timaeus222   Members

If you can't think of a chord progression, think about how you want your song to sound during each measure. Then put a harmony note down. If it doesn't fit, shift it up or down until it does. Then write down what letters are in the harmony you have. Fill in what's missing (a middle note) and keep trying until you get the chord you want there. I already know music theory, but it still doesn't help me in FL Studio without the use of my MIDI keyboard. I can play chords better than I can think them up.

When I use a Kontakt library on FL and link the instance to one mixer channel, I can split it to two using the Wrapper settings and mapping the outputs. If I pan an output hard left and one hard right and put s(M)exoscope in the Master and I alter the mix level slider or knob on the one panned hard right, s(M)exoscope doesn't reflect that. In fact, it doesn't give any output at all if I mute the channel panned hard right; it only outputs the channel panned hard left. However, if I pan both to the center, I can mute one and the other will still be shown in s(M)exoscope. In fact, if both are panned center, both are shown in s(M)exoscope if both are not muted. Any idea why? EDIT: Never mind, can a mod delete this topic? It turns out s(M)exoscope is set to analyze only one channel at a time, so it can only look at something panned left OR right, not more than one.

LinuxSampler works well with SFZ and other soundfont types. http://download.linuxsampler.org/packages/win32/snapshots/ - latest version on the bottom. Maybe that'll help? Either way, it's really nice.

It's ironic how the second sentence is completely antithetical to the first in terms of a person's assumed composure. e.g. The second sentence is smarter than the first by a long shot. xD No offense, of course. Just kind of funny.

In that case, you should take a look at this:

I'm not a dubstep fan, but I do know that what you should really do is learn how to make patches on a plugin that is capable of making the sound you want for the wobbles. i.e. Massive, and if you're really good, Zebra2. *coughzirconcough*

I actually never use that, because honestly, since I have no control as to how it works other than the mix level, I just go for other plugins.

Ah, that's good. Yeah, I wanted to make sure everything was playing in full clarity first before I fixed any EQ issues.

Listening on my good headphones, I personally don't notice anything too out there, but that's just because I'm not an orchestral person. I don't think I hear anything weird with EQ or clarity though.

Haha, yeah. I really only use FL Limiter, Param EQ 2, Blood Overdrive (for my kicks), Waveshaper (rarely), and compressor (last resort).

Okay, how does this sound now? Anyone notice anything strange anymore? I believe I've fixed all overcompression problems, dynamics problems, and in consequence, have a "more modern" mixing caliber. Btw, if you notice something at 2:30, I do too. I think I need another reverse cymbal layer there. https://www.box.com/s/y52h5refxuc8381z1vxs - V4 https://www.box.com/s/nwc9c2a97t1mksy96edm - V3 https://www.box.com/s/51902283176a34f60bbe - V2 - Source Mirror 1 - Source Mirror 2

Seriously, anyone have any comments? Bump.

Not a bad first attempt. The first thing that bothered me was the snare at 0:24. Try getting a sample with more punch and a shorter tail. If your DAW can, try shortening the tail in your DAW and lowering the wet on the reverb by about 10%. The kick also sounds like the generic FL Studio template kick. Actually, it just might be that same sample. Are you using FL's default 4 drum samples? At 0:38, the lead sounds like its sustain is too low and the release is what is carrying the note along. Basically it sounds like a note is pressed and then let go really quickly with some added reverb, but not exactly like that. In short, make the note capable of lasting longer and add some vibrato expression on there. The "YAH" wub at 0:58 might be overused like that; it feels mechanical since the same vowel instance is repeated in a machine-gun-like fashion. See if you can't modify that patch to be more dynamic. Have the vowel change somehow, maybe through linking a slow LFO? 1 cycle per 2 seconds might work. Usually that's listed as "2/1". I'm thinking though that that sound is just the only one in the patch to begin with. I think you can make 1:39 shine some more. Sounds like an action-filled section, or at least, it could be. Might be a good time to change up the drum rhythm there. Maybe even add an organ solo after that section? The ending was pretty cool. That works for me. Again, not bad, just needs some sample upgrading, expression, and more polish.

