timaeus222

The next "level" would be to decide what orchestral library best suits you and your budget, if you want to keep doing more orchestral music, and what you would need to use them (Kontakt 5, for example, is necessary to run Kontakt 5+-only orchestral sample libraries).

That is actually really useful. Keep it up man!

I was hoping for some burrito-related lyrics, but I got this. The drums feel oddly wide, like a loop (because it is a loop... get it?). Cool groove though. I like those analog FM synths (Hah, analoq using analog); highlight of the track for me. DAT TRIPLET TREMOLO. Wouldn't actually listen to this intently, but it's good as background music. Nice! EDIT: didn't even read what OA said. Hah, great minds think alike.

This is hilarious. Nerdiness is off the charts. Or is it geekiness? Vocals are kickin'. This track is awesome with them in, IMO.

I personally felt like your guitars were rather thin (lacking in bass frequencies), but that did help avoid muddiness before 0:57 with the thunderstorm sound. Mainly, I would check your performance and arrangement personalization. There were some timing issues, like at 0:58 - 0:59 on the backing guitar, and some intonation issues, like at 1:01 - 1:02 on the backing guitar and 3:06 - 3:07 on the leads. When the harmonies come in more overtly at 1:36, that was where it started getting better. There is a decent amount of personalization here, hopefully not too liberal (wanna do a source breakdown for this?). I think it was good to incorporate original content in there; Song of Storms is pretty short. Overall, somewhat cover-ish, but I think the arrangement is pretty solid. Isn't a very strong candidate IMO, but I think it's got a decent chance and has some good personalization; could be a tough call on account of the thinness of the guitar.

I do recall Sir Jordanius being *that guy* who holds up his subs until he's completely happy with them, and I think that's totally fine! I think Larry's chill enough to be flexible like that.

The rubato sounds intentional to me, and the harmonies are definitely in the vein of DAT SMOOTH JAZZ~. I'm confident that this is an easy pass. The piano tone is quite good too. Some of the harmonies did sound weird to me, but they sounded good once I heard this more than once. Yeah, I don't think you'd have anything to worry about. It sounded cohesive IMO, and it's only two source tunes and one cameo anyways, so there's not really much 'danger' in this sounding like a medley. Knocked it out of the park... again!

Great atmosphere here! Pretty chill. I like that retrigger on the piano and the other glitch effects on the drums. I feel this stays in one mood for a pretty long time, but other than that, good work on this dude.

This felt unfocused to me. It's pretty muddy from the bass notes overtaking the melody. Not too bad though. There's room for improvement, but you've got a decent start here. I liked the phase-y transmission-esque sound.

Hah, when I first saw this, I was like, "ADULT LINK?! Uh oh, M FOR MATURE! Am I gonna hear some F-BOMBS?" Then I realized, it was Zelda. Heavy stuff here. You can still hear the drums the whole time though, which is great. Meaty guitar tone too. However, despite my not knowing the Zelda soundtrack that well, I thought that the medley felt like a medley rather than a cohesive track, so you could think more about how you want to transition more seamlessly on your future stuff.

Ah, no wonder the notes don't sound that detached; synth strings/brass are fairly good about that. While it's not particularly realistic, it does help you avoid the lack of realism you would get if you had notes that sounded like they didn't connect, and that's a fairly common issue from what I've heard. I agree with Anorax, I think the snare rolls worked. I also hear that you reworked the melody on the repeat, and you had some new and good chord progressions near the end of it too, which is definitely a step forward. Nice work!

Hm. The stereo field is a bit weird on this. Is there any sort of stereo phase inversion or stereo widening on this? Your drums are nice and punchy, and I can hear them the whole time. The bells are a bit piercing though (kinda hurts my ears), and feel strange being so wide, and the snare and bells could have a bit of reverb to make them sit better in the soundscape. Nice breakdown at 2:18; came at about the right time IMO. I tend to write breakdown sections about halfway through a ReMix just instinctively. Overall, not bad. Could use a more fleshed-out soundscape to make it more interesting, but it's a good start.

Nice work! Has a neat old-school charm to it. I'm unfamiliar with the game, but it feels medieval to me.

