timaeus222

We're more likely to see it if you include "RESUB" or "resubmission" in the subject line or body of the email. The only change in the judging process is that resubmissions skip the waiting line and get placed on the panel as soon as we notice them, since they already had to go through the waiting time in the past.

To me, that's like saying "if a source tune prominently uses a flute, does using a flute in an arrangement with an unrelated melody count as source usage". To me, that definitely doesn't count. In your case, it's not about just using vocals with similar effects, it's about how much of the arrangement directly arranges the writing of the source. I wouldn't give you credit for mimicking the style of a track. I would for arranging the theme.

Koto-ish
When the koto (or whatever it was) first comes in, at about 0:00 - 0:08, the velocities just register as stiff to me; did you adjust the magnitudes and quantization? It feels quite on-the-grid, and it's especially noticeable because (and when) you're playing chords. I usually write the bottom chord note coming first, and the top chord note coming last. If the person is plucking two notes at the same time on different strings, then I just slightly offset the timings in whichever direction since one finger might just be faster than the other. Consider checking this stiffness in other spots for the (presumed) koto---even a few ms of offset matters, and it really helps to adjust the velocity magnitudes on each chord note, too. I tend to have the first note quietest and last note loudest on a strummed chord, and for plucking two notes at the same time on different strings, they may be close in velocity more often than not.
 
Also, I'm not sure how the ADSR envelope for the koto is set up (or if you can look into that at all), but assuming the release is low and the decay and sustain are high, perhaps if you want to minimize the amount of times the (seemingly pre-recorded) vibrato is heard, I would guess that you can just shorten the length of the sequenced note and it should stop the note before it reaches the pre-recorded vibrato in the sample. With a sample like that, I would try to minimize the amount of pre-recorded vibrato that ends up playing so that it doesn't sound so fake. Ideally, if possible, you should adjust the ADSR envelope so that the vibrato hardly ever plays, and then record your own vibrato manually using pitch bend "event edits" or "automation clips". That way it's more human. By the way, with "pre-recorded vibrato", I mean "baked into the sample".
 
(was that "stitched" sequencing of more than one instrument instance?)
 
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Erhu
I agree that the erhu doesn't have much realism; its slow attack coupled with its same-y tone makes it stick out as lacking variation in tone (through round robins). I also find that ride sample that comes soon after, a bit distracting (the one panned rather far right).
 
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Big Picture / tl;dr (major: reverb, timing stiffness, velocity magnitude sameness, vibrato sameness)
Overall, this kind of reminds me of the Mystical Ninja Starring Goemon OST (great OST). This atmosphere works pretty well in terms of the instruments chosen. Still kinda rough around the edges on getting the instruments to sound realistic (various stiff areas in the timings, especially with chords, and the amount of times a seemingly pre-recorded vibrato plays). Another good idea is to keep the instrumentation sounding like it's all in the same room. I think the ideas are pretty good so far, but I also think, if you have the options available, refining the cohesion between reverb tones (whether the reverb is primarily low-mids, midrange, or treble reflections, where the low cut and high cut of the reverb "wet signal threshold" are, etc) would help. Unfortunately I think it's something you'd have to isolate in your DAW and listen for, and it's not something I can hear in the full context since it's pretty subtle.
 
Generally, low-mids reflection adds low end ambience, midrange reflections may sound a bit metallic if overdone, and treble reflections should sound "hissy" if overdone. The low and high cut basically jointly mark the frequency range that the reverb will affect. Everything below the low cut frequency won't be affected, etc.

What I heard was a note that had a sudden volume dip for a short moment. If it was a low velocity note, I think it would just be quieter. Maybe a volume or CC11 automation got a stray low point, or it wasn't as smooth as it could be. Really though, it's a very minor point, and I only pointed it out to help Neifion with attention to detail. It doesn't detract (IMO) from what is still great.

Neo-Soul is great - I use that + AAS Lounge Lizard.

