timaeus222   Members

Yeah, but regardless, it still has to be submitted at all, I would think. I don't know if the Bubble Bobble track was already submitted before the DP consideration, but I would guess that it was. (Not to mention it had a cool video. Because that's important. ) Plucking a finished track off of a random thread and thinking "WOW! We have to post this, and let's do it now!" ... I'm pretty sure that considering whether or not it was actually submitted is important. The OCR Guidelines explicitly say that a submitted remix must be submitted by the remixer and no one else (don't submit on someone else's behalf, etc). ...so that the remixer is aware, I'm assuming.

inorite? This confuses me. It's not an OC ReMix before it's... submitted... and... accepted... at all. Presumably he meant a WIP on the OCR forums...

I think the chord at 1:31 sounds a little weird; you should check that again. Also, 1:53 has an early/rushed note on the chorused rhodes (still sounds like a piano to me on the chords; the higher notes are more obviously rhodes), by a few ms. I'd agree with Emunator that the arrangement gets to sound a little similar throughout. I think it's in part to do with the way the rhodes plays three notes, then a chord, then pauses, and plays very similarly a great deal of the way through. Changing that up later on can really help make the listener understand how far along in the track he or she is without looking at the timestamp. Whatever criticisms on the humanization feels fine now for the most part. I think the hand-bell-like sound (with the delayed note) at 2:02 - 2:27 sounds odd playing those faster notes, and arguably they feel mechanical. I'll say something on the actual production later.

Sounds like it. "EWQLSO"

Yeah, multi-band compressors are definitely tough to use. I used to have trouble using regular compressors, and I did similar things that you did here, adding compressors to keep things from getting too loud. What should have been done is simply looking at the Master volume meter and seeing how loud that is, seeing what the sum total of the instrument volumes becomes by the time it reaches the Master track, and lowering the volumes of instruments that don't need to be so loud, cutting unnecessary frequencies from your instruments, etc. So maybe high passing non-bassy instruments near 200 Hz, scooping the midrange (500~2000Hz) of background instruments a little bit to let the leads cut through, and so on. Since multi-band compressors are essentially three compressors in one, separated by frequency ranges under which they work to push down or bring up your sound, I would recommend that you spend more time to figure out how regular compressors work first, before you try out the multi-band ones. With both compression and EQ in one, it's a complicated plugin to use.

This part feels a little weird.Does it mean that only at certain times is that action possible, or does it mean that at one point in time Dark Samus did that? Should "is" have been "was" to keep the tense of the sentence consistent? Also, This can be made more concise and on-point, to parallel "she can absorb, use, and...": or

I have even LOWER standards! For me, you just have to play as someone other than yourself, have stats, and be able to level up in a story (so Fruit Ninja doesn't count)! Role-playing! C'mon.

Challenge complete! :U I did a wind-down ending, reworked some part writing in the middle, and refined the kick and snare mixing. Total worktime: about 35 hours. Not too shabby! I may go back and adjust some of the bass playing, but otherwise it's about done! https://app.box.com/s/e2z9qst2rw7iozz85zcbqzstkr48g4tr ~ V2-3 Gonna be thinking of a name soon. EDIT: "Kirbland"! Yep, it's done! Final version (after slightly revised bass humanization): https://app.box.com/s/50yyxi6hzdwsjqzg9d44bfudh424ebd5 Grass Land 2: https://www.youtube.com/watch?v=hLnqF9KKvTA (main) Sand Canyon 3: https://www.youtube.com/watch?v=Jt5arkk5lVo (cameo) Ripple Field 3: https://www.youtube.com/watch?v=ub0iWyJYLko (main-ish) Flower Garden: https://www.youtube.com/watch?v=refalB4VM6o (cameo) --- Here's the source breakdown, and it's a doozy! Source Breakdown: 0:03.28 - 0:08.95, 0:09.77 - 0:13.84, 0:16.26 - 0:21.83 = Grass Land 2 (0:00.00 - 0:06.47) [bass and piano] 0:22.75 - 0:27.61 = Grass Land 2 (0:06.47 - 0:12.88) 0:29.24 - 0:38.96, 0:42.21 - 0:53.76 = Ripple Field 3 (0:00.00 - 0:25.36) 0:42.21 - 0:48.69 = Flower Garden (Yoshi) (0:00.00 - 0:26.70) [background sine wave] 1:04.90 - 1:06.91 = Sand Canyon 3 (0:00.00 - 0:02.45) [Different "mood"] 1:08.15 - 1:15.58 = Grass Land 2 (0:00.00 - 0:06.47) 1:17.88 - 1:19.91 = Sand Canyon 3 (0:00.00 - 0:02.45) [Different "mood"; bass] 1:21.13 - 1:32.68, 1:34.10 - 1:45.04 = Ripple Field 3 (0:00.00 - 0:25.36) [Mostly retained bass, with solos + interpretation] 1:47.07 - 2:13.01 = Wild solos! 2:00.05 - 2:01.66, 2:06.52 - 2:13.01 = Grass Land 2 (0:00.00 - 0:06.47) 2:13.01 - 2:22.34 = Grass Land 2 (0:12.88 - 0:24.09) [bass solo] 2:25.99 - 2:31.87 = Grass Land 2 (0:12.88 - 0:24.09) 2:35.71 - 2:37.75 = Sand Canyon 3 (0:00.00 - 0:02.45) [Different "mood"] 2:42.21 - 2:47.07, 2:48.70 - 2:52.75, 2:55.17 - 3:00.74 = Grass Land 2 (0:00.00 - 0:06.47) [bass and piano] 3:01.66 - 3:06.50 = Grass Land 2 (0:00.00 - 0:06.47) 3:06.50 - 3:32.09 = Havona-style ending Grass Land 2: 5.67 + 4.07 + 5.57 + 4.86 + 7.43 + 1.61 + 6.49 + 9.33 + 5.88 + 4.86 + 4.05 + 5.57 + 4.84 = 70.23 70.23/212.09 = 33.11% Ripple Field 3: 9.72 + 11.55 + 11.55 + 10.94 = 43.76 43.76/212.09 = 20.63% Sand Canyon 3: 2.01 + 2.03 + 2.04 = 6.08 6.08/212.09 = 2.87% Flower Garden: = 6.48 6.48/212.09 = 3.06% Total (note the Flower Garden overlap): 120.07/212.09 = 56.61%