Haha, Protricity totally nailed this one. I agree too, the original was terribly dull and in-your-face. This remix does feel too quiet at 0:36 - 1:36, but if the volume were pumped up by, what, 2 dB, then it might be the right volume. The mixing itself is just fine, though. 1:49 is not too quiet; I actually like that breakdown a lot. Aside from that, well, the rest is awesome. Ten thumbs up for turning *that* source into this remix. Oh wait. I don't have ten thumbs. Hey, guys? Lend me your thumbs! >

Hm, you've given it an 80's disco feel. Interesting. The stabs at 0:43 were an interesting transition. Really nice lead at 1:06. Some creative stuff going on here. It's not overly impressive, but it's pretty cool. Sweet toms too. Now that I think about it, the beginning and end leads sound like a guitar. xD

I'm not on my good headphones now, but I can tell you other things. I like the touch you put with Goldenrod's theme. It works pretty seamlessly with Pachelbel. Some compression issues, though. i.e. At 1:57, the lead is too soft and the arpeggio flute is too loud. Make sure to raise the volume until you first hear it enough. At 2:08, things start becoming more conservative; that was basically verbatim Pachelbel, actually. Try to be more creative, like you were in the intro. You had it going for a while there. At 2:40, you could even say it's the Abandoned Ship theme. In fact, if you say that, it would appear to be more impressive. xD Overall, the piece feels a bit simple. It looks like the majority of the piece has the same feel. Try changing the mood up a little. 1:58 was getting interesting, but that was a little long to get there. Maybe you could bring in more instruments to introduce a new soundscape but still keep the atmosphere you were going for with your other instruments. I think you can personalize this way more. Keep working on it!

Alright then, thanks! Although, I didn't mean that the definition of "modern" is arbitrary. I meant that your definition would vary slightly with other people. I thought "modern" meant "of this era", rather than "mixed with this era's expectations".

I agree with some of the level issues, but not all of them; I don't hear how the leads are too loud. The judges also said nothing about the arrangement other than the ending and the transition at 1:35 (and apparently you didn't say anything about that transition, so I guess can safely ignore that. First impressions matter more, right?). And it's kind of hard to process things "modernly" if your definition of "modern" is arbitrary in the sense that other people would define it slightly differently.

No problem. Actually, some of the great OC ReMixes, in my opinion, seem to have done a huge amount of rearrangement work. I looked at sources for those, and the sources appear to sound a lot different, but are still recognizable even after listening to the remix first. Just some examples: - Halo 3: 'Immortalized' by Sole Signal - Pokemon Diamond: 'Home is Where the Luvdisc Is' by ProtoDome - Final Fantasy VI: 'Dirt Devil' by zircon

FYI, if it's a cover, OCR probably won't accept it unless you rework the arrangement to be different from the original. It also seems really quiet, and youtube is not a good music host.

Check this out! I made this in about 3 days! Thanks to Andrew Aversa for composing the song and to Jillian for singing it! The vocal samples were provided with FL Studio 9+. https://www.box.com/s/ia83487mrnitg7dc3n1y (WIP) I made some of the Zebra2 patches again. xD i.e. The wind, some pads, the effects at each bar during some verses (it's hard to explain; maybe it's like when an LFO is really quick, and an envelope is applied to gradually decrease its speed. Like at 0:51 and 1:16), the basses, and some others. zircon made the leads during the instrumental sections, the white noise hit patch, and one of the pads I layered in the breakdown section, among others. EDIT: Ultimately it's not finished, and I'm going back to fix up stuff later. It's close, though.

Yeah, I do kind of want to find a good low end snare to layer on, but I haven't really found one yet in my collection. It's probably somewhere in there. There are some sections where I don't want a strong snare, though, like 0:56 and 1:41. In those sections, they're kind of like "transitions between dynamics" so it's not just "tack in a reverse cymbal and call it good". The cymbals and hats are EWQL, but I'll try to replace them with the individual types of NKIs rather than the full kit NKIs so I can manually pan or not pan them. The kits automatically pan the samples which is weird to me. Sometimes it's a bit much. Well, at 3:17, it's almost the same as 0:25. I guess I could layer it with something else, but I just don't want it to overpower other things in amplitude, so I had left it as one layer. Maybe I could just figure something out with one layer. There has to be something else going on but I can't hear it.

At 0:19, 0:24, and 0:28, I'm hearing dissonance. You might want to change up the composition. Don't stay too conservative. Some quirks only work well for the source. That's all I can really say. The rest is more or less repetition.