timaeus222

Yeah, exactly. Personally, I believe judging volumes accurately is pretty hard, but what I would have done there is gone back to check each of my instrument volumes and evening those out first before using Master track processing. YMMV, but the people I've come across tend to say that Master track processing shouldn't be a magic fixer-upper, but mainly a final polish, if that makes sense.

I've never used the LA-3A emulated compressor, but have you tried just raising the volume with that off, or adjusting the compression settings on Pro-L? If you click "Advanced" under the Gain slider at the left, you should see settings for Lookahead, Attack, Release, etc. If it's Pro-L causing it, it should gradually help if you slowly and finely decrease the Release time. As for "rolling the bottom off", I actually do that too; on the Master track, I tend to high pass at about 30 Hz to eliminate most of the very low subs, since hardly ever do instruments go that far down.

When I listened to it (and please don't take offense to this), I felt confused as to whether theoretically, if the performance were to be live, the instrumentalists were aware of each other or just playing independently as if no one else was in the room. To me, it felt like the drums were too busy, and not particularly playing a beat that was cohesive with the rest of the instruments. If by "mix quality suffering" you mean it became overcompressed, then that tends to be due to the tolerance of your limiter. The free (FREE!) limiter I use, TLs-Pocket Limiter, is very tolerant, so I never (ever) have overcompression issues anymore (not since about 2012; what I watch out for instead these days is overcrowding, which is not a "pumping" feel, but just a cluttered feel). You may also want to take a look at FabFilter Pro-L, which I hear is a pretty fantastic (commercial) limiter. Does that help?

Thanks man! I felt inspired by a track from the Borderlands 2 soundtrack by BGC, and a song I sang in my freshman year in high school, Horizons (arr. by The King's Singers).

So much effort this round. Props! timaeus222 ~ Zero Tolerance MMMDop (Slash Beast in Doppler Stage 1 [X3]) Beetle Dopplerganger (Ground Scaravich in Doppler Stage 1 [X3]) Arsonist (Flame Mammoth in Doppler Stage 1 [X3])

Hey Garpocalypse, did you intend your track to be Celtic and/or Irish? And I think you should continue polishing it for OCR submission. I don't hear many OC ReMixes in that style.

So much effort this round. Props! timaeus222 ~ Zero Tolerance MMMDop (Slash Beast in Doppler Stage 1 [X3]) Beetle Dopplerganger (Ground Scaravich in Doppler Stage 1 [X3]) Arsonist (Flame Mammoth in Doppler Stage 1 [X3])

Not Bad Ass-Boss Themes? This would be a dandy candidate.

Don't worry, I'll keep track of who went when. pu_freak talked to Shariq about this prior to the compo. By the time we reach September, this will have happened, more or less: Week 1 - pu_freak ~ Done (July 26 - Aug 2) Week 2 - Timaeus ~ Done (Aug 2 - 9) Week 3 - pu_freak ~ Done (Aug 9 - 16) Week 4, 5 - Timaeus, pu_freak (Aug 16 - 23, 23 - 30) Week 6 - Mak (Aug 30 - Sept 6) Week 7, 8, 9 - Mak twice, Timaeus, in some order (Sept 6 - 13, 13 - 20, 20 - 27)

How ironic; I was just about to ask you. =P

I'm not sure if you played with the panning and the stereo field a bit, but it seriously helped if you did because the various parts feel more distinct to me. The melody at 1:09 - 1:22 also sounds much improved! I'm also liking the slow bitcrush-automated outtro. Sounds pretty solid now!

Because the badder the ass-album is, the more well-rounded it is. Or I guess it's the other way around.

