timaeus222

Right now, the tracklist is: k-wix Chernabogue Sbeast timaeus222 Brandon Strader PokerusVGM Also, Sbeast's track title is "Choose Your Character!", and Pokerus should have an accent on the e. Otherwise, looks great to me!

You just keep blowing us away with these awesome chord changes and irregular time signatures. STOP IT! If this were an actual live performance, this would convey the instrumentalists being really into it. It's that good. For instance, at 2:09, I was expecting the exact chord you would play at 2:12, and you chose THAT chord, which was just the right choice IMO. That kind of small stuff really makes this shine.

I didn't mean the chord changes themselves (the notes were there), but just chord changes that can be more clearly heard / more upfront / more easily felt.

I dunno, I like the specification of his name there.

This is a good base so far! After listening through a few times, these are the things I would work on: Major stuff 1. Incorporating a more well-defined harmonic backbone; the bass forms the base of your chords, but the pad is either too distant or it isn't enough to provide noticeable chord changes 2. Adding variation to your drum [loop] (notice the hip hop "yeah" at 0:46 - 0:51?) and doing further drum programming 3. Some transitions would help differentiate higher energy sections from lower energy ones, i.e. at 0:22, 0:44, 1:44, and 3:10. You might want to do something like a sweep at 0:22, reverse kick at 0:44, a reverse (delayed if you want) cymbal at 1:44, and a soft regular cymbal at 3:10. Less-major stuff 4. You use the same transition several times: 1:03, 1:22, 1:52, and 3:28. However, at 1:03 and 3:28, I would keep those because I think they work well there. 5. Adding motion and increasing the width in your main pad to help add more spaciousness. (Doesn't your synth [Zebralette?] have a width knob?)

If it helps, I would consider some pretty important criteria for an orchestral library that suits you: - What do you want to do with the library, specifically? You mentioned as a "backbone", so maybe a supplementary role is sufficient? - Does it have the features you want for your purposes? For example, you may want to consider (among other features) whether they have ensemble patches, intelligent voicing, keyswitches, solo patches, etc. - Is it within your budget? These libraries are often several hundreds of USD. - Does it give you the instruments you want? For instance, LASS2.5 gives you only strings (in excellent quality, but yeah, only strings), while Bravura Scoring Brass gives you only brass (you should definitely take a look at it---fantastic value for your money!). - Do you want it enough to wait a while until you make enough money to get it, if it's outside your budget right now? For instance, LASS2.5 is I think $1400. - Does it sound good in terms of sound quality? (They're all sampling the same real-life instruments, so it's mainly a matter of how well and in what way. For example, is it dry enough? How confident are you with reverb? etc.) It may also help to try looking at kvraudio.com and searching through their database. They have all sorts of product reviews, links to product pages, and clear product descriptions.

It would be well worth your time to read these two posts: http://ocremix.org/community/topic/42004-can-someone-give-me-a-crash-course-in-the-copyright-law-surrounding-vgm-covers-on-youtube/?p=795996 http://ocremix.org/community/topic/29428-chiptune-copyright-question/?p=622208 They're not EXACTLY the same as your scenario, but they're pretty informative.

Just fyi, the mastering is currently complete and awaits the final track!

After two years, I still love this! There's a really outgoing vibe to this, and the instrumentation adds apt ethnic flavor to an outstandingly-detailed electronic rock jam.

I just do it by ear. There has only been one instance where I ever used a MIDI, and besides that, I just don't. Sometimes if there is no MIDI, I like to use an audio editor to slow down absurdly fast passages and transcribe each note to hear it back in a clearer fashion.

The best answer is probably "try and figure out what works best for you."

Yeah. Just wanted to add a quick example, but Islamists like Khomeini assert that [an implemented Shari'a law as a check over people's behavior] + [using religion as a rhetorical tool to gain their approval through accessibility] = true Islam/utopia = order, but in fact, Shari'a law has plenty of restrictions on women... For instance, Islam women who received a statement of divorce from the man are obligated to tempt the man (with beauty) to get him to take back his call for divorce, and the divorced woman has to live with the man for 100 days before moving out---the men get the upper hand, so to speak, and Khomeini (a so-called *expert on Islamic law*) may have seen that gender inequality more clearly if he truly fought for feminism instead of his ideal for true Islam.

