timaeus222

With SSD's, the RAM usage of patches decreases by lowering the DFD buffer setting in Kontakt. A typical orchestral patch for me is around 75-125 MB or so.
Additionally, one can save a ton of RAM by unloading all mic positions besides the close mic in any patches and using reverb processing in the DAW instead. I recommend this workflow anyway regardless of what era of orchestral library is being used because it just leads to much better mixes and allows for blending libraries from different developers.

If you release on January 21st, you can release on Mitsuda's birthday ;)

Just chiming in with an update:
Our current plan is that Chronopolis will be the first OC ReMix album released in 2019 (yay!) This is partly because we're trying to get Arcadia Legends out this month (yay, but also difficult!)

Too many awesome people to tag. Y'all great <3

Joined OCR thanks to @AMT He was Death by Spoon back then, if i recall correct.
Inspired by @Sixto @SnappleMan and @goat at first.
Then @Rozovian grabbed me and threw to music. Many thanks to him.
@Clembecame a music friend. I remember the time when both of us was trying to be posted. Even tried to collab. But then he changed the course of his music..

@AngelCityOutlaw and @Garpocalypse
This two guys was a fun company.
@Liontamer always tried to believe in me
 @djpretzel His reviews and comments.. just thank you
Thank you all OCR people

I think when I first came here, it took me time to come to appreciate the tremendous amount of help you guys give (call it early ignorance), but looking back, I think I was most inspired by @zircon, @WillRock, @Chimpazilla, @Gario, @djpretzel, and of course @Liontamer, who could forget him?
zircon is kind of an obvious one --- I learned most of what I know in music from studying his, from watching his streams / remix walkthroughs, etc. It has also been a pleasure and a joy to do sound design and to test Super Audio Cart (SAC) and SAC PC.
I've generally found Willrock to be someone who really made an identity for himself; he isn't afraid to express himself, and he makes music that is clearly identifiable as his own.
Chimpazilla has been a good influence on me from nearly the start, and inspired me to realize that collaboration opens you up to new ideas and really supports you in areas you still need to work on.
Gario is like a super-mod, who is also very empathetic, and eloquent. He inspires me to express my feedback in both clear-cut and respectful ways, and in essence it's great for my character.
djpretzel has a great sense of humor and writes excellent ReMix writeups, and does plenty of behind-the-scenes administration, advertisement, and legal stuff for the website, youtube, twitter, etc. while not necessarily getting the thanks he deserves. Without djp, we wouldn't even be here now, talking about... each other. Woah.
Liontamer is honest, direct, and pleasantly sarcastic.  If he had to, he could probably carry the legacy of OCR on his shoulders, and he really embodies the spirit of OCR, IMO. He's also damn funny.
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If I forget anyone, it's not a knock on you, by the way.

Oh wow, how could I not leave my reply here?! This track is absolutely hot. It'll be burnt in my memory for a long time. Yeah, that's right  I'm afraid I'm tired of saying the same thing again, again and again, but daaaamn, tim never fails to impress me! I freakin' love aggressive electronica (same goes for any kind of glitch-hop as well!), and I love all sorts of interestiong fusions when it comes to the music. A blend of pumpin' EDM with Indian/Eastern vibes/atmosphere/instrumentation? Oh shit, yes! Major kudos for knocking it out of the park once more!

This deserves so much love. Kudos.

Yeah, I know this drumm vst. I tried to make something good sounding, but failed. I'm  lazy, to find out how to work with that vst.
If you don't have any chance to take Addictive drums or supperior or other cool drumm vsts, you need to separate every drum/cymbal to a different track.
Turn off all effects to have "dry" signal. Then you can work with your drum kit. I'm not sure, may be this vst has ability to edit each track. I just coudn't find it.
Also, try to avoid reverb/room for drums master. This thing bring your drums under the mix.
Careful with delay. If you use more then one instrument with delay, be ready for muddy mix) You can fix it by EQing delay it self and drop down effect's mix for delay.
Use 10-30% to find out the comfortable sound.
Sounds like an advertisement

Listened with my mixing phones. deppend of what you call "clean". It mixed messy. Freqs conflicts, delay/reverb conflicts(freq), panning. All this brings your audio tracks to overlay each other. 
I don't know what is your drum VST right now, but if it has ability to work with each drum/cymbal/whatever channel it's ok. You can make it sound a lot beter.
Make some accent to kick at 2,5-4 kHz(depends of your ears), hipass 30-50 Hz, boost 50-90Hz, cut 100-300Hz, add crunchy distortion(a little). You'll hear a big differents in energy.
Work with each part of your drumm kit, don't use presets. Presets sounds great, but as is, without other instruments. If you want to put it to your mix, you have to work with it a lot(making from scratch, more usefull).
I'd suggest start from drums and bass mixing. 
Lead guitar sounds too fake, rhythm sounds even more fake. Don't know piano or any other sample you used, but it totaly sounds like fake guitar to me)
As for MM, yes it work very bad with VSTi, but ironicly it has the best midi editor i've tried.
I don't use any gtr samples, I use guitar actually. https://ocremix.org/quicksearch/remix/?qs_query=mak+eightman
 

