anterroir

No complaints ? Nothing to argue about ? Submission worthy out of the box ?

Hilarious (... Mr. halen visits me several times a week in the car stereo)

Or some compression with a m/s capable compressor and a tad of transient processing. (http://vladgsound.wordpress.com/plugins/molot/ such a sweetie)

I hear it everywhere bold ones where you can spot it _ underlined ones which I think are critical Up in the sky Where radiance abounds There is a Luminous road Hearts race away Suspended seamlessly It is a Sight to behold ...... mostly in a and ou and u and when you getting into the voicebox growl zone. It's NOT the wiggling but this straight, plain, flat, on the spot decay and modulated "vibrato". Someone described it as sounding like the Green Day, Blink 182 and every other so called "u.s. punkband" - jepp - this is the exact description for nasal, pitchtuned vocals that are genre defining there. If thats what you're after - go for it. Turning down the bass in your headphones helps a lot to get your pitch right when tracking. For the rest do another 2 or 3 takes, decide quickly which ones are good and send the rest straight to the waste bin. But judging from the overall recording quality you already know that and I should have held my mouth shut.

Everything fine here but I got one little thing to nag about -> What would the world be without automelodyne ... come on everybody -> have some self confidence in your voice and singing. Try to get the notes straight and if your off a little - then be off. Thats what makes you unique among all those plastic produced pop song casting automation machine clones. How I hate it every time I hear the algorithm kicking in. Imagine Neil Young today - they would have killed his singing to death by ironing out every wrinkle of it. Be brave, be yourself or hide the tuning to a degree it isn't so easy to spot. And I really think your voice can do without that.

The Prodigy - The Fat of the Land -> still one of the best produced / loudest electronic albums | on Invaders must Die they somehow have overdone it.

All in all a really cool sound. I dig the arpeggio section starting after 1:13 (though there's more of f-zero running through my head ) The transition part after 1:50 feels tacked on as it doesn't really connect. Maybe it would work better with a white noise swoosh and "dipping the rest under water" and bringing it back out till 1:57 It still lacks in the drum department in term of pressure (kick, snare) and the interaction with the bass. As that one is strong but doesn't really get the support it needs. Aim for a kicking ballz For the main leads I would lower the reverb so that smeared up feeling goes away.

thanks I fixed some small things suggested by a very good friend: bells melody change; the string section is now a bit smoother in the transition; clarinet the same; section before 2:30 has some more hats to support the buildup;bass in last part played a somewhat wrong harmony and I tamed the sidechaining -> http://anterroir.com/ocremix/7th_maiden_master.mp3 now I'm waiting for a mod review and after that I'll submit (hopefully)

So took a shot on the crystal maiden theme -> which became Zelda's lullaby later in the series. As I love the 80's, tons of reverb, electronica, chiptune glissandos and orchestral parts -> I stuffed that all together in there. It wasn't meant to be a remix in the beginning but when I had written the first 8 bars it just came "in" there. remix wip: http://anterroir.com/ocremix/maiden_final.mp3 remix wip2: http://anterroir.com/ocremix/7th_maiden_master.mp3 remix final final : http://anterroir.com/ocremix/maiden_final2.mp3 ------- sources: http://www.youtube.com/watch?v=lPfK1Uub9o0 - alttp - maiden theme - alttp - darkworld theme

No I haven't. Gotten Ik's ARC last week and wanted to go through my last mixes again and that one still has some shrill peaking with the piano in the full arrangements section. Why ? ----- edit: done -> http://www.anterroir.com/ocremix/shikashis_dream_master.mp3

For the mixing side - you definetly need to eq and level fix that whole deep mid - bass side of things. As they fight a major clash against each other (those big taiko drums against basses/cellos - the brass side is okay I think) and as a troup unit against your limiter which just compresses everything to fucking death. So personally I would pull down all levels to avoid stressing the limiter. Get the deep mids out of the drums, leave the low end for push and some accent eq on the "stick sound" for drum feel. Get it a little more to the left more reverb / er to get them into the background. The basses/cellos sound like they are from LASS - am I right ? I always find they tend to stick out as you can hear the bow accent a little too much and in general have a more chamber string feel and the art script isn't that "time" proof when working with fast staccato lines that have to fit tight drums. So it sounds a little bit loose there. For the rest I can't really judge as the said problems with you compression/limiter hide overshadow the rest but the direction it is going seems right.

*is impressed* I find the dragging fine for the feeling. For the mix - I don't know if the room for the piano really works as it's very echo like and bouncy removing the "muffled" feel in the soft parts and peaking the left hand action at times like 3:10 starting. So those strong right hand accords get somewhat lost. It would be nice to really feel the impact that you hit there. So it just sounds very distant (which works very good in the beginning but not here I think)

cool idea - for my taste some epic reverb is missing on the guitar (not bright but deep, warm, dense tail, a little modulated to catch the spooky athmosphere more)

^ she learns fast but I can't help anymore at that stage as I'm too biased by listening to all the improvements she already made. So give the lady some serious feedback guys

Thanks for your reply. I like that woody snare but maybe it could use a little more "open splash room". I try that when more stuff is coming in. Someone else some suggestions on improving?

