timaeus222

Folks, the issue here is not a bogus copyright claim against a YouTube video. The issue is the wholesale plagiarism of an OC ReMix being used in a commercial work.

Read video comments/description... we will take action.

Member of Hal Labs, the creators of Kirby. . Programmed Earthbound. Helped found Creatures Inc., who created a lot of the Pokémon designs, as well as worked on Pokémon Gold and Silver, resulting in Kanto being included in the game (which in turn is often cirted as one of the reason people loved the game so much). Not only gave the go-ahead for the incredibly successful Wii and DS, but also helped out of the designs and even worked on some of the games for said systems.
 
Yeah, I guess he had a bit of a role in things.
 
Can we get a tribute album? It would be a primarily Earthbound and Kirby songs, but it's still stuff he worked on.

I already said this on twitter, but the dude was a programming legend. The guy singlehandedly (more or less) programmed Earthbound, and shrunk Pokemon GS down enough to fit Kanto in. As CEO, he halved his pay when profits dropped. Maintained a priority toward gamers throughout his tenure as well. The man was a monolith in the gaming industry, and will be sorely missed..

Hello. Kinda.. scared.
 
Zero Tolerance team
 
1. Flame Stag X2
2. Tunnel Rhino X3
3. Blast Hornet X3
4. Magna Centipede X3
5. Wheel Gator X2
 
EDIT: First compo.. I'm nervous. Hope i won't fail my team

Cheapest and easiest to use, compared to FL studio and Reaper IMO. (I won't by trying the demos of any other DAW's until I have cash for them.) Although a few design choices baffle me - for example - I can't edit midi controllers using an automation track, nor can I apply automation for effects over a SubMix track. I've complained about it on the forms though - fingers crossed for a greatly improved Mixcraft 8?
 
Admittedly, I'm fairly inexperienced when it comes to mastering, but:
 
The EZQ Equalizer that comes with Mixcraft is a godsend for simple tone adjustment.
I really like the Parametric EQ 2 that comes with the FL Juice Pack, but there's some free alternatives you can use, like Blue Cat Audio's Triple EQ - only 3 bands though.
LoudMax is a simple limiter that you can get for free. (It has more than 1 knob! It has 2!)

If you are willing to buy VST plugins, then I would definitely recommend Zebra2 for its flexibility and ease of use (synthesis demo here), or Serum for its synthesis engine (I have a demo of some experimentation with it). I also rather like Variety of Sounds' free plugins, especially their NastyDLA MKII delay plugin.

What I would do is at least learn how to theoretically play the instruments. If you can imagine how a real person would play the instrument, it would be easier to model that. For example, if you were to model someone playing electric lead guitar, you probably should consider when they play any of the following:
- hammer-ons and pull-offs, tremolos, portamento (single notes), portamento (chords)
- pinch squeals, tap harmonics, etc.
- whammy bar vibrato, finger vibrato (light, hard), etc.
- pitch bend via finger, pitch bend via whammy bar
- tapping down/up vs. picking/strumming down/up
- chokes, mutes, etc.
and so on.
 
Then once you have an idea of the features you would need, then see if there's a way to emulate these features.
 
If you can't afford the libraries you want (tends to be $50~500, more or less, with what I've seen), then some of the major things I would say you should concern yourself with are:
- human timing via MIDI note rhythm (avoid 100% quantization for realistic instruments)
- human volume variation via velocity magnitudes
- faster passages tend to be sloppier than slower passages
- consider note length variation and overlap
- pay attention to when playing the same note yields the same exact sample; that usually is the problem to contend with on free VSTs

It's all great to talk dynamics in classical music and whatnot, but standards aren't devised with musical ideals in mind; they're devised with technical efficiency in mind.
 
The simple fact of the matter is that with TV and radio, you're rarely going to have circumstances where the quiet parts of widely dynamic music is going to heard in detail. This is especially true with TV, where stuff happens over the music. Doubly true when listening to stuff in cars; road noise renders piano and pianissimo pretty inaudible. This is why I can't play, like, the Lord of the Rings score or something in the car. My dad complains he can't really hear anything.
 
Life isn't a concert hall where everyone sits down and admires in silence, and recordings with dynamics need to be listened to in proper environments like silent rooms with speakers (lazy sunday afternoon in your living room, maybe) or headphones in order for the quieter parts to be appreciated. For the world at large, dynamic music doesn't really cut it for the way people listen to music/audio. Technical standards are designed with those kinds of considerations.
 
That's probably also a small factor in what affects mainstream popularity. The popular stuff is the loud, bassy and in your face stuff. Rap, pop, rock, etc. It can be listened to anywhere, while jogging, driving, in a gym, etc.

Did this in about an hour and a half. Fun little experiment on a C note with reverbed percussion and using FM to sweep through overtones (distinct tones, but only through moving an FM depth knob). I even tuned the percussion to match the key. =P
https://app.box.com/s/v9qe5yrs469x9qrupv2g2twqkfbbtud6

I know there hasn't been a lot of activity on this thread lately, but everything's pretty much done--we're just getting the website built and a few things ironed out. Should be seeing a release this summer!

I like big sounds and I cannot lie. An EDM track that doesn't have a brickwall on it just doesn't fit into the rest of EDM, and that's not going to change anytime soon. Like Avaris said above, it's subjective and should be handled on a per-case basis.
 
Meanwhile, I'm gonna be over here with my limiters and my compressors making phat and tasty sounds.

Sounded like an introduction to a larger song. I enjoyed the ambiance!