I think when I first came here, it took me time to come to appreciate the tremendous amount of help you guys give (call it early ignorance), but looking back, I think I was most inspired by @zircon, @WillRock, @Chimpazilla, @Gario, @djpretzel, and of course @Liontamer, who could forget him?
zircon is kind of an obvious one --- I learned most of what I know in music from studying his, from watching his streams / remix walkthroughs, etc. It has also been a pleasure and a joy to do sound design and to test Super Audio Cart (SAC) and SAC PC.
I've generally found Willrock to be someone who really made an identity for himself; he isn't afraid to express himself, and he makes music that is clearly identifiable as his own.
Chimpazilla has been a good influence on me from nearly the start, and inspired me to realize that collaboration opens you up to new ideas and really supports you in areas you still need to work on.
Gario is like a super-mod, who is also very empathetic, and eloquent. He inspires me to express my feedback in both clear-cut and respectful ways, and in essence it's great for my character.
djpretzel has a great sense of humor and writes excellent ReMix writeups, and does plenty of behind-the-scenes administration, advertisement, and legal stuff for the website, youtube, twitter, etc. while not necessarily getting the thanks he deserves. Without djp, we wouldn't even be here now, talking about... each other. Woah.
Liontamer is honest, direct, and pleasantly sarcastic.  If he had to, he could probably carry the legacy of OCR on his shoulders, and he really embodies the spirit of OCR, IMO. He's also damn funny.
-----
If I forget anyone, it's not a knock on you, by the way.

I think when I first came here, it took me time to come to appreciate the tremendous amount of help you guys give (call it early ignorance), but looking back, I think I was most inspired by @zircon, @WillRock, @Chimpazilla, @Gario, @djpretzel, and of course @Liontamer, who could forget him?
zircon is kind of an obvious one --- I learned most of what I know in music from studying his, from watching his streams / remix walkthroughs, etc. It has also been a pleasure and a joy to do sound design and to test Super Audio Cart (SAC) and SAC PC.
I've generally found Willrock to be someone who really made an identity for himself; he isn't afraid to express himself, and he makes music that is clearly identifiable as his own.
Chimpazilla has been a good influence on me from nearly the start, and inspired me to realize that collaboration opens you up to new ideas and really supports you in areas you still need to work on.
Gario is like a super-mod, who is also very empathetic, and eloquent. He inspires me to express my feedback in both clear-cut and respectful ways, and in essence it's great for my character.
djpretzel has a great sense of humor and writes excellent ReMix writeups, and does plenty of behind-the-scenes administration, advertisement, and legal stuff for the website, youtube, twitter, etc. while not necessarily getting the thanks he deserves. Without djp, we wouldn't even be here now, talking about... each other. Woah.
Liontamer is honest, direct, and pleasantly sarcastic.  If he had to, he could probably carry the legacy of OCR on his shoulders, and he really embodies the spirit of OCR, IMO. He's also damn funny.
-----
If I forget anyone, it's not a knock on you, by the way.

Ah, this was lovely. A decidedly delicate feeling with tuned percussion, some acoustics, and female vocals (for which I is a sucker.) If I may wax poetic for a moment, your approach captures the more magical side of Terra, along with all the wonder, mystique, and awe. The vocals give me serious Legend of Zelda Twilight Princess vibes, and the acoustic guitar and percussion remind me a bit of timaeus222's Progressive Memory (which is a great song on the sight, I highly recommend it.) Frankly, I think my only complaint is that isn't longer. At the same time, that short sweetness... Nice work, nice work.

You guys who named me as inspirational <3
Ok when it comes to remixers that inspired me from OCR there are 3 people who instantly pop in my head - @Sixto, @bLiNd and @zircon. Sure there are other remixers I could probably name but they were some of the most striking remixers I found here from an early age and helped shape my own style. 
Also, this is going to sound super corny but you can't have a question like this and not mention @djpretzel - Sometimes I don't think people give him enough credit, creating this site - When I joined in what? 2008? The site had already been going for 9 years, from what I have been told, the site had a HUGE surge of popularity and influence long before I even knew the site existed - when I joined it was pretty much the only place where there appeared to be a community based on this stuff, and from what I can tell, its one of the first of its type. How many of us would be where we are if djpretzel hadn't founded OCR? Honestly? What is the video game remix scene without him? If thats not inspirational, I don't know what is.