For 2002, this is actually pretty good! I liked it! One of your better old ones IMO. This is very listenable, even today. Cool e. piano sound! I wonder if you've tried the jRhodes3 soundfont yet; that's my favorite free e. piano sample, and probably the best free one you can get in terms of round robins and tone (otherwise I just use my synthesized e. pianos, or I whip out Neo-Soul Keys).

Thanks timeaus. I agree, but we weren't allowed to alter/add any black after that quick fade out (contest rules). So it had to end right where it ends, unfortunately.

i'm just expressing my love is all
where else would it go?
 
 
i wouldn't dare. i'd have to adapt it from scratch as a tribute if anything at all. and by that i mean not a chance

https://shnabubula.bandcamp.com/album/vgmcast-vol-5
 
Alright, The Longest one so far, I felt really good about these performances today, here's the tracklist for Vol. 5:
 
1. Super Mario Kart - Credits 03:45 2. Carl Åborg - Dreamplay 06:24 3. Donkey Kong 64 - K.Rool Battle 07:08 4. Atelier Escha & Logy - A Road Full of Unknown 04:59 5. LaTale - Bifrost 05:17 6. Treasure Master - Worlds 3 & 5 [Microchip] 06:36 7. The Secret Garden - First Time Outside 04:04 8. Borne in Blood - Airborne Assault 04:46 9. Live-A-Live - Demon King's Prelude 04:59 10. Shining Force Gaiden Final Conflict - Frontline 06:19 11. Shenmue - Sedge Tree 05:43 12. Rustie - Hover Traps 04:20 13. Tigran Hamasyan - Song for Melan and Rafik 09:12

Um, does your bass have reverb? I'm pretty sure I hear something like it at 0:08, and I... don't ever hear bass with reverb, honestly, because it adds extra low end ambience that clutters the mixdown below 200 Hz. Also, and more importantly, the piano in the beginning sounds plunky (in other words, like someone played with one finger the whole time), and the FL Slayer instance coming soon after just immediately makes me wonder, "what did you intend for this soundscape?".
 
There are also some pretty resonant sounds every few seconds in the more energetic sections (pretty much, everywhere except 3:29 - 4:00). You said you have more reverb now? I don't think it really helped enough, unfortunately, because those resonant sounds still hurt. I think you should try reducing the resonance on everything that has a resonance knob, and lower the volume of the entire remix by about 2 dB.
 
Overall, the things I would say are most important are that the guitar and piano samples aren't very convincing as realistic samples (did you adjust the velocity timings or values at all?), and the mix as a whole feels very painful above 2000 Hz. I would suggest perhaps practicing with EQing by sight (brighter on the Parametric EQ 2 means louder), and that may help. You did have some good spots where the energy level changes to relax the listener a bit before getting back into the action, but I had to skip around every time I heard a resonant sound to not cringe, which was every few seconds, so I didn't get to hear much of that. :/ What headphones are you using (e.g. AKG K240, Grado SR-60i, Sony MDR-V6, etc)? That's probably influencing a lot of your EQ and sound-selection decisions.

We're shooting for 2027.

I play piano, actually.
 
They sounded pretty seamless to me! Based on the amount of talent it must take to play through the songs, I figured they would take more than one take, but based on just the sound alone, they sounded like one long take in the end, which makes them sound even more impressive!

Thanks!
If you're into piano then you should check out Casey's other albums - the FFXII piano album and Valkyria Chronicles piano pieces.
 
They were all edited together from multiple takes. Could you tell?
We recorded the whole album in 12 hours (over 2 days).

