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Sinescape

Contributors
  • Content Count

    16
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About Sinescape

  • Rank
    King Hippo (+15)

Profile Information

  • Gender
    Male
  • Location
    Aachen, Germany

Converted

  • Biography
    More Sci-Fi than Fantasy, more Snooker than Darts,
    more Electro than Rock, more coding than arts.
    More puzzler than shooter, more cold food than hot,
    more Windows than Mac, more Nerd than not.
  • Real Name
    Thomas Weiler
  • Occupation
    Web developer
  • Twitter Username
    _sinescape
  • Steam ID
    Sinescape

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Reason
  • Instrumental & Vocal Skills (Other)
    Keyboard (Synthesizer)
  1. Hey there, sorry for keeping you waiting for so long. I was on vacation and just recently caught up with things here. The subtle improvements show. Especially the fluctuation in pizzicato volume makes it seem much more natural. The oboe still sounds a little artificial, but I guess there's only so much you can do with the samples you have (that is a general "you", I have similar problems with my samples). I'm running out of specific things to suggest. The overall reverb a bit much in my opinion, but that's a matter of taste really. I'm starting to prefer your rendition to the original due to t
  2. Are we at version 7 already? I count only 4. Anyway, I'm glad I can help! The pizzicato sounds way more natural now. The solo violin works better as a de-facto rhythmic instrument at that point. It may fit that role even better if the volume of the few off-beat plucks was lower than of the on-beats. The pitch-bend on the strings @1:09/1:36 is still there, albeit less obvious due to the longer attack time. I'm not a performer myself, but I think they usually don't do that aside from vibrato. I have an idea for the legato oboe that might work here: I don't know Kontakt, but I doubt it comes with
  3. Ah, the new version definitely sounds more pleasant, at least to me. I like the new dynamics at 0:33, this doesn't startle me anymore. I'm wondering what makes the pizzicato strings sound so awkward. My best guess is that the sample sounds like a couple of performers plucking the same note with slightly different timing, which sounds good when they play slowly. Once it gets faster, real performers wouldn't have the same timing differences anymore because it gets easier to synchronize when you have more events to synchronize to. Hence, the sample becomes unnatural in these circumstances. The mo
  4. This is essentially a cover at the moment. Structure and instrumentation are very very similar to the source. That being said, it is nicely done so far. The samples don't really sound off to me, but then again the source uses cheap samples, so maybe I'm just used to it. Also I don't think the music box sounds cheap at all. The fact that it starts out a little hesitant is perfectly fitting with Hanako's character, so I have no problem with that. The only thing that really stood out for me is that the pizzicato strings are a little mechanical when being played fast due to their small delay. Oth
  5. That is where I hear Kirby's Dream Land, specifically a slower version of as a backing track. Granted, it's quite generic so it might be unintentional, but it sends a picture of the little sucker to my head every single time. Love it to pieces.
  6. I have never played FF6 or any FF for that matter, so I can't really tell if the "remix" part is done well (I suppose it is). All I can tell is that this is some genuinely outstanding great awesome music! I have yet to listen to each and every track because I keep coming back to "There's Nothing Like Flying" - what a crazy ride, what a delightful genre cocktail, what a chunk of references! So far, apart from the actual source, I've heard Fez, FF7, Kirby's Dream Land, and the end of the Airwolf theme of all things. I'm sure there is a bunch more in that track that I haven't found yet. It has al
  7. I, too, have nothing but praise for this album, my favorite track being halc's "Human Soldier". However, I think I have found a bug with the last track, Vig's "The God Machine". There are a couple of sound skips at 0:20 and 0:23. They seem vaguely rhythmical, but there is no definitive rhythm established at that point, so I can't imagine they're intentional. The skips are present in the FLAC and MP3 versions in the Bittorrent download and in fact both files decode flawlessly, so I guess it's in the source file. Can anyone verify? I've already redownloaded the whole package, but this persists.
  8. Heheheh, thanks for following my advice so obediently, but the treble boost is indeed overdone. The goal of my words was to accentuate the rhythm of the bass so the notes wouldn't flow together into each other but sort of "tickaticka" at twice the speed of the hi-hats. I guess taking the lows off the guitar has already helped to achieve that, so you can dial down the treble on bass and kick. Although I don't dislike the rattling completely, it's too much. Edit: The "sound I desire" shouldn't concern you even a bit. Instead, I was trying to give advice for you to get to the sound that I figured
  9. Nice call on the clockwork; though a little cliché, they fit the mood nicely. For the 0:29-0:40 slowdown, you should use more elements to make the slowdown more apparent, like a gradually downpitched woosh (or maybe even downpitched strings). I'd also try playing the tick-tock samples slower so they go down in pitch and have a longer decay, like a real clock sound would change if you actually slowed down time. An increasing reverb tail does wonders in that regard, too. You can also go completely bonkers with the clockwork and bells and do it similar to the beginning of this: . There is no sl
  10. First of all: Nice track so far! I don't know the source, but I like the progression of the track. Especially the mellow part after 1:13 sounds very good already. Two things: I am by no means an expert on drum patterns or those complex progressive metal rhythms, so maybe it is just me – but the off-beat metronome-like ticking and the kicks in the beginning throw me off every single time. I think you need more rhythmic clues there to give the listener a feeling of the beat before all the syncopation. The same happens with the fill at 0:18-0:22. I lose the rhythm at 0:18 and don't find it until
  11. 1. Abe (Oddworld) 2. Ludwig von Koopa (Mario) 3. Sieg Wahrheit (Chaos Legion) – because of the ridiculous name. Victory Truth?
  12. Seconded. The melody part after 2:30 continually refuses to leave my head, especially with the added bass groove. You should make a 6-minute club mix of this. Awesome stuff!
  13. Purchased the upgrade on Day 1. What strikes me as most useful is the mixing changes, especially the spectrum analyzer with included EQ graph.
  14. I know all of the problems stated to far. As with Kruai, doing remixes gets me out of the work of writing a melody, which I'm really not good at. My melodies usually become too complicated and hard to remember. The other problems are more often than not a matter of just sitting down and getting started. I've learned that for me to get out of the 16-bar rut, I need to forcibly give it some sort of rudimentary structure (Build-up, Break-down, Finale etc.) out of the awesome 16 bars and then add stuff, remove stuff, move other stuff around and tinker with the results. That always sparks new creat
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