Still touched. I sincerely love your arrangements. Please keep making music.

The technomanga "don't fuck around" guy was also pretty inspiring.

While all the other points are really good, in my opinion this is the most important thing to consider when making transitions. I would personally stretch the point even further and say: "Why transition at all?" I think that there's a merit to having a transition between two (or more) songs if there's a justifiable reason to have multiple source material in the first place. And I'd assume that if there is a good reason to have multiple source materials, then it'll probably be because of a good link between the songs which makes the question kind of obsolete. I think that rather than searching for a "transition" it makes more sense to look for a "cohesion". 
Of course there are some scenarios where you might be assigned to, or could even get paid to combine "contextually preferably uncombinable" things, and in that case I would definitely read the points made above a few times and really think about them because they're all very expertly made and elaborated on. This summer I got a job to write a big band arrangement for someone and she had some very specific form structure in mind that I personally would never use. But since I got paid to do the job, and she didn't really listen to my suggestions to change it to something more effective I just had to roll with it. It happens, and in such cases it's good to be able to do it. But these situations are outside of the point that I'm trying to make at the moment.
To be honest, when remixing I think it's better to ask yourself: "How do I get more out of my source material so that I don't need to transition to a different song halfway". And when you really want to add another source tune, think to yourself: "What does this add to the music?: "How is this related to the rest?" "Where do I want to go?" "What do I want to say?" And when you're able to answer those questions with justifiable reasons, then the proper way to transition between songs will naturally come out of that. It's a very context specific thing, and the answer can be many things. In my experience, shifting too many times in one song between different genre's, source material, writing styles and all that good stuff takes away more than that it adds, and it's often a better idea to just write multiple tunes. 
It might not be the answer you're looking for, but i did want to add my two cents, since I feel that many remixers and writers often overlook these kind of things and tend to jump into quantity rather than quality. Not saying that that's necessarily what you're doing since, as many have already pointed out, you didn't give any examples of your music, but it's something to always keep in mind when writing. And asking some of the questions in the previous alinea might also solve other problems you could be dealing with, such as problems with flow, dynamics, instrumentation, motivic development, style, diversity and musical coherence among many things. 

A few basic tips:
Listen to songs that carry out the style you are looking for, and try to make sense of what the structure is. You can even put it into your DAW to try to tempo-match, and then break it down into how many bars until each section is over. Where's the intro? Where's the outtro? Bridge? How are the dynamics changing over the course of the track?
  Common transitions make use of cymbals and other transition sounds, or perhaps drum fills, but good transitions tend to connect both texture and contour (especially when writing orchestral, which has "only" organic instruments). Not just the density of the elements present, but also, the elements should feel like they're working together. Make yourself write a melodic transition sometime, and with time you'll hopefully develop that (voice-leading) as simply a core skill. You can do a simple melodic transition by writing a melody that sustains through into the next section, but later on, you could improve it by making all the little elements around the lead work together to lead up to that new section. For an example, I tend to share this, since it's what I consider my personal best arrangement. Maybe it'll help.
  Have your friends listen to what you have and give you advice... including us. That means post a WIP, not just "help me".

A few basic tips:
Listen to songs that carry out the style you are looking for, and try to make sense of what the structure is. You can even put it into your DAW to try to tempo-match, and then break it down into how many bars until each section is over. Where's the intro? Where's the outtro? Bridge? How are the dynamics changing over the course of the track?
  Common transitions make use of cymbals and other transition sounds, or perhaps drum fills, but good transitions tend to connect both texture and contour (especially when writing orchestral, which has "only" organic instruments). Not just the density of the elements present, but also, the elements should feel like they're working together. Make yourself write a melodic transition sometime, and with time you'll hopefully develop that (voice-leading) as simply a core skill. You can do a simple melodic transition by writing a melody that sustains through into the next section, but later on, you could improve it by making all the little elements around the lead work together to lead up to that new section. For an example, I tend to share this, since it's what I consider my personal best arrangement. Maybe it'll help.
  Have your friends listen to what you have and give you advice... including us. That means post a WIP, not just "help me".

