timaeus222

Yeah, but it's also really expensive to me. I don't wanna get it until I get a good amount more money than the $300 I'd need for it.

D'oh. I was hoping it wasn't Damage, since it uses dual-layer discs, which my computer doesn't accept.

0:14 feels hollow when the lead guitar comes in. There's nothing to fill in the mids. Other parts with just bass and guitar are the same. 1:49 and similar sections are better refined. 1:04 and other busier parts are slightly overcompressed. I agree, 1:24 doesn't have that musical merit in the solo notes, and it's really just fast scales. 2:20 is a straight copy and paste from before of the recordings you made. Sudden ending. Other than that, it's pretty good.

This Yoshi remix. From that point on I considered myself actually good at composing. February-ish 2013.

The acoustic bass at the beginning takes too long to get loud enough, so it sounds weirdly boomy until 0:04. 0:12 bell is really bright. Take that resonant frequency down by about 0.6~1.0dB. I like how sometimes it's half major half minor in the melody line, but it sounds alright. 1:41 shakers are slightly too high in treble, but not by much. Maybe 0.4~0.8dB. No big issues, and it's sounding pretty neat so far. Keep working on it in November.

What cinematic percussion samples are those? I think if I could get those, I could start putting them into my cinematic songs after some proper processing, instead of trying to repitch djembes.

Does "helping" consist of advice only, or does it include actual fidgeting on the person's project file?

Thanks, Rozo. I'm pretty glad you noticed the time sig changes, since I made them quite subtle. I did feel it was too bright sometimes, so I'll check that out later. I'm relatively sure I know why the hi hats are part of the problem, especially in the breakdown. Kristina, I'll clarify that until 2:52, the lead issues you pointed out were intentional. Yeah, 2:36 is supposed to be just a regular arpeggio so you can hear the more-important bassline. I also think 2:45 is more of an issue in comparison to 2:36. EDIT: Made fixes, and gonna tell ACO about it.

Haha, well, as it seems, all of the names so far do have 1-3 words. Okay, "Rush Riders" is good, then.

This ReMix was loads of fun, and I really enjoyed working on it with AngelCityOutlaw. This is a crazy effort, and I do believe ACO's guitar and arrangement contributions really tied this together very well. You just can't get that heaviness to the palm mute chugs with a sample library. This will be submitted soon after receiving a Mod Review, and this particular SoundCloud version won't be updated, so the final version would be on OCR. ReMix: http://soundcloud.com/timaeus222/lets-upset-a-troid Source: Looking for feedback on sub bass and high treble in particular, if possible. Source Breakdown: 0:00.00 - 0:04.40 = Original 0:04.40 - 0:22.00 = Source (0:00.50 - 0:12.98) 0:22.00 - 0:39.56 = Source Variation (0:12.98 - 0:30.04) 0:39.56 - 1:14.68 = Source (0:30.04 - 0:55.58) [in bassline, with a little variation on that as it progresses] 1:14.68 - 1:26.39 = Source (1:39.24 - 2:12.26) 1:26.39 - 2:13.21 = Source (2:12.26 - 2:29.49) 2:13.21 - 2:24.92 = Original 2:24.92 - 2:33.71 = Source (0:30.04 - 0:55.58) 2:33.71 - 2:36.64 = Original 2:36.64 - 2:52.73 = Source (0:30.04 - 0:55.58) 2:52.73 - 3:27.84 = Source (0:12.98 - 0:30.04) 3:27.84 - End = Source (0:00.50 - 0:12.98) 213.03 / 232.07 = 91.8% source, at most, minus maybe 20~40% for variation and obscurities. I'm being veeeeery flexible.

For some reason, this is lacking in treble quite a bit, so it sounds pretty narrow to me. The intro strings could have more harmonies going on, or at least some low end power with a note one octave down. The strings that lead at 0:32 tend to fall behind, so maybe you can stitch together notes from different articulation banks? The piano's phrasing is a bit strange, as well. Every chunk of four chords sounds mechanical, and I'd suggest the second and third chords to be just singular notes. 1:02 flute has the problem of mechanical articulations too. If only you had legato on it. 1:18 harp should be EQ'd out some more. There's a lot of residual low mids that clutter the mix, and you can see that the song got a whole lot louder when the harp came in, if you look at the waveform, but I can really only hear the harp playing. More open chords on the strings afterwards would help a lot too. The articulations are somewhat passable, but the harmonies make them sound thin and are the main problem. 2:04 cello in the right speaker is unusually loud compared to the staccato strings on the left speaker. Feels pretty dry, too. This does sound a lot better though.