Ah, well, I'm not trying to attack him; just giving him my perspective. *shrug* And yes, those were the best I've ever heard, really. I'm not just judging based on bass mixing, but clearly, that composer knows how to mix and master, and I did think that melody on "I am the Sentinel" was memorable. But seriously, come on, let's not go overboard here and call me a hypocrite. It doesn't do anything other than draw attention away from the fine job RoeTaka did here. /end

Well then your standards are a bit too high then, because I honestly thought those two were the best film-score music I've ever heard, and they are most certainly film-score quality. Really, the bass mixing there is just spot-on, whether it was for a "low-budget" film or not, and those songs wow me every time. RoeTaka's ReMix was great; didn't wow me, but I still thought it was great. I dunno, your posts here just came off as arrogant to me, and the way you put a paragraph of critique but less than a sentence of compliment just de-emphasized the compliment IMO.

Thes are some of my standards: https://soundcloud.com/stephen-anderson/unity https://soundcloud.com/stephen-anderson/i-am-the-sentinel-credits So my standards are quite high (I'm not saying I compose like that, but I do hear how good that is). I'm just evaluating specifically in terms of OCR's standards, which are actually lower. I feel like your standards are the real-life film-score-level standards, which the above two links would be; but OCR's standards aren't quite that high.

I disagree, I think the emotion is definitely there, and I don't hear any substantial flaws worth pointing out. The issues Neifion mentioned weren't really that noticeable. Even 2:50 sounded quite serviceable. This is great as-is. Keep dishing out the goodness.

I already talked about this: I never said your mix was clipping. I said that if you didn't use your limiter (or compressor, really, because they're very similar except a limiter is a high-Ratio compressor), there could potentially be clipping from your loud track volumes. In this case, the drums you have sound pushed down by the compressor in an unnatural way, and their transients are breaking up. And when you say you hear "interferences of the lower frequencies within the bass tracks", you're actually right there; it's happening, and it bothers me personally because it's obstructing the clarity you could have. As long as you learned something, and you can try to view it from the other person's perspective, it's okay.

I have no idea what you're talking about when you say it isn't overcompressed, because it still is, and the guitars are 100% fake, no doubt about it. Sorry, I'm not even referring to the electric piano. Only the electric guitars. If you want a comparison with a good Lufia 2 ReMix that is not overcompressed, and has realistic guitars... try listening to this one: https://soundcloud.com/zircon-1/searing-aggression-lufia-2-sinistral-battle-remix Pay attention to how the instruments do not get pushed down by the limiter in a way that makes them sound squashed. Also, the guitars actually sound realistic based on the variation in tone throughout the notes used, especially at 1:30 (yet, they are not real, which is special). Notice the difference between real and realistic. These guitars are not real, but they are realistic. Your guitars are not real, but are also not realistic. Honestly, you really should use a limiter, or else you're likely to have clipping, which is unconventional and painful. Because you used a compressor in the way you've used it here, you have overcompression due to your loud track volumes. It doesn't hurt someone's ears, but it hurts your track. Overall, no matter what you say, this is overcompressed and muddy. That's all I can hear here. --- Also, I'm 100% sure that your DAW can use VSTs. In fact, I already found that out. So, if you still want to try to get Kontakt Player 5 working so you can try out Shreddage II, you're only restricted by your willingness to figure out how to get it on there.

Yeahhhhhhhhhhhhhhhhhhhh OPTIONS.

I had this one made a few weeks back. How to use MIDI CC in FL Studio 11 Length: 03:37 Quick tutorial on how to use MIDI CC in FL Studio 11. I also demo a patch from my WIP soundbank for Zebra2.

I think Jorito will be happy with having Bitwig Studio in there!

I read it just fine. He said he's slow to make songs, what with his delicious fares of fruit distracting him.

Why are the strings panned further left? They were fine before, position-wise (same with the harp, flute, and other breakdown section elements). And what happened with the strings EQ (especially at 1:05)? Somehow your strings got more resonant. Did you boost the midrange (800~1000 Hz specifically) on them? Like with the pan positioning, it was fine before; you often don't need to EQ orchestral instruments (if you could in real life, real orchestras would have experimented with that before ). I'm guessing your orchestral instruments came pre-panned, and maybe that's affecting your panning decisions. Also, the strings are still getting lost at 1:05 - 1:17. By boosting some of the brass' volume, the strings kinda got forgotten, I think. The clutter got a bit more overboosted at 2:26 - 3:11. You still have your previous version? I honestly think it was better before; less overboosted in the midrange and less cluttered. So far I think just the marimba got more audible. How are you making these mixing decisions? Are you listening to soloed tracks or mixing in context?

Sounds good, though I think it's coasting too much on the drum pattern. The whole thing just sounds like it's in one gear until the last 30 seconds, and it's just lacking dynamic contrast. If I skip along the track, every 15 seconds sounds the same. Needs something to break up the continuity a bit and bring the mind away from the autopilot drums. The bitcrush transitions aren't enough IMO.