If you're willing to save up $200 at some point in time, Zebra2 is always something I would recommend, and it can definitely do everything I specified up above in post #6.
 
Also, it looks like Harmor has a Vibrato depth knob in the middle-left. You should be able to right-click that knob and link it to the modwheel. (Link to controller, move modwheel). I'm currently unable to test this, but it should work. If it doesn't want to work, I have a short video about this.

Try (for free) dropbox.com (no limit except capacity limit) or mediafire.com (2GB limit per file), or if you want to split it into sub-250MB files, you can alternatively use box.com (250MB or below per file) just fine.

Specifically, the way I would do it is link an LFO to the OSC pitch of some moddepth (say, 2 semitones). Then, assuming your LFO has a setting for its amplitude, I would link the Modwheel (of some [moddepth]%) to that amplitude (adjust either [Modwheel moddepth]% or [LFO amplitude]% to match the vibrato intensity you want). As a result, you can move your Modwheel to modulate between no vibrato and [Modwheel moddepth/100 x LFO Amplitude/100]% vibrato.
 
The reasoning for this involves the idea that you'd be using modwheel to modulate LFO amplitude, which controls the modulation depth of the LFO, which (the LFO) controls the pitch. Why such a chain? This way, you have control over when the vibrato comes in (modwheel), at what intensity (LFO amplitude), and over what pitch range (LFO moddepth) it can reach.
 
At this point, after that setup, you would have the Pitchwheel for the Master pitch, and the Modwheel for the vibrato mix level (note that if the Modwheel has a moddepth of X%, it means X% of the LFO amplitude, so if the Modwheel is modulating 100% of the LFO amplitude and the LFO amplitude itself is at 60%, the Modwheel makes the synth use 60% "vibrato" and 40% "no vibrato").
 
If you have any questions, please try to post a screenshot of your synth, and then we can see how to do it specifically.

It's just a pitch bend at a large interval (an octave or below) of more than one voice. Detune a saw wave and link pitchwheel to the pitch within the synth, or increase the pitch bend range in your DAW.

Sounds like a multi-voiced, slightly detuned legato saw wave with some resonance, glide/portamento, and a filter envelope that starts closing after about a second (decreasing cutoff frequency but not resonance). To get that vibrato, try linking an LFO to the pitch with a depth of about 1 semitone. The right choice of filter, and the right amount of resonance and vibrato would probably help too.

I don't think we need to disable those relationships. At some point, djp can add a sentence to all Song pages with something to the effect of...
 
Note: This list also includes ReMixes assigned to other songs which derive from this song.
 
...and that basically covers it.

Even though I've already posted in this thread, I still initially read the title as "Yes! Bassist Chris Squire passes away"

Timaeus,
 
That opening brass sound is drenched in ValhallaVintageVerb already. I mean I can put more on it. The issue I think is that you're not hearing a lot of HF information in the reverb, which is completely intentional because I find too much HF in the reverb can be as bad as excessive HF distortion. 
 
I realize that the arp is clashing with the pad & brass sound harmonically. I'm not sure if I want to keep it the way it is, fix it, or make the clashing lesser but almost more sinister like. 
 
I do like the idea of fading the kick back in during the second half of the track, but I think it might be more interesting to shelf the low end back in with just a tiny bit of volume fading. That could actually be pretty interesting. 
 
You are right that the opening isn't elaborate. Really overall the track isn't elaborate at all, and it really isn't meant to be. The thing I'm having problems with is finding which instruments that I can add that keep it sparse yet full at the same time because I want it to seem that it is sparse & is not elaborate. That is the real tricky thing to do. I mean I could go ahead and throw in another dozen or more layers to the sound no problem, but then it would turn into this dense thing that doesn't do anything interesting. I'm honestly starting to think at this point that I need to start thinking about little background FX details, as I have none right now. And I really need to change up the bass sound the more I listen to it. You say deep analog bass, huh? Hmmm, I might be able to do something with that. More things for me to consider.

Just edit the first post in the Full Editor and add a Mod Review tag to the beginning.

With the tempo comment, what I mean is that sudden tempo switches can throw people off guard. It takes time to ease into a new tempo, and I personally don't do many tempo changes because I think it's hard to make it work without raising eyebrows.
 
With timings, YMMV; with nonphysical instruments I don't mind as much, but with realistic instruments, stiff timing highlights how sampled they are, and even slightly random timing in either direction (a few ms) helps.
 
Besides what I mentioned, I don't have anything else to mention; maybe it doesn't seem like much, but I think it's enough to last you if you keep referring back to this list and seeing if any of these still are issues.

Just edit the first post and add a Mod Review tag to the first tag on the list. Use the Full Editor and you'll see it.

No problem!
 
Stitched sequencing is when you use multiple instances of an instrument, each sourcing from different sets of samples, and you spread out your notes over the set of instrument instances so that some MIDI channels play sustain, some play vibrato, etc. But maybe you're not doing that.
 
Variation in tone is a bit subtle; there's something called Round Robins in sample libraries, which basically means a set of samples of the same note is rotated so that not the same sample is played every single time. If the same sample is played multiple times in a row, I tend to call it "machine-gun-like". The variation in tone is not always obvious.
 
Reverb can sound in various ways; there are more metallic tones, more ambient tones, and so on, and it depends on the balance between low-mids, midrange, and treble reflections (if those settings are available). If the difference in tone is too drastic for example (and this is exaggerated), maybe an instrument sounds like it's in a closet, but another instrument using a different reverb instance sounds like it's in an auditorium.