timaeus222

Sounds like D relative minor to me. You can usually tell by the overall mood.

The file permission should be set to public. You don't have to sign in to listen to it.

timaeus222 Requiem for a Reploid (Shield Sheldon in Sigma Palace [X8]) Palace Of The Beast (Slash Beast in Sigma Palace [X8]) Subtle Haystack Tibulation (Frost Walrus in Sigma Palace [X8]) Zero Tolerance

Then I think we should collab sometime to make this one happen (glitch-hop it up?). There are some things I would be able to beef up with this (the bass, snare, and stereo imaging, mainly).

I just figured the game doesn't have as much story as the anime, so why add a favorite food to a nonexistent personality?

It's a bit of a subtle issue, but it essentially has to do with whether or not the strings seem realistic enough, for me at least. Clipping occurs when a limiter doesn't catch loud spikes in a song quickly enough, and that spike goes above 0 dB. It's sort of like playing a game of whack-a-mole and letting several moles get away.

Right at 0:17, it felt like there was clipping on the right. Pumping is just like pressing down on the volume of a song, letting it come back up, and doing it again and again. At 2:45 - 2:47, it sounded like there was really drastic volume automation (an automation curve decreasing at an increasing rate from a high value to a low value, and then a sharply leaping back up to the original value with a flat slope).

I think I heard some clipping in the beginning. If not I still hear some weird pumping at 2:45 - 2:47. Might want to turn this down by about 2 dB.

Same here.

The realism on this is not too bad, actually. There's some proper velocity variation. The problem I keep hearing here in the orchestration is that the strings are pulsing in and out in an unrealistic way whenever they are playing legato (such as the cello(?) at 0:38 - 0:51). From 0:51 to 1:02 it's easier to be OK with it since the cello is not as exposed. It shows throughout that you did do some volume or CC11 automation somewhere, but it has room for improvement. The piano isn't particularly realistic on the chords either, but that's probably a problem with the velocity curve and stiff sequencing of the chords, and the samples sound like they're lacking round robins. It's a bit better on the arpeggios, but on the chords, you should add a bit of timing slop/humanization to the chords so it's not 100% quantized. Even a few ms helps. Looking at the structure, it starts off sort of medium energy, building it up with the choir a bit, and then breaks it down for that cello leading. Later on the textures do change, such as the introduction of the piano. The dynamics continue to build towards the ending as the textures get denser, so you do have some good dynamics going on. The mixing also isn't lacking that much, so you're on the right track there. Pretty good cohesion on the reverb. In terms of literal length, it feels short, and technically, in terms of relative length, it doesn't feel short, but I believe the judges would want some more literal length to this arrangement somewhere in the middle to increase the dynamic range a bit more and allow more substantial interpretation. This is getting there, but I think you should keep working on this. It's not an easy pass. Work on reducing the amount of hardness and stiffness in the piano chords, and making the strings less pulsed and more phrased, and perhaps extend the arrangement to around 2.5 to 3 minutes if you can (it's not necessary IMO, as the arrangement still feels complete to me).

It's not too bad in its current state. You pretty much maintained the feel of the original, if that's what you wanted. Unfortunately this lacks a fair bit of essential components to differentiate from the original. The arrangement sticks very closely to the original, and adapts those notes to other instruments without noticeable velocity variation. One might call this conservative and MIDI-like. It's less plodding than your other tracks, but still has that prevalent issue. The piano writing is much too difficult for any real pianist to play without messing up, especially at 1:09 - 1:14 and 1:19 - 1:24; if you don't know much about playing piano, look at how a real pianist plays piano on YouTube or something, and study how hard they hit each key on fast passages. They won't be able to replicate this---trust me; I've been playing piano for over 10 years. The lack of velocity variation makes this track lose all of its dynamics and expression; this is not an easy fix, but at least try to do something about it. Don't just have all velocities flat. Put in the effort to adjust them. There is no transition at 1:24; how in the world did we get to a rock section? It's sudden. Try turning your screen off, closing your eyes, and listening to this track again in the morning, and convince yourself that you can't tell when the rock section is going to come up. If someone else listens to this track, there is no guarantee that they will read some sort of textual intro saying that you intend a rock section to come up. People tend to just listen to a piece of music as it is---music without anything else accompanying it. There is quite a bit of copy/paste without significant variation; don't just vary your instruments, but vary your melodic flow and energy too. That arpeggio you keep using is in almost the entire track and it keeps the energy too consistent. Sorry, but that's pretty much all I can say here. It was a decent attempt, but lacks substance IMO.

Nice tropical feel here. I thought the piano was rather thin and the guitar was most noticeably fake (especially 1:58-2:04), but it wasn't enough to detract too much from the solid execution and cohesive soundscape here. Not much of a fan of the clap you used, but the glitched BPed percussion was pretty cool.

The sound design is pretty spot-on. I think you nailed the underwater feel you wanted. The best parts by far are the tubular bell hits at 3:30 and 3:42. The pacing on the melody there along with just the right chord really evokes that definitive outtro feeling.

He also seems to be capitalizing the N in his name recently! ZircoN

Hm, never saw this before, but the source tunes on 'Tibetan Tussle' remained unchanged since the source tune fix. =p Should be: (Imperishable Solitude, Unremembered Miscreation, Disquieting Quagmire) on this page: http://ocremix.org/album/61/dungeonmans-remanstered

Sounded like Kirby to me! Sub it anyways. Also, my arrangement is done. Just gotta think of a good name, and then finalize it.

Oh, my bad; my mouse was Kensington, not Logitech.

Yeah, but who keeps track of that?

I agree on the bass; technically, there are/were artists/bands out there that put the bass at/nearly at the forefront or feature it somehow, such as the Jazz Fusion band Weather Report, who notably let Jaco Pastorius do bass solos. I also get though, that generally you don't hear bass as a prominent instrument. I see Jungle music as having more emphasis on subs and amen breaks, and is generally fairly "dark", whereas DnB tends to have more straightforward drum patterns, being more beat-driven. When in doubt, I would just pick DnB when the difference is hard to distinguish, as they both use similar general drum rhythms at similar tempos. The difference, from what I'm hearing, is stereotypically in the way the drum pattern draws focus on its variations or doesn't draw focus and just acts as a "beatkeeper". (Use your best judgment though) Example of Jungle Example of Drum & Bass

Speaking of feedback people, if you want me to give feedback for this album, just ask!

I'm working on getting more source usage in mine. It's 3:30 long at the moment though, and is otherwise maybe 90% done.

Yep, the reverb is really high on the percussion, yet the piano and flute feel quite dry and exposed in comparison.

They probably haven't heard it yet; they're on the mixes at somewhere around November 2014.

I set FL Studio to auto-save every 5 minutes.

Rhapsody Orchestral Percussion is always going to be my orch percussion recommendation. It's really versatile and comprehensive (including auxiliary percussion like clave, guiro, vibraslap, cowbell, chimes, etc), and it's quite dry to begin with as well. You can still get that "booming cinematic sound", however, by layering the tom ensembles with the bass drum, gran cassa, cajon, etc. Their snare and timpani selection are quite nice too; the rolls and stops/chokes on everything are a huge plus in my book. Here's one of the audio demos (dressed, naked)