This is really coming along and I do think it's almost there. Probably the last thing I would comment on is Pikachu's tail; it seems to stick out as unshaded to me. I know you wanted a certain emission window/range on the TV, so even if you don't agree with that, perhaps thicken the outline on the tail to match the body/ears/head?

I'll see if I can provide any insight here based on what I remember about my 'younger days'. I do agree with this, actually. I didn't really gain an appreciation for chord changes until two years into my remixing experience (August 2013), and I in fact had had about 9 years of music experience by that time, the latter 4 of which also involved high school choir. Obviously I'd see a lot of chord changes in choir on paper, but apparently I didn't recognize them that well by ear at the time! By the time I got into high school choir, I already had pretty competent rhythm, at least in terms of reading sheet music and clapping it. But when it came to rhythmic accuracy on the level of machine precision (5~50 milliseconds of rhythmic error), I didn't notice that kind of rhythmic error until later in 2013 (December), when I had gotten the experience in composing something very long via live MIDI + rhythmic fixes (a Bohemian Rhapsody instrumental recreation). (That said, I consider myself pretty lucky to have the rhythmic precision I had in high school. It might have developed when I was taking piano lessons from 2004~2012.) Loudness differences is something many people have trouble with, and I'm not surprised at what you said here. I agree that in general, many people who aren't accustomed to listening closely to volume changes have difficulty noticing them, and that 5 dB is a good general mark. I remember that before 2013, I didn't notice that zircon's "Vessel of the Void" as an album AND OCR solo track are both mastered at -3 dB, and if you look at the waveform, it's extremely obvious that someone other than zircon just lowered the volume in an audio editor by 3 dB. By around mid-2013 though, I ended up emailing zircon about it and he didn't realize that someone did that. (He said, "Maybe someone changed it for the project release? Not sure..") As for that second part, I would guess that it might be due to simply being more familiar with what they are noticing. For instance, a hardcore guitarist would probably want to pay attention to a guitar in a rock song to figure out the tabs, while a hardcore drummer probably is trying to figure out the drum rhythm instead, and they may notice errors in aspects which they are respectively familiar with. (When I say "familiar" though, I mean REALLY familiar, and actively listening for and noticing errors in that particular aspect, not just being a great instrumentalist of that sort who doesn't challenge himself/herself to listen to errors within machine precision.) ----- There is some speculation to all this though, as we've all developed particular skills at different times.

So awesome. Have you tried a lighter color for the text on the bottom?

That one movie about soup-making rats? [/sarcasm] (I love that movie)

OCR Talkback #54: Return of Talkback

I've already been in the process of submitting all of them to OCR. One to go!

I love the diversity of moods here, from the transportive and expansive atmospheres of Sam Dillard, to the ambitious unsettling vibes from Slimy, to the overdriven metal of PirateCrab, Sbeast, Existence Zero, etc.! Thanks for a great album!

I found that this shifted nicely between solemn+atonal and more positive+tonal moods. Neat meditative feel, indeed!

Eventually, it would be ideal for you to be able to transcribe by ear so that you can personalize your music more, but MIDI imports are indeed a nice way to start getting used to working with your DAW, rather than doing that AND figuring out the compositional aspects at the same time.

Both are tomorrow.

What if you added to that sheen by lightening it up and blurring the edges? To me that currently looks like see-through glasses with no eyes. xD

Looking good so far! Any reason why Satoru has sheen on his glasses?

Audacity isn't really a DAW; it's more like an audio editor for post-processing. In other words, it'd be nice as a supplementary software but isn't sufficient for complete music composition. I think you're better off trying out some of the suggestions above! You might also find this a good read: http://music.tutsplus.com/articles/what-is-the-best-daw-for-beginners--audio-11773