timaeus222   Members

Nice underwater, glassy textures in the beginning! I love the ambient soundscape you've created here. Cool synth solo too. I agree, I like the staccato run because it stands out.

You could accomplish a similar effect from just pitch bending the VST. Or, you could use a long glide/portamento time on overlapped notes in legato mode. There are ways around it.

what? You can pause a movie, just like you can pause a video; just press the pause button. What are you getting at here?

If you have a RegKey from buying FL, you can register it, and after that, Sytrus should be fine.

I'm not sure what the file type is, but WinAmp is a nice media player that can play many file types, including WMV, AVI, etc.

To be honest, I think you have a good point here... on a case-by-case basis. In my case, I tried it once sometime last year, writing a motif into noteflight.com, and I ended up expanding it as I worked on it more in the DAW itself. It's not done yet, but it's going to be on an album for sure! https://www.noteflight.com/scores/view/3829339a06f1f5fefe6c1978a5ac8a4dd86e0894 (I think I wrote this in like an hour before a class, too; thought of it the night before as I was walking to the car) So I would definitely recommend you try that if it suits you. --- But you don't HAVE to stay away from the DAW until you write. Sometimes I just sit down and write something because I find an inspiring sound. Whatever works for you.

You can buy it in HD for $19.50.

The ones you use in the playlist? They're still there in FL 11. (the only thing I did was merge some FL 10 graphics with FL 11, but that's because I don't like the FL 11 VST channel fonts. )

Well, think of video as audio+picture. You can't examine audio with your ears when it's paused, but you can still look at a picture under the same time pausing conditions.

I'd rather stay with FL 11, honestly. At least, if they want to 'hide' the Layer tool. =P

OH MAN. That drum solo at the end... Cracks me up.

Midnight at Club Corel was so good. Then I realized a collaborator was Shnabubula. Then it all made sense.

Damn, the drums on here are so good.

In some sense, the baroque feel of this almost reminds me of Lord of the Rings, . Dat's cool.

The vocoder reminds me of a Jamaican voice. Good stuff.

It's pretty normal. It doesn't happen to me anymore, but it used to. Now I just imagine it first and if it sounds good before I write it, then I write it out. I think you should save what you write, even if you think you hate it. You might like it the next day under a new light. Really though, if you seem to not like it, I think it's a combination of your instrument choice and the notes you write; I often see people writing notes that aren't suitable for the instrument they're writing for. So, maybe study more on the instruments you're writing for. You might also want to try writing the chords first for a change, to see what happens.

I think the xylophone is fine until 0:30, where it's too quiet. I think you could just scrap 0:05 - 0:30 and not lose much. The piccolo's a bit quiet throughout. The brass definitely needs more finesse before 0:30 than after; it's stiff but OK when more parts come in, but additionally filling out the textures before 1:06 and having more build to the dynamics can make that intro less repetitive. Maybe some low tuba/bass trombone blats, or fluttertonguing? At 0:30 - 1:06, you have a lot of quarter notes on the brass, contributing to the stiffness. Could use more offsetting of notes in the partwriting to make it less stiff. The drums before 1:06 could also use more variation, maybe through some syncopation, like a "kick drum" on the 1.5 beat (after first "snare") or something. Anything to get away from that overly looped feel. The drums just don't seem to change that much at all from the two main patterns used. Listening once through quickly, where are your strings? I could hardly hear them participating. I feel like they're too background. Any contra basses in the house? Violin & viola harmonization? Cello backup? Yeah, 1:55 - 2:54 just drags. The xylophone's getting so much solo time and is too loud too. I think this is supposed to sound majestic, but that feeling goes away at 2:16, when the xylophone goes and does its own thing and I'm like, "okay, when are you going to stop soloing; the other players want to move forward". You may have highlighted the xylophone a little too much and left the backing elements hanging. Overall, I think the major points to address are: - More drum variation. Say, syncopation? More aux perc (clave, woodblock, sleigh bells, etc)? Pretty much the biggest debated issue here. - Fuller textures. The strings can play a larger role IMO. It could hide the fakeness of the brass a bit. - Detail work. The 2:16 - 2:52 xylo solo is just too much IMO and is taking your (everyone's, but mostly yours, Alex) attention away from the backing elements. Needs more TLC in the accompaniment, and the xylophone needs to be quieter by about 1 or 2 dB in the velocities there. In FL Studio, you can highlight many notes with Ctrl+Click/Drag or something like that (I've gotten used to pressing Ctrl+Shift+Click/Drag) and do Alt+Mouse Wheel roll (or Alt+X) to lower all of them at once. - Slow intro. I think 0:05 - 0:30 doesn't have to be there, so I agree with Palpable on that. I find it to be sparse and underdeveloped with just drums + xylo + exposed brass. The drums by themselves can kinda handle themselves, but the drums + xylo still makes it seem empty in context. Good luck!