I actually think all that detail is very helpful. You have to be willing to filter out what you don't yet understand, but still, I would recommend SOS on anything audio they publish.

Sounds good! I don't really get a "Casino-ish" feel, but it does sound pretty rockin'. My only gripes would be that the kick isn't all that punchy in the ~4000Hz range, and the guitar-playing is plain (lacking in emotion, a little rigid, like you left your fingers or pick near your strings before playing a chord and then casually rotated your wrist, rather than really flicking your wrist to give some hard strums where appropriate).

What about OCRMX?

Here is the revised version, with a changelog! https://app.box.com/s/a27tzottwe7v3rsyr33yprbzjra86fq2 If you have any questions, just ask.

I'm making some good progress on my track! Gonna be really creepy!

I haven't heard many of these CoT ReMixes that actually altered the source tune that much. This is one of those firsts that actually had some nice differentiation!

Yeah, the kick sounds centered now. This still sounds weird overall though. Can you just post your project file? I use FL, so maybe I can take a look at this, clean it up, send you a revised FLP with a list of the changes I would do, and have you take a look through it to see what's different. It's hard to tell what you actually did with the EQ, but as a result of what you did so far, the remix as a whole sounds like a strange stereo mixdown that is also a little distant. It almost sounds like you panned a lot of things really far left and right to separate them, but at the same time defied common mixing conventions. For example, I haven't encountered very many situations where the bass was supposed to be wide, or where orchestral instruments (or orchestral-emulation synths) are supposed to be very far-panned.

move that hyphen = giant ass-control rooms

Well, it's not specifically genre convention I'm referring to here; it's actual, general drum convention for any genre ever; I've never heard kicks and snares panned anywhere other than center in any situation other than a live recording.

? It still sounds like the kick isn't centered. It sounds slightly different, but not really that different. Or maybe it's just me; are those the same files? Did you have an idea of about what genre you wanted to try?

Get that Pork Chip

Hm... can I "un-claim" Kashiwagi and claim Festival Temple Castle instead? I'd feel more comfortable with that; I don't remember what I was inspired by earlier, but Festival Temple Castle would be a better fit for me.

It has nothing to do with any bias I have for zircon (which, by the way, I've never seen spelled with an umlaut ). It's just a purely logical thing. You can't expect someone to perform better than a human can do something. That IS what I said, though.

If that wasn't true, he wouldn't have kept reworking his synth work and retweaking his melodic contours. I'm not saying he just knows precisely how to get where he wants to go. That's not quite how music composition always works. I'm saying he has a good idea of what he wants to accomplish (not how), and tries things until he gets to a point where he has enough context to deliberate what he wants to do with what he has laid out. Maritain actually says that Art is "the undeviating determination of works to be made" (Ch. 3, pg. 18, Art and scholasticism, and the frontiers of poetry)---that Art (a.k.a music...) has an "infallible rectitude" (Ch. 4), and the artist, specifically, finds his way blindly with accidental deliberation/counsel (paraphrased, Ch. 4). I quite literally read that two weeks ago, and asked my professor in class, and he said yes. So when you say something to the effect of criticizing him for not being able to produce precisely what he wants to do, exactly how he wants it, it's unreasonable to expect, in my opinion. I would expect him to know what's bad, not to be perfect. All I said was "pretty much" and "beyond what most people". I didn't say "perfect" without qualifiers or "all" instead of "most", nor did I say "he knows exactly what he wants", but "he knows fairly well what he wants". Besides, if you don't mess up, how will you learn? I learn from my mistakes, so I like making mistakes, fixing them until it sounds right for me. That's totally in line with the phrase "happy accident", which is technically a "good" kind of mistake. And like I said before, if I don't just write something at all, I don't really get anywhere, so sometimes, if I get stuck on writing something, I just play SOMETHING, and when I get an idea of where I want to go, I (as stated earlier) work on it until I get it just right for my intents and purposes.

I actually agree with this sentiment; if you learn without MIDI, then it's easier to develop an ear for differentiating from what melodic contour or chord progressions might be in the original MIDI. I was honestly against using MIDI from the start of my music production experience, and you know what, I'm glad I made that decision, because it allows me to make stuff like this, with complex chord progressions and whatnot. Some people learn in different ways, but I really would suggest not using MIDI so you develop that ear for writing your own, more personalized interpretations of music.

Something you can look into is how the drums are so panned; it's much more conventional to keep the kick and snare center-panned, so the right-panned kick sounds really weird to me. The same with the bass being panned left; basses are almost always panned center. Something else to note is that your drum tones seem to imply a hip hop song, but your instruments imply a heroic orchestral synth hybrid.