anterroir

You drummer kicks ass ! (don't know about after record editing amount but he definitely got some nice ideas)

You got an absolutely dirty guitar tone going on here - brilliant. And with the overall vibe a got an instant Deodato feeling. The only thing that nags on me is that synth in the middle section - too modern for that style but too cheap on the other side. For the rest - a big thumbs up. (also those other tunes on your side +1)

Wooaaah - big smile on the other side of the screen. Just needs some additional brass stuff going on and a more fleshed out mixed and it's a killer. *thumbs up*

Jupp - recorded to tape to get more saturation, a gluier mixdown, better transient shaping. There are a lot of reasons still to get the mixdown on tape (if you got the money and time for doing that - just google Studer or ReVox) Lets take a grab into the myth box: A prime example for a Master pitchown would be Kashmir from Led Zepplin -where they slowed the master tape down by accident and thought it sounded cool afterwards. Just tune your guitar to DADGAD and try to play along - still doesn't fit AC/DC recorded the drums for Back in Black on tape and played them slowed down a bit for more punch and deepness/impact. ------- As for Video Games - old consoles like SNES, Mega Drive, ... you have to take the Pal (50 Hz)/ Ntsc (60 Hz) dilemma into account. The Pal Versions of those games run at a slower speed and sometimes the bgm music is also affected in speed/pitch. Just load up an emulator and Try playing the Us Version of StarFox and afterwards the European one. It's like someone pressed the slow mo key.

Playing around with eq - for my taste - less around 200 Hz, a tiny bit less around 580 - bump at around 1180 for more pick and a gritty compressor to work out the attack. If you can alter the amp settings - less mids, a bit more presence and less distorion. The wall of sound comes with stacking - not distortion alone. A good example here is Nickelback - before anybody yawns - yes they do your moms favourite kitchen tune rock thing nowadays - but still they sound fucking big/dense guitar wise with actually just stacking more crunched then really distorted sounds. I hope you know what I mean.

well played sir - well played

Maybe more of a cover then a remix but still nice. The solo violin writing is really neat but the overall still mix needs some tweaking. In the beginning section hats and crashes are too sharp and sit too much up front / or the other way round kick and snare are too tame for that style. (especially the snare could use a lot more mids for punch. The guitars at 0:28 also seem a bit too washed out. Maybe a bit less reverb and delay in that part to get it more crispy. It sounds perfectly alright after 0:41 though. The added synth lead at 1:16 is kicking - I really dig those simple classic saw/sine combos. Same problem for kick/snare/guitars at 1:20 onwards. I can't really locate the added piano as it seems to jump around the middle panning wise but maybe thats because of the bad youtube encoding quality. (same could be said for the hats and crash maybe). The orchestration hits at 2:18 seem to drag little too much compared to the hardsynced guitar riff and could also use a bit more impact. Maybe you can also try halftime on the drums from 2:17 to 2:30 to emphasisze the orchestra and get that guitar riff more in the foreground and get back to normal where the arp synth kicks in. The stick section 3:00 works really good, string writing is also fitting good. That reversed crash in the laughter section should be coming back - *sucking* you into to the drum upbeat at 3:15. Hope that helps and you don't throw tomatoes at me.

It's a nice start - still much to do, but promising. Didn't those bell sounds blew your ears out ? The attack on it's own is nasty but it's topped with hizzle and fizzle and beeping going around in the highs - giving me a full scale ear ring here just after listening for 10 seconds ? (had to hp filter it to go through it)

That was - in all points - totally awesome *nice*

Somehow this post doesn't make any sense to me. Reverb for glue, depth perception and sparkle - I'm okay with that. But adding low end and highs ?? And more mids ? Normally one would treat that with an eq and only add reverb to place things better in the mix, or if the signal source is rubbish to bury it behind other stuff. Can you explain a bit more what you want to achieve ?

After many moons have passed I've finally redone the intro and the first lead passages. Hope the stall beginning is now fixed. http://anterroir.com/ocremix/maiden_final2.mp3

Thank you I've found it. (http://www.samplemodeling.com/en/products_trumpet.php)

I love the trumpet. Is it real or sampled (and if so what library ?) ?

add some chickens in the intro and it's going to be a fabulous goof track. Without chickens change the guitar, smack in some hammering drums + bass and give us some spagetti brass rock. Thumbs up for what you got so far.