Subbed a few hours ago! Here's a rough source breakdown: 0:12.0 - 0:19.7 = Doppler (0:01.2 - 0:08.6) 0:24.0 - 0:34.4, 0:36.0 - 0:38.2 = Doppler (0:01.2 - 0:08.6) 0:42.1 - 0:43.8 = Doppler (0:01.2 - 0:08.6) 0:48.1 - 0:52.4, 0:54.0 - 0:58.4 = Doppler (0:21.0 - 0:23.0) 1:00.0 - 1:03.0, 1:06.0 - 1:09.0 = Doppler (0:23.4 - 0:25.4) 1:12.0 - 1:15.0, 1:18.0 - 1:33.0 = Cyber Peacock (0:15.6 - 0:35.3) 1:48.0 - 1:52.5, 1:54.0 - 1:58.9 = Doppler (0:11.0 - 0:13.5) 2:00.0 - 2:10.4, 2:12.0 - 2:14.9 = Doppler (0:01.2 - 0:08.6) 2:18.1 - 2:21.0 = Doppler (0:01.2 - 0:08.6) 2:24.0 - 2:28.4, 2:30.0 - 2:34.3 = Doppler (0:21.0 - 0:23.0) 2:36.0 - 2:39.0, 2:42.0 - 2:45.0 = Doppler (0:23.4 - 0:25.4) 7.7 + 10.4 + 2.2 + 1.7 + 4.1 + 4.4 + 3.0 + 3.0 + 3.0 + 15.0 + 4.5 + 4.9 + 10.4 + 2.9 + 2.9 + 4.4 + 4.3 + 3.0 + 3.0 = 94.8/182.1 = ~52.1% Might want to grab a lemonade or something before you listen to my track.

I found the lead melodic contour to be somewhat noodly/meandering and/or busy at 0:56 - 1:08 and 1:14 - 1:43 (was waiting for it to take a bit of a break; 1:48 - 1:58 made more sense written that way IMO), but harmonically it still made sense. Smartly written, but I felt like less scales would have helped make it more memorable.

Of course this'll make it.

My track's pretty much done now, and I'm leaving room for anticipated last-minute updates Somewhat minimalist, and not ZOMG6MINUTESLONG, but I'm liking it. I will say though that the source usage could be seen as rather liberal due to the drastic stylistic shift and the majority being in a different key, so I'll provide a source breakdown sometime before the due time. EDIT: Oops. Gotta make a few notes more conservative. =P EDIT2: there!

People learn, and you know what, that's what I'd say today.

With organic samples that allow you to do something "ultra-realistic", once you learn how to use them inside and out, the goal I would put out is to well-sequence a plausible performance. If the samples are good but still missing a few non-crucial features (like for example, an electric lead guitar library without the capacity for power chord slides, or a violin library that doesn't have pizzicato... that isn't the end of the world), you can still sequence a performance that does not involve a feature you don't have. That performance could potentially still be realistic; it'll just be less comprehensive as to what techniques are used. If the library is missing a crucial feature though (like no hammer-ons and pull-offs for a electric lead guitar library, or no slurs for a violin library---TRAVESTY I SAY!), keep browsing your options. In any case, for VGM, "super realistic" samples would be nice, but it's not always necessary. Like Snaps said, if it "sounds good", it's good to go. For example, obviously the Plants Vs. Zombies soundtrack uses a few orchestral instruments in an old-school, electronic-orchestral soundscape, and they're not realistic by a long shot. Yet, Laura Shigihara went with that for the soundtrack, and I personally love the soundtrack because I think the quality of the instruments exhibits a memorable "character" to the PvZ soundscape.

Haha, just to be clear, I only provided a buttload of feedback, and Antanas handled the mixing all himself (which is impressive persistence!). Finally went through! YEAH!

This brings a great, fresh, new take on an old theme. Seriously innovative and well-crafted. +1

timaeus222 ~ Zero Tolerance Bounce Too High (Vanishing Gungaroo in Palace Ground [X]) Electric Moves & Cephalopod Grooves (Volt Kraken in Palace Ground [X]) Firefly (Shining Hotarunicus in Palace Ground [X])

Oh, my bad; I forgot that the first bullet point was your team name and username.

I'm seeing the votes, and I'm thinking, wait a minute... o.o Gotta keep that in mind.

I'll be mixing this week. It'll be pretty cool!