timaeus222

I would figure it's just a problem of not looking at the date. Seems like a similar issue to necroposting

zircon and everyone on this album did such a great job! Way to go, guys!

Hey dude, can you fix something? My third source tune is not Proof of Stremf, but Disquieting Quagmire. Thanks!

Oh, I thought he did both. Never mind? I usually associate "scoring" with sheet music. Anyways, I liked Sir J, Joshua Morse, and Will's tracks the most. Totally unexpected takes on the soundtrack but I loved them nonetheless. Not to say that everyone else's tracks weren't all excellent. In particular, I thought Dj Cutman's track had a very transformative direction to the original arrangement (the beginning kinda threw me off a bit but it makes sense after a while!), McVaffe did a great job adapting his piece of choice into a "true" remaster (since it sounded very much like a cavern), and I could tell XPRTNovice had a lot of fun with his voiceovers and jokework (almost sounding like Cyril the Wolf mixed with Brandon Strader IMO).

How do you find the time to do this? We groovy! All night! In the dungeon! Laaaaaaaaaaa (falsetto)

Woah, you did a score of it too? Awesome!

Okay, I finished the main compositional part of it, along with dynamics and all that Italian stuff. It's pretty darn close to how you originally intended it, IMO. Gonna keep revising it and making it look better/more presentable for now. It's worth noting that it's 36 pages for the convenience of not turning back pages. I'm also recomposing and re-mixing a demo track of the result if you wanna hear.

Anything I can do to help?

I don't have much to say on this, but last week I tried going around my room clapping loudly a few times. I could hear that in the corners of my room, the reflections were more "sproingy" than in the center of my room (which is surprisingly dry, considering it has nothing that is explicitly suggested that should improve room acoustics, except maybe the bed sheets). Maybe that's a test you could do to check whether your room diffuses sound evenly. If not, it might be worth it to get some acoustic diffusers to even out those reflections (they might be rather expensive though). What's a little more worth doing is just waiting for a moment when you have some decent silence in the house, and just test the reverb in your room. Maybe make a few "t" and "s" sounds to see how the room reverberates the treble, just to get a better idea of your acoustics. You'd be surprised how few people actually do that (or at least, I've only done it a few times). You are going to have to mix your own vocals though. Last time I mixed vocals was two weeks ago, and while I thought my friend recorded some pretty darn dry and clear vocals, I still had to filter out the low end bumps, thumps, etc. below about 80 Hz, tone down the sibilances and fricatives, and automate the volume (not all of it would have fit at a flat volume in that case).

There are still a few small errors in the timing that lean towards the "slop" side of human error (but what you did definitely helped a lot). Here are the timestamps I would look at: 0:29-0:30 - a touch loud (acoustic piano) 0:39-0:40 - very slightly late (acoustic piano) 0:47-0:48 - very slightly early (acoustic piano) 0:56-0:57 - very slightly early and a touch loud (acoustic piano) At 1:13, when you did the piano swap, I think it helped the e. piano line to get swapped for a piano, but the piano line originally playing the chords became too loud after being swapped with the e. piano. I think to help that, you could just lower all the velocities of the swapped-in e. piano in the 1:13 section by a large amount (is there a convenient shortcut for that?) until you can hear it's too quiet, and then slowly raise it back up until it sounds about right. For me personally, I usually hear volume changes more easily when I raise the volume than when I lower the volume. Overall, I think this is a great improvement in the humanization and loudness! I also hear a little bit of that extra reverb on the strings. They fit better now. I think after you check out what I said above, a mod review would be a good idea. I do still have a hunch the acoustic piano tone could still be a small problem though (it's only because of the hardness of the tone that I say this; the velocities definitely sound noticeably varied). You might want to check this out as a piano tone reference (or even bass reference): http://ocremix.org/remix/OCR02465

Are you posting a recording of this somewhere later? :3 (I can't be there for the whole thing but I know this'll be awesome)

Would you like something like this? It's 12/8 jazz with vocals

Flip side with respect to MockingQuantum. I quoted you because I agreed with you.

Don't worry about the length of the YouTube description. There's a length limit of over 4000 characters (I wrote some long descriptions back in the day ). Your bottom quote doesn't come close (it's 850 characters), and it's for a video that's apparently about 45 minutes long. At that frequency of song inclusion, I would think that you could technically make 3 hour videos or so (but I would actually suggest 1 hour videos at maximum to keep people from just skipping around in the video out of impatience or boredom).

Haha, alright then. Well, this suggestion is something I sometimes do if my music doesn't quite sound right but is also quite dynamically "clean": something you could try (if you don't already do this) is use light compression to "glue" your instruments together, and use similar settings for each album track. Sometimes I do that and it sounds more cohesive when I do it that way since it's the same compression plugin for each song or piece. I figure, you're the type of person that can hear that type of subtle adjustment to the levels in a mix. This guy talks about this. You already know this, but you should (of course) only use master compression of this sort when you're all done, and not do mixing edits while it's on. You may also want to just listen all the way through the tracklist, but this time, listen for the loudness differences. Depending on the piece/song, different dB's RMS still sound "right", but they might still actually feel the "same" simply because it's fitting for that genre. In your case it sounds especially true since you have that bass heaviness progression going on.

Oh yes, definitely! This sounds like it resembles a recycling mentality, both great. Keep ideas you write out, even if they are not finished; you might like them more later.

I heard this in the workshop. And I survived. This is one eclectic mix in a sea of mangled samples.

On the flip side, you (someone in general, or MockingQuantum) might want to try to NOT plan an arrangement at all for a change. i.e. go with the flow. But that's generally more feasible for further down the road. Sometimes I just write something and it flows out naturally, and if it doesn't quite work, it still connects nicely after I adjust a previous transition. You might still want to try it anyway. See what happens; the best part is that you may never have done it before, so you might not expect anything in particular.

I would arrange the tracks so they flow well first musically. Maybe track 3 starts on the same key track 2 ends on, or it starts quietly like track 2 ends quietly, etc. Try deciding on a nice track order first that clicks musically, and then look more into the mixing. What exactly are you doing on the mixing end to make them more 'consistent'? How diverse are these tracks? If you want you could PM me for more specific feedback. Generally, some things to look for for cohesion/consistency: - dynamics - a story? - matching keys? - other misc 'this flows well somehow' reasons

http://zirconmusic.com/articles/how-to-get-rid-of-writers-block/ You tried reading this?

If you're feeling like it's too ambitious, it probably is. I am on the same page as DusK and Skrypnyk mainly. Try a source tune you know well that also inspires you, in a style you find yourself comfortable trying and have fun with. But don't expect too much since this is your first. Not being hard on you, but I don't think many of us were good on our first anything musical.

Watch your word meanings too. You can't disperse into anything. Dispersion is a spreading, i.e. outwards. Also, yeah, you only need to mention full names once, and try not to repeat so much.

Nostalgia to the max! I think you did a great job handling Medieval Jam. It's one of my favorite JJ2 themes. Koopa's Road actually worked here. Glad you got this posted since the last time I saw it in the workshop!

I think I like this more than I did last year. I don't know if you improved it, but either way, this is so good. That first lead just rocks, and you make me wanna write another funk remix with a similar vibe.

I'm currently through it about 3/4ths of the way if you wanted to know (started yesterday).