I'd like to introduce everyone to our new album Legacy Sessions: GAME Generation 5, a new album featuring classic melodies from the Nintendo 64 and PlayStation era, arranged and performed live by professional studio musicians. Please see the info below, and if you like the album please help spread the word because we'd like to make more of these from other gaming generations!   Follow Legacy Sessions on Twitter and Facebook, and visit the official website for future announcements and music video releases. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------   Lead arranger Casey Ormond--best known for his arrangements and performances on Piano Collections: Final Fantasy XII and Valkyria Chronicles Piano Pieces--leads a team of talented arrangers and musicians as they revisit several of the most memorable melodies from the 32-bit era including tributes to Final Fantasy VII, Castlevania: Symphony of the Night, Super Mario 64, and more.   The album is fully licensed and available now for $12 via Loudr: Legacy Sessions: GAME Generation 5 on Loudr The album is additionally available from iTunes, Amazon, and Google Play.   The full track list for Legacy Sessions: GAME Generation 5: 01. Final Fantasy VII   02. The Curse of Monkey Island & Grim Fandango   03. Super Mario 64 & The Legend of Zelda: Ocarina of Time 04. Pokémon (Blue, Red, Yellow) 05. Super Mario 64 06. Chrono Cross 07. Castlevania: Symphony of the Night 08. Silent Hill 09. Final Fantasy Tactics 10. Final Fantasy IX 11. Metal Gear Solid 12. Grandia (ft. With Ether)   "My goal as an arranger is to do more than just stir up nostalgia," reflects lead arranger Casey Ormond. "Instead, I focus on experimenting with and combining iconic themes to spark the listeners' imagination, creating new thematic and musical narratives. This is a method that I have refined through my piano works--Piano Collections FINAL FANTASY XII and Valkyria Chronicles Piano Pieces--and I hope that you enjoy discovering and rediscovering the classic music of the fifth generation of consoles!"   Additional arrangers include lead Valkyria Chronicles orchestrator Nicole Brady, Tristan Coelho, and guitar duo With Ether, who have recorded an energetic medley from Grandia.
  The production of Legacy Sessions: GAME Generation 5 has been headed by producer Demetri Potiris, who has worked with both the Eminence Symphony Orchestra and the renowned sound studio of Hitoshi Sakimoto, Basiscape. His experience producing live game music events and recording sessions for original soundtracks like the Tactics Ogre remake, Tekken 6, and the Valkyria Chronicles series sparked his desire to produce Legacy Sessions, which has been planned as a series that will explore other gaming generations, including the 8-bit and 16-bit eras.   If you have any questions or comments on the album, it's production or game music in general, please let us know here!  

I technically got done with something in 28 minutes. Now if I can successfully post it here, that would be great (been getting Internal Server Errors)
 
EDIT:
https://app.box.com/s/1il3nbc3myyvuye0nbkgjowe97w2e64u

Pretty sure I can write something so wrong it'll summon Satan if I do this.

That was remarkably good. Some of the harmonies were a bit on the murky side, but with a little tweaking they'd be all nice and jazzy. Reminds me of the mellower Nintendo stuff on the DS. Well done!

Before. How about volume off before opening daw? No playback while trying to record and sync vocals either

Impact Soundworks, developer of the highly acclaimed SHREDDAGE II virtual guitar, is very proud to announce the release of SHREDDAGE DRUMS! 
 
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The library also includes two PRODUCED versions of all kicks and snare samples, using the finest equipment to sculpt and polish these individual drums to perfection. We've created dozens of kit presets to inspire you, from big and roomy to dry and tight, punchy, high-tuned, low-tuned, and everything in between.
 
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The DRUM EDITOR gives you precision control over envelopes, volume, tuning, and mic mix for *individual* drums. For example, you can adjust the volume of JUST your 20" kick and give it more sub mix, while leaving your 24" kick alone. Or, mix in more TOP mic to your piccolo snare and a tighter decay, while letting your deep 14x8" maple ring out longer.
 
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* Fully-editable velocity curve with a dozen presets
* Humanize velocity/timing controls
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* Visual drum kit with on-click triggers
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* A suite of master mix & mapping presets
* Alternate GRID mode mapping to view all mapped drums simultaneously
* Auto and one-click purge to keep unused samples out of memory
 
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Interview with library producer, engineer & performer FRANK KLEPACKI who brought his experience of 20+ years as a composer to the table!
 