Rush Riders of the Sky! Orion, Cosmic Sounds, me. Refers to Rush, the transforming robotic dog.

Pretty fun track there! You know, if you're looking for someone to master your tracks, I'd be up for it someday.

Okay, this might seem pretty hard to distinguish at first, but since it's easier to distinguish if the worse thing in a series comes last, I put the humanized one first and the stiff one second. Naturally, I played the humanized one, and the stiff one has exactly perfect rhythm and flat velocities. https://www.box.com/s/vg1qxcnbc1wx6vpdmrm4

Some of the plucked strings are rhythmically off, and the piano chord notes being scrunched together make them sound muddy. A tad too much reverb, but nice effort overall.

If you want, I can give you a before-and-after example of mechanical piano versus more humanized piano.

Nice atmosphere on Crypt and Mausoleum. You might be able to tell by now that the piano is mechanical. Might take a bit long to build up and progress. There's some weird boominess in The Happy Circle that shows up at 0:12 and then doesn't come back. Otherwise, aside from preferentially getting the velocities fixed and adding adequate reverb, it sounds good. The 3/4 RPG Melody has some sub bass issues mainly at 0:17 and on. It's cluttering up the soundscape. As before, the piano velocities and timing are mechanical.

People have said Cubase and ProTools work well with MIDI. I would say FL also works pretty well with MIDI. Interesting benefits: - Ghost channels help you to see notes from piano rolls belonging to other instruments as you write. Enable with Alt+V. Great for textural harmonies. - Horizontally stretch/compress a selection of notes proportionally (right Shift). Useful if you want to clone a pattern and adjust to a different time signature or tempo or something. - Can easily do meticulous MIDI event edits and sequencing because of window resize and keyboard shortcuts (Alt+Click drag for smooth event edits, and Alt+Shift+Click drag for non-quantized notes).

Orion is "Member C" in Cosmic Sounds's and my team. For a team name, how about... The Knight Stalkers (Knight Man)? After a quick google search it appears to also be the name of a scenario paintball team.

Well, I have an idea of the technical approach to this. I don't know if your synths can arrange modules serially, but this is what I was doing: Start with a detuned saw wave (try 10+ voices) on an oscillator. Adjust envelope for attack and release as necessary. Put in an FM oscillator in serial, and do maybe 80% volume on the FM osc. If you have a stereo width knob, make it completely wide. After both of those, add a low pass filter in serial and adjust the cutoff. I'd say around 78% of the way between 20Hz and 20kHz, so about 14~16kHz is where you should stop it. Add some stereo ping pong delay and some reverb with some tweaks. That's the pad layer. The top layer sounds like a bell-like sound with a reverse effect mixed in at about 50~70%, lots of delay with a very unique characteristic (as in, specific to particular plugins, possibly), and (of course) reverb. I think NastyDLA MKII can do a pretty accurate delay for this ("modulated panorama" preset). Not sure on the top layer synthesis. I don't think it's actually a bell though, and I think the major component of it is the plugin used for the effects. It's probably a plucky sound with some complex harmonic variation on the sine wave (you might actually need to draw your own wavetable, or just find one that is close in tone. Alternatively I think you could layer sine waves of different wavelengths, but that's too much work), using slightly slower attack than a normal pluck (maybe 5%), with its dry mix lowered to de-emphasize the attack, and the wet mix at around 90%. Example

Thanks for the comments, guys! I had a lot of fun with Shreddage II as a lead.

I just finished this recently for a friend's request. Took me about 9 days with breaks. First time I used pick scrapes and neck slides for something other than leadins. Haven't done anything Rock in a while. Basically my first orchestral implementation too. ReMix: http://soundcloud.com/timaeus222/air-strike Source: http://www.youtube.com/watch?v=hkar2nHOsK8 Shreddage II, X, and Bass really owned this. ISW is da bess. =D

I sang Bohemian Rhapsody twice for performances before... this is sooooo Queen. Especially the guitar lead at 5:03. 6:03 was ASFDASFDASGAGHFSDG. This deserves over 9000 everything.

Has this happened with any other albums, and are you sure you're searching in the right folder (or are you just searching on "Computer" to be safe?)?