Maybe that side is something for you -> http://students.expression.edu/internationalsounds/ "game audio 101"

he does it - link says it http://soundcloud.com/anterroir/dial-hump-for-storm

terranigma - > and http://www.youtube.com/watch?v=_RrXybW3rjk Rudra no Hihou - -> http://www.youtube.com/watch?v=3537ltzNMKg (a wonderful odd meter but probably a bit too fast)

When I compare the look of that waveform to what I'm hearing -> dude, that compressor / limiter is spitting blood. You have an rms of about -9db just for the 30 seconds of the intro. How are dynamics supposed to be happening for the rest of the song ? The brightness people are complaining about comes from driving the whole thing above the red section of the meters. So a good idea would be to turn everything down and aim for a mild -12db at the beginning of the last part with the deeper kick that starts at 3:18. Another problem related to that is your bass region. You have a high amount of stuff going on under 50Hz thats just eating up headroom (for compression and limiting), isn't even audible and muds up the rest. A good start would be to tame that bass, especially the sweeping one that is moving down in the intro up to 20 Hz and lower. Cut at 35Hz and move the rest to some audible frequencies. Just make the lower space neat and tidy and the rest will pump a lot more. If you still want get it as loud as you can I would split it into three sections. If you're using a multiband compressor in front of the limiter I would automate the threshold for the quieter sections (like intro, bridges) so they aren't squashed that much. More threshold/compression for the middle sections and only dial in eleven (on a safe scale !) for the last part. <- compensate that with the limiter (also safe use). What also works good for a more "dynamical" approach is to automate the master volume fader and reduce volume in bridges - only a mere 1 or 2 db - start verses with a lower setting and turn it up till the chorus | start the song with -3 db and work your way up till the smashing part ..... there so much yo can do here to make it rock. And the Ideas for arrangement and sound are good. So - why all that smashing

the second part is just like the first one -> just with some playing errors I didn't bother to correct as the chickens tend to attract attention and maybe I'll do a Zepplin cover named "chicken ladder to heaven"

I just couldn't resist .... http://soundcloud.com/anterroir/guitar-chicks

-> another chime in for support ---- and to get a little ot: I personally come from Cubase and always looked at Fruity Loops with a little *awkward* smile on my face. But after having to grapple with it for helping Kristina with this remix I'm somewhat amazed by it. Sure - it still is an unorganized cluttered mashup -> in terms of patterns, step sequencing, piano roll; shoving instruments and wave forms into that step sequencer panel and the try to combine that in the playlist feature. The mixer with it's chaotic relative routing (in terms of oversight and a quick look what goes on where) makes it really hard to go through projects you didn't start yourself. You really have to behave yourself, label everything accurately or in the end you will drown in your own mess here. But the big BUT: I would instantly kill for that automation/envelopes handling. Thats just pure magic. The handlers, that little tension point thing, curve types .... copy and paste the whole clip, drag it, drop it, move it, cut it. It's so freaking easy and comfortable. Cubase still sucks donkey balls here. And we're pledging Steinberg since version Sx1 for the ability to move automation with events. (VST 5 could do that before) They just pretend play dead in that area. So - Fruity - you are a fine DAW. You Don't need to hide behind your brothers even with your sometimes messy hair and unusual clothings. If someone knows how to dance - you're the ideal partner.

Oh thats okay by me - I would have waited even longer. Actually it got no intro at all, except that reverse fade in. After revisiting the song it seems a little short and "disturbing" though. I thought about adding the "killing the boss" explosions and get right into the track. I have to redo that and if doesn't work I'll do the buildup approach.

Thank you for the lengthy review. I sat down today to rework some parts of song - seems I can help Kristina a little more then just giving her some mixing tips and the solo part. So the fire is burning -> the kettle is set up -> something steamy hot is boiling in the kitchen here -> let's wait till the misses serves that up

I love weird gating effects. It's from a small original series I've done - the rest can be found here -> http://anterroir.com/2011/03/the-8-beat-area-vol-ii/ | the mixes aren't the best ones but I made a huge leap forward this summer

no remix - but organ and some chiptune elements -> download: chapel on the waves