I thought the Aquatic Ambience at 1:02 could be louder, but other than that this is really awesome! Great ambient soundscape, big sound design from Omnisphere here, and the reverb is just right!

I highly recommend either the Grado SR-60i (32-ohm impedance) or Beyerdynamic DT-880 (32-ohm impedance; I have the 250-ohm for the Beyers, but still). The Grados are ~$80, and the Beyers are ~$400 (but you can generally find them below $300 online). The Grados are ones I would recommend if: - You're on a budget - You want a frequency response with great midrange, crisp treble, and clean (not necessarily full, but very discernible) bass - You won't mind itchy ears for about a month as you break it in (it wasn't that bad), or the rather long cord The Beyers are ones I would recommend if: - You don't mind spending at least $200 or you found an awesome sale like I did (51% off, hot damn!) - You want to do some serious bass mixing and treble mixing, with an excellent midrange and stereo field to boot - You want nice comfort while wearing headphones and a long-lasting build (velour pads!) The difference between the Grados and Beyers actually feels quite minimal at first. There is a seemingly subtle improvement in the uppermost treble and low bass when you first try the Beyers, but here's what I've got: bass mixing that previously took me close to 16 hours on the Grados... I fixed up in less than half an hour with the Beyers. True story (I'm referring to at 1:55). The Grados have a bit of boominess (~4 dB) near 80 Hz and a bit less accurate bass, and the Beyers have a slight dip (~2 dB) at 2000 Hz but are overall quite balanced and have really nice bass. Note that I took about 6 months to really get into them before changing my mind. I still have both, and I've used the Beyers for almost 1.5 years now. The Grados were open-back, and the Beyers are semi-open, making the bass mixing quite clear and not muffled. =393&graphID[]=963&scale=30"]Frequency Response Comparison Also, some important notes: - Price doesn't actually correlate with headphone quality; I've had $60 Sony headphones that were much, much more band-passed than the $15 skullcandies I use right now (for just listening). I would say, try looking headphones up on http://headphone.com/ if they have it on record, to have an idea of how dull-or-boomy-or-whatever the frequency response is. - Look for headphones with a reasonable impedance. I often see 32 ohms, which seems pretty common. I would go for those. The higher the impedance, the stronger the amplifier you need to get headphones outputting at a normal volume. It also gives you a worse treble response on average (the higher the impedance, the more upper treble frequencies are attenuated). - If the headphones are not made for mixing, don't buy them for mixing (I think that's a given...). I see Beats all the time where I live, and I just internally face palm whenever I see someone sporting Beats. Your beats don't get any tastier on those! (I did try them, to be fair, and to be honest, they were OK but not great)

'Doh! I was hoping the extra hours were just you double-checking stuff.

You know how you can put vibrato on a lead sound and increase the vibrato speed to a really high amount? That's the sound. It seems like the sound in front of the square-ish wave.

I'm making a video for this right now. Maybe it'll help more when I post it up. EDIT: http://youtu.be/RPmrXd3Zg08

I actually agree with the guy saying the panning is quite intense. I think it's too wide for headphones. Try to shoot for a range of 60% L/R max in this case. This is an interesting take. I think this is saturated in sub bass, though (especially 1:24 and on), but sparse in the bass above 60 Hz (that is, 60~200 Hz), and 1:58 - 2:01 sounds overcompressed. The major issue with this is it either sounds overcompressed or clipping, or both when you have all that sub bass going on, and it sounds incredibly boomy as well. Also, the lead at 1:23 - 1:56 could use more expression; it sounds like a generic -or-something lead to me, and screams of cheese.The complete stop at 2:37 just sounded like an abrupt ending. I think it needs something to add a tail to it before you lead back into the main motif. If I wasn't looking at my screen, I would think the song ended abruptly. Furthermore, 3:03 as an ending... was just sparse, and doesn't really resolve. Overall, you have some good ideas here, but it feels incomplete in arrangement, saturated in subs, and lacking in bass. You should consider checking the mixdown on a system other than what you typically use. Not everyone has sub woofers, or wants to use them in their neighborhood. And definitely flesh out the ending more.