 
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What is consensus? A miserable little pile of opinions

Is this the right place to post this kind of news? I see birthdays here often.
On 6/15/15, I had my second child and first son. His name is Phoenix Anthony Rohan Peery. He is 21 inches tall and 11 pounds, 8 ounces (11.5). Back in 2013, I had my first child, a daughter named Midori Lyon Peery. She was 21 inches tall as well, but 9 pounds, 3 ounces in weight.

FF7 has three major things that drastically need improvement. One is the graphics. The models just look awful by any standards. Even by PS1 standards, they really don't look good (just compare to FF8 or FF9). So for that reason alone, a remake would be awesome. Another issue is the translation, which was not entirely faithful to the original Japanese.. to the point where fans have been working for years to completely re-translate it. Lastly, the music (while a personal favorite of mine!) has poor production.. again even relative to other PS1 games. 
 
In comparison, FF6's sprite graphics look beautiful even by today's standards, particularly the enemies, bosses, and summons. The music, despite the SNES limitations, still sounds really nice. Again relative to other SNES games it's a standout. And then the translation is considered to be quite good overall. 
 
On the gameplay side... there's definitely stuff to be fixed in both games, so it's a tossup there (IMO). Especially after playing a game like Bravely Default with such a fantastic battle system.

This is a big misconception plaguing software consumers; there is never a circumstance where you own software. Whether you pay subscription or pay a one-time fee, you merely have a license to use that software which is controlled by the whim of the retailer or manufacturer (this is outlined in the terms of use we usually agree with and simultaneously ignore). You don't ever own software. You may own the DVD's for the software, and you may own the iLok device that you store your license on, but you never own the software. So, using this to try and compare subscriptions to one-time purchases is invalid.
 
There's only really one valid argument against subscription based services, and it's what Timaeus touched on.
 
Add up the prices of the libraries/bundles you want from EastWest, call that your threshold. Find a number n = threshold / ($50 x 12).
 
In other words, find the number of years n where you will start losing money. As a personal rule, you decide how high n has to be for it to be worth it. For me, an n beyond 4 years is plenty worth it.
 
Also consider that over time, the number of products they have in the catalog increases as they make new ones, adding to your threshold over time if you start using them (and thus increasing your n). Also consider that in subscription based model, you can avoid taking a huge bank account hit or having to wait on having the libraries in order to budget and save money. It's instant gratification for minimal upfront cost.

Wow, I suck. I've been getting so caught up with life that I still haven't uploaded the MP3 package for project evaluation. I'm doing that right now and then I'll drop a link in the staff forums. About 15 minutes left on the upload.
 
Sorry!

I've found the setting and increased it to 25.
 
http://community.invisionpower.com/topic/342760-like-system-reputation-in-32/

[MODREVIEW]
 
Secret of Mana is such a great soundtrack filled with so many intricacies to play with.  
 
- Really digging that opening bass riffing you have going on up to :55
 
- I think the melody after that  could stand to come out a smidge, but not too much more since it's very high Hz.  You could roll off the highs a bit and bring it out more but it might lose the sparkle; it's up to you.
 
- the 1:55 section is so RJD2.  It's cool.  I could stand to hear a little more of the sax and flute/looping or whatever that is back there.  It's a supporting role, yeah, but I think it could use some more breathing room and you have the room in the mix to do it.  
 
- Same crit on the melody at 3:32.  I would have liked more of it.  It kicks in nice and full at about 3:45 though so I wouldn't ding you for keeping it suggestive there to increase the payoff.  In fact, go ahead and keep it.  
 
- My least favorite part was the ending.  It just sort of...dies, almost in the middle of an idea.  Given the rest of the track's greatness, I think you can come up with something much better than that for the ending.  
 
- I think the track could use a mastering run to boost the volume a bit and fill it out.  
 
In general, a really unique take on the source and I really like your style.  Great job!
 
[/MR]