Hard to say what to improve without a WIP to listen to. Having just done a 13 minute, 7 track orchestral remix myself, all I can recommend is to place your songs in an order that help you (e.g. putting songs in the same time signature together, be smart about preventing massive tempo jumps, etc.) and take the time in the arrangement to ease the listener into the various sections. The latter can sometimes be achieved by dropping out elements of track 1 and slowly introducing elements of track 2 (e.g. hints of the melody) before fully transitioning into it, and sometimes you can go for a dramatic stop or fadeout and transition the listener into the new section with a drum fill or a transitionary element like a held string note or the like. Again, hard to recommend anything if I can't hear anything.
Anyway, your best bet is to carefully listen at other tracks and get some ideas on how others do it. Something like Sam Dillard's stuff might help, or if you really wanna go pro something like Final Symphony (a suite of Final Fantasy music performed by the London Symphony Orchestra) might do the trick. 

Take elements of the things you are transitioning to and from and mix them together.
If you're transitioning from something that is slow and legato to something that is a little faster and more detached, start altering some of the things near the end of the slow section to be more detached, so that the style change doesn't seem to come out of nowhere.
Take themes from the later sections and introduce them as secondary themes in the current section.
Essentially, it's just a matter of introducing stuff in little bits before you get there so that it doesn't seem like you suddenly arrived out of nowhere.

The trailer has arrived!
 

With multimedia speakers like those you should be careful of resonant peaks at the lower end of the frequency rages, having a peak at 80-120hz is a typical problem with speakers like that and after a while can drive you insane, so test for that. Also run some tests to determine the mid-high response at the crossover points so you can compensate in your mixes.

I think room treatment as a whole is a bit overrated (even though it's necessary to some degree), what's most important is speaker placement in your immediate listening environment, so as long as you have the equilateral triangle you're halfway there. Buzz words like "flat" and "clear" are trivial because regardless of how flat a speaker is, the room will change the frequency response of what you're actually hearing, having some form of diffusion behind you, and some kind of absorption (like a heavy couch) can help you more than making sure your speakers are flat (which they wont be under the $2k per speaker range anyway, regardless of what the manufacturer tells you). Flat speakers need a precisely treated/designed room, otherwise you're defeating the purpose, that's why buying expensive speakers at home is not recommended.

OC ReMix presents Seiken Densetsu 3: Songs of Light and Darkness!

October 1, 2018
Contact: press@ocremix.org

FAIRFAX, VA... OverClocked ReMix today released its 67th free community arrangement album, Seiken Densetsu 3: Songs of Light and Darkness. Featuring 70 tracks from 56 artists as well as an interview with the game's legendary composer Hiroki Kikuta, Songs of Light and Darkness pays tribute to the celebrated Japan-exclusive 16-bit Square RPG Seiken Densetsu 3, and is directed by Finnish musician Rozovian along with assistant director Meteo Xavier. The album is available for free download at http://sd3.ocremix.org.

Released just after the game's 23rd anniversary and representing over 10 years of gradual development, Songs of Light and Darkness assembles a global lineup of musicians tackling Hiroki Kikuta's progressive SNES soundtrack in a variety of styles across 4 1/2 hours of interpretive arrangements. Songs of Light and Darkness was made by fans, for fans, and is not affiliated with or endorsed by Square Enix; all images, characters, and original compositions are copyright their respective owners.

"The album project began more than a decade ago. And, hey, we got the whole tracklist done. The slow progress eventually gave us the whole soundtrack wonderfully remixed by OC ReMix regulars and strangers alike," recalled album director Rozovian. "It's an eclectic mix of things, with the expected orchestral and metal epics sharing space with instrumentation and styles including waltz, rap, Mellotron, reggae, harpsichord, J-rock, and plenty of world music elements from all over the place incorporated into a large number of the remixes."

The album's immersive character and environment artwork -- focused on the game's light and dark classes -- was designed by New Jersey artist Min "Keiiii" Kwon, author and illustrator of the Korean webtoon-inspired fantasy comic Heart of Keol.

"Though only released in Japan, the Western gamers who came across [Seiken Densetsu 3], either on cartridge or by other means, found it one of the most beautiful games on the SNES. The music plays a big part in that," Rozovian observed. "I'm very happy to have my name among the artists here, and I'm sure you can find something you like on this behemoth of an album."

Songs of Light and Darkness is OC ReMix's second album honoring composer Hiroki Kikuta, following 2017's Resonance of the Pure Land, which arranged the soundtrack of Seiken Densetsu 3's more widely released 1993 prequel Secret of Mana.
About OverClocked ReMix
 
Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676).
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Preview it: http://youtu.be/cC4irIc-x6s Download it: http://sd3.ocremix.org Torrent: http://bt.ocremix.org/torrents/Seiken_Densetsu_3_-_Songs_of_Light_and_Darkness.torrent Comments/Reviews: http://ocremix.org/community/topic/47649/  
 

This project made me OC ReMixer!
Congratulation everyone! I love you all!!