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If you use compressors/limiters just as a tool for sound engineering (to create new, interesting sounds) it might be okay. But just for gaining more (undefined) loudness it doesn't make any sense to use any compressors/limiters if you want to make high quality music - compressors/limiters ALWAYS cut a bit of your sound quality, the natural sound of your VSTI or real instruments. If you produce music at the basis of EBU R 128 guideline and loudness level there's not even a necessity of using compressors/limiters - these are just loudness tools, weapons of mass destruction, primarily created for the loudness war to destroy the good ol' high quality music with just loudness. Just listen to my newest version of my Lufia metal remix - it's based on the EBU R 128 loudness and has been produced without any limiter/compressor - it has the full dynamic range and still lots of further headroom (about another 8 dB) for even stronger peaks. https://soundcloud.com/master-mi/lufia-2-tyrant-breaker-master-mi-remix-version-15 For those who are interested making music at EBU R 128 standards make sure to read my little text I've written about the EBU R128 guideline in the description of my track: ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ "In this version I removed all the compressors/limiters completely and mixed the track again to give the track its full dynamic range without losing a single piece of the sound quality of the instruments. The standard volume of this track is about 10 dB quieter now. It's because this track will be my first one which is produced at EBU R 128 standards, a pretty well thought-out technical guideline of the European Broadcasting Union developed by professional sound engineers and other engineers of different broadcasting stations and broadcasting institutes. With this guideline the main goal of music producing is not to bring the sound peaks as well as the programm loudness of a track close under 0 dB for maximal loudness - because this often results in in a much smaller difference between peaks and programm loudness by using compressors and limiters which cut or really destroy the natural sound of instruments as well as the loudness range/dynamic range and the sound quality in general. But good music has to breathe as much as it can - while hard limiting or compression is more like gasping or the chronic obstructive pulmonary disease of music. At EBU R 128 standards music production is not primarily peak-based - it's primarily based on the programm loudness which is also a much better indicator of the perceived loudness of a soundtrack or other kind of programs. There the target level of the program loudness is - 23 LUFS (dB) +/- 1 dB. So, the program loudness is not allowed to be louder than this limit. But I allow myself to be much quieter within my track if I want to keep important loudness differences - so, if one of my tracks has an overall loudness difference (loudness range) of about 5 dB the quietest part of the soundtrack will be around - 28 LUFS (dB) and the loudest part of the track will be around - 23 LUFS (db) then. That means that you'll always have a lot of headroom for the peaks of your music. At EBU R 128 it's determined that the true peak level shouldn't go over - 1 LUFS (dB). Based on the maximal program loudness of -23 LUFS (dB) this makes a lot headroom for the peaks (range of at least 22 dB just for the peaks). So, you don't have to worry about the peaks like a shareholder and there is no basic necessity of using compressors and limiters just to gain the last piece of undefined loudness out of your track anymore. And if the EBU R 128 loudness becomes the new standard within the next years all those will be fucked who rather produce music at loudness standards with lots of compression. But those who make totally uncompressed music with the full dynamic range will be blessed. Because with the EBU R 128 standard the uncompressed high quality soundtracks will sound as loud as the compressed and hypercompressed stuff (so, EBU R 128 would be a great international loudness normalization standard)- and it might sound so much better, clearer - like a musical adventure that tells a big story. I'll produce all my further soundtracks, remixes and updates on the basis of this very smart EBU R 128 loudness guideline - so, make sure to turn up the volume a little bit." -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

So, here's my newest version (1.4) of my Lufia Remix - Battle #3/Sinistral Battle theme. https://www.youtube.com/watch?v=8xSniBKvU6I https://soundcloud.com/master-mi/lufia-2-tyrant-breaker-master-mi-remix-version-14 I've decided to produce this remix (as well as all my other remixes, soundtracks and music updates in the future) at the program loudness level based on the EBU R 128 guideline (maximal - 23 LUFS (dB) +/- 1 dB) where you have more than enough headroom for the true peaks (maximal - 1 LUFS (dB) - it's also a pretty smart international loudness normalization standard. Cause of the great peak range over the maximal program loudness compressors/limiters are not a necessity of gainining undefined loudness anymore. So the changes in this version 1.4 are: - new standardized loudness based on EBU R 128 >>> just turn up the volumes of your speakers/headphones a bit (about 10 dB) - removed every kind of compressors/limiters in this track (compressor-plugins as well as VSTI-internal activated compressors by default) for the very best dynamics and the best, natural sound of the instruments - at the VSTI I could change the dynamic settingsI have set those values to the maximum (had to compensate the decrease of dB cause of the higher dynamic settings by measuring the program loudness and turning up the volume until I got the value of the previous program loudness, but with the best dynamic settings) - mixed the track again - got much better dynamics and really cristal clear sound for this track I'll definitely keep following the holy path of EBU R 128 - it's a pretty smart and well thought-out guideline for broadcasting and loudness normalization which makes the highest sound quality levels in things like music production possible. Because: Compression can't be my confession. Just give me a lil' blessed medal for radically uncompressed metal.

Yeah, see the point in adding some further expressions/automations to the flute and strings - will also try some overlappings at the strings. But hey, no chance with compression/limiting in this wonderful track - even not in the drums. Think they're loud enough since t's not a metal track or something like that. I could make the drums louder and more pumping just by lowering the volume of the other tracks and rising the volume of the master track - or just by doubling the drum track. Would make the same effect without taking away the natural dynamic range of the drumset with compressors. Maybe I'll give a small amout of dB to the drums, but not a lot - since just a few dB make a big difference between joyful drumming and disruptive pumping. I'll create another part in this track where some exotic orchestral drums will have a dominant part together with the legato strings where the louder drumming will fit much more. Thanks for the hints and the feedