for most VSTs. Available through December 31, 2016.

I really just mean move the setting once, try it out, and once you like it, leave it there. It dampens your note dynamics a certain amount, depending on how large the value is. More negative = harder, and more positive = softer. TruePianos isn't a VST that is meant to be automated per se.

You could also try moving the Keyboard Dynamics slider value further to the right to soften the notes themselves, even without adjusting the velocities.

I usually only use those on drums. For example, sometimes I want a snare to have the resonating characteristic to a room, but maybe I want the reverb to cut off so that it's not a long decay tail. I could lower the decay time, but it doesn't always achieve the same effect as noise gating the reverb itself. An example of a plugin that does noise gating is FLOORFISH.

Jorito got you covered, but you might see "sound gates" called "noise gates" out on google, I think.

To this day, this remains one of my favorite DDD remixes.

Every judge noticed. Clearly, it wasn't an "extremely poor" case that "completely butchered" the piece. You should read through the votes and convince yourself that that was an exaggeration. I hear the intonation issues too, but they didn't really bother me enough.

Well, I've used Vegas with Windows 7 and 10, so yes! I find Vegas pretty straightforward to use, but if you have any questions about it, you can feel free to ask me. @José the Bronx Rican also knows it pretty well.

I third Vegas. I've been using it since 2007 and never left it. Splendid HD, especially when paired with VirtualDub. I use Vegas to render 60 fps gameplay these days, and it easily renders HD with minimal post-render blurring that may be seen in, say, Windows Movie Maker. Lots of convenient editing features (like editable volumes on individual layers, rearrangeable separate audio/video layers, sliceable and separable clips, a hefty set of transition + video FX, per-clip panning/cropping, etc), and I personally found it intuitive when I first got it. (It's also pretty cool that you can "oversample" the audio in Sony Vegas upon render; even the 144p on the video below sounds indistinguishable from the 720p version on YouTube.) I like to use VirtualDub as a pre-processing software to enlarge my videos ("nearest neighbor") so that individual pixels can be seen at large resolution. EXAMPLE

In the four years that this topic took place, you could have been learning how to make music. I learned how to make music I was happy with in 2 years.

Dubstep doesn't have to be that rigid. I write dubstep every now and then (mixed with other genres, but still), and I don't make myself have that kind of structure. So maybe you oughta broaden your interpretation of dubstep; don't you get tired of following set formulas for it?

I've been listening to Keyscape demos lately, and they've reminded me just how nicely a clean electric guitar lead can blend with an electric piano or wurlitzer. This ReMix exemplifies that. Slick solos (even your first-timer drum solo!). Also, I'm not at all bothered by the wurlitzer LFO panning. It's common to see that happening for an FM-y tone like that.

It's not the same tones. The first has a shorter decay, and the kick drum rhythm is even different.

Agreed; I would also try cutting down some on the basses' midrange to make room for the lead.

I try to listen to a wide variety of music, but generally what inspires me in terms of sound design is stuff by @big giant circles, @zircon, @Joshua Morse, and other people who have an established 'sound palette', because they have a distinctive set of sounds that emanate their essence, in such a way that you can tell when they've written a particular piece. That is, you listen to a piece by them, and can immediately identify it as theirs, because the sound design is memorable and innovative/unique/distinct. I've also found that as you actually try to make certain sounds, you start to feel more inspired by them more easily. I didn't like dubstep music about 2 years ago, but after designing a bunch of dubstep basses, it's one of my primary musical genres to write. You may find some ideas here in this playlist:

YES, Brent still does metal! While I do like his generally experimental style, what first got me into his music was "Eternal Descent", which I prefer more!

Brandon likely will not want to submit them to OCR, at the so-called "risk" of getting monetized. So those will be put aside, unless Brandon ever decides to sign the consent form anyway.

Well, the pitch envelope on the lead at 1:05 is a little weird, but I get the point; the slight pitch dive toward the end of its sustain adds to the chill blend of textures, so I think it works. Sometimes the tendency for a well-known source is to keep the melody intact, but I like that this isn't all that melody-focused, and actually has an incorporated original melody at 2:52 - 3:05 and the ending. The ending is OK; I think it would have been a bit more effective if there either wasn't a final sonar ping, and the synths right before it were sustained and faded out, or the underlying synths could have been sustained through the sonar's release (since it is a little spiky), but that's just a nitpick.

Very nice, the partwriting sounds well-adapted/natural to the violin + piano, and I'm especially loving the amount of emotion oozing from Chris's violin. The interpretation of Lost Woods' melody is also quite interesting; though it kinda tends to turn away from the playing the highest note in the melody, or occasionally omits a significant note on purpose, it still works as an alternative melody on its own. Totally fresh!

This is exactly the kind of retro game you're referring to. http://overclockedrecords.com/release/dungeonmans-ost/ So yeah.

Some of the OC ReMixes have become "classics" for me, like "Castle of Tears" (DigiE), or "Essence of Lime" (Hylian Lemon). I think this now joins them.

Yeah, I'm using a temporary Win 10 laptop while I'm in grad school, and WinAmp works here, so it's probably not just because its Win 10 that it doesn't work for you.