Chimpazilla

Happy birthday KT!

I think it would be really cool to do some kind of compo where people end up having to collab, either right away or after winning a round. Something to think about! (and yeah, you guys can see how T and I are such good partners when we collab, our skills blend really very well!)

Hope you had a great day today, Jake!

Interesting idea for another compo for another time! But yep, back on topic nao.

Yes it sure would. But it would depend on a tie in the other bracket too?

Nah, if it's a tie, our penalty should be that we have to collab the track. Eegads!

^this^ totally. Sorry if it looked otherwise! I'm gonna edit some stuff out of my post now. Please guys, ignore us and vote for the one you like!

Alrighty, then! In my track, I'm using several instances of bridged 64 bit PLAY with multiple midi-outs used in each instance, and FL gets testy when you add too many of those. It is working in this track, but only if I don't add too much more. To do orchestral right, you need to layer like 5 (minimum, probably more like 8-10) articulations like an artist to make the lines flow naturally for each instrument used. I'm using 2-3 here for each thing. Also, in FL, you write in little patterns. To do orchestral right and make it flow, it is better to write in long patterns containing all the instruments (so you can see all the ghost notes from the other instrument writing). I've kinda done that here, but it is VERY unwieldy in FL. Cubase is made for this, hence my wanting to try it out. tl;dr: doing orchestral the *right* way in FL is a bit tricky. Well ok, sure, but arrangement should take precedence. Quote from the OP: "The most important thing to consider when voting is how well the remix incorporates and arranges both themes. Production and enjoyability should also be considered." *edited stuff here* Both our tracks are pretty good. T is generally a little better at production than I am, at least this is true in the electronic genres. But these are really two different types of production, here in this compo. Also, "from the general perspective?" So, he's saying you guys have average "general" listening skills. ...but....but..."The most important thing to consider when voting is how well the remix incorporates and arranges both themes. Production and enjoyability should also be considered." Passive aggressive much? *pokes T in the ribs* Because the people voting on this are totally subjective and have "unpredictable, general listener" type skillzzz. Did you guys realize how average your listening skills were? But wait, I forgot, T is an expert in orchestral production. So tell me T, how do YOU like the view from underneath the bus??? (oh, and T and I continue to remain GREAT friends even with some lighthearted mudslinging presented for your entertainment!) *edited to remove any swaying type comments, as that was really not intended!*

Dat mah production suckzzz. I'm learning about orchestral production from a friend of mine who does primarily orchestral mixes. It is completely different from mixing other types of music, and sounds quite different production-wise. It is more of a "homogenous wall of sound" kind of concept, completely opposite from electronic mixing, which aims to separate the sounds distinctly. I think our two tracks are sort of apples and oranges, production-wise. (sorry, I know that makes it harder to compare them) I wish my violins were better humanized though, it's tough to do well in FL Studio since you need to load so many articulations and FL doesn't handle memory as well as needed for that. If I decide to submit this track, I'll probably give the humanization aspect one more going-over, with my friend's help. That said, Timaeus's production on his track is stellar, as always.

Thanks... and I'd be glad to help any way I can. It isn't easy to get orchestral samples sounding real... mine don't... not quite... and it was extra hard to do right in FL so I actually have bought Cubase so I can do it better... but I digress, I'll teach you all the tricks I know about, I'd be glad to.

a-HA! I did say that song seemed to have been written in 11/4. I think that is very cool. I love odd time sigs. I love that T's and my tracks are a hard choice. It confirms to me why he and I are such good collab partners.

I do... too much time with your PS4. And next time you pit me *against* Timaeus, we are gonna pelt you with waterballoons. We will collab on that. You've been warned.

WHOA Big T... you managed to write MOAR than 100% source... *impressed* lmao! (yeah, overlaps, I get it, haha) Ok so I haven't listened to anyone's tracks yet, gotz some errands, then I'm all about it. T I'm sure yours is dynamite, can't wait.

Edward Penelo's Waltz - mix notes This is the first 100% orchestral mix I have done. I recently purchased the EWQLSO Platinum library so this is the first time I have used it. The samples are gorgeous! But I have discovered that FL Studio is not the best daw in which to write orchestral pieces. FL is terrific for electronic music due to its flexibility, but for orchestral, that flexibility is actually severely limiting! Also, FL is still a 32bit host making it tough to load all the required samples into memory properly to really humanize things correctly. I can hear my humanization flaws but this is the best I can do in FL in one week's time. This will be the only time I write a fully orchestral mix in FL Studio. I have actually purchased Cubase and I'll be learning that daw as well, primarily for orchestral work but we shall see how much I like it for other things. It is always good to be daw-bilingual. So, on to the source usage: 0:00 to 1:20 of the mix is the Edward theme pretty much verbatim (minus the in-between triplets) but with a few variations to make the transitions flow. I didn't use all the weird harmonies in the source tune, but instead made the most emotive and varied chord backings I could think of. 1:20 to 2:10, the harp is playing the main Penelo theme (0:00 to 0:31 of the Penelo source). The harp is playing the in-between triplet style found in the Edward source. In this section, the flute and lead violins are playing a simplified variation of the Edward source at the same time as the Penelo material is playing on the harp. I was really quite pleased with how well the two sources combined here. 2:10 to 2:35 is the final part of the Penelo source where it transitions back to the beginning (1:00 to 1:15 in the source). 2:35 to the end of the mix is the Edward theme again, with the harp playing the triplet style of the source but without all the weird harmonies of the source.

Mine is sent. I'm going to post some notes and my source usage here but I'll wait until tomorrow to do that. Mmmmmm stuffing. Needs to be drowning in gravy, though.

Mine too. This one is 100% orchestral, first time I've done that. Also, this is the last time I do such a mix in FL Studio, it's not made for orchestral at all. I'm getting Cubase before I do another of these!

Why so apathetic toward your OWN COMPO Brandon? Or are you just planning to get everyone thinking maybe you won't write anything, then WHAM blow everyone out of the water?

Timaeus, don't worry too much about strictly obeying Edward's theme, some of those triplet notes ARE in fact kinda weird. Just capture the main melody I say, that part is simple and lovely.

The Chimp will pimp the PROnoob any chance that comes up, haha!

Mine is done. Just fine tuning the production and mixing. Turned out pretty good I think, the themes went together quite well.

Happy Birthday, Mirby! Brandon, that cake... that's a lot of cake... looks so sad, but yeah lots of cake! When one sees such cakes, what can one say...

Happy Happy Happy! 111 is my lucky number btw.

Did you write to Joe? (XPRTNovice)

ShaggyFreak, your track is in 11/8??? Whoa.... dat groove!

It is actually quite simple and lovely. I actually really like your source too, it is also lovely, and has five distinct sections to choose from! Hhhmmm... how to weave one or several of them in... choices, choices...