Thanks So the full piano part starting at 0:45 is taking the piano from the source for the accompaniment and the high notes are playing that bell melody from the source but are alternating that into it's own melody at starting 1:06. The "arpeggio" run at 1:25 is clearly the beginning of the original. And the bell coming afterwards is again resembled by the piano and so on and so on. That synth on left side is doing the guitar part but not strictly. For the main theme I tried to stay true to chordprogression up to that part where it changes to 3 part combo (don't have the right word for that, it starts to happen at 0:20 in the original) - that didn't fit into my 4/4 scheme so I altered that and tried to stay in the scale for the end of that cycle. So you only have 30 seconds of original material to work with as it starts to loop after that. The rest is arranging all that and I the try to quote the source here and there. ---- *edit @emunator: just saw your post after writing an answer to Level99. It's just like you said.

You can't really extend the original, cause it's got soo much going on in between the lines that you can't carry over. So I tried the J'lo approach and covered shamelessly to hopefully hide covering. *don't take me too serious, I just wanted to get that one out before going to sleep* The ending is definitely ****** but I ran out of ideas. Any suggestions ? original: remix: http://anterroir.com/ocremix/dirty_looking_mana.mp3

aww fu... and I just ordered the emotional piano two weeks ago

No way - it's like saying pacman influenced the kids of today by making them gather round in dark cellars, eating pills and tripping to electronic music - aww wait ..... somethings wrong with .... forget it ! :<

It's better but you`re still not there. The bass is audible now. Compressed snares sound a little better, but are too loud now, also the pffffff sound is too shreek. Still a level thing. Be more calm with them, like at 2:30 -> I really like that transistion but when the snares come in it just makes boom, paff (like an old batman comic) with no more interaction of the bass and other elements. Still room for more -------- To show the delay thing I just made an mp3 -> first without then with (it's a little bit "overdone" to hear the difference but mixed subtle really moving mixes forward)- also with a bass idea http://www.anterroir.com/test/chimpazilla.mp3

guitar playing chops --> yeah vibrato --> yeah mix --> not so yeah I would definetly change the snare - it sounds more like chopping wood than playing drums - it's heavy but lacks punch. Background guitars could be a little more aggressive. The lead is really played well but is soundwise lacking some good reverb and a little touch of delay. Think of that famous M.S.G solos. That would really fit the song well, even if it's cliche. All in all very solid. --> yeah

Okay, where to start ........ I heard no bass ? The volume levels of the instruments aren't quite right. I would lower the shaker volume, remove it's presence a little bit. Those arpeggio playing synths would be moved to the background (lower volume, more reverb). Seperate the two main leads in the stereo field on a little bit right of the center, the other one left of center. Eq the first on in the mid region so that it doesn't sound that muddy. Eq the second one, so that the attack doesn't stand out that much. Compress the two snares so that they punch and get away the cardboard feel. I would put the more in the center region. Kick and bongos -> the same. Overall I would try to work with delays as a send effect (tap delay or ping pong delay) especially for getting the stiff drum section alive. (hard to explain for me because I use Cubase and don't have the right vocabulary for fruity) Think of it as a CLAP becoming a ->> CLAP > CLap > Clapppp > clapp by appearing on the left and right side of the speakers. And put all instruments on one "stage" by creating a main reverb send and give every instrument it's place to "stand" --> the more reverb the more it's moving to the background. ---------------------- We all started somewhere. It isn't that bad - it isn't that good. Try to get it movin, not by stacking one sound up on the other, be playful with all the different meldoy making elements. Start painting the jungle

-> Eq'ed the piano, done some sound editing with clocktower samples and link transforming + some minor volume changes Yeah -> its panned a little to the right, but has delay thats pingponging around the center source and thus randomly eliminating some of the frequencies by phasing. Normally you want to avoid that but here it's okay. I love the PSP N2O. The chorprogression -> when everything kicks in is mostly from the source just alternating where the new melody elements come into play and strechted to fit a 4/4 Bar rythm change. (sorry for my english)

Thanks guys "Fixed" - it now circles around 12 dB rms, but it's starting to sound sqashed. The rest has to be done with the volume handle . I was looking for a darker piano tone too, but my problem is that when everythings playing -> the mids get really fishy with that muffed piano sound. (At least the ones I have) So I set it an oktave up / made it more piercing so that the gated strings and the choirs have room to "work". There is too much going on there for my mixing skills. The prosthetic drums are now finished with breaks and accents - so it should be more lively. http://www.anterroir.com/ocremix/shikashis_dream.mp3

Hi everybody, done this as a WIP for the Final Hour project, but it seems like that one has gone down the drain ...... http://www.anterroir.com/ocremix/shikashis_dream.mp3 Is the main theme still recognisable ? source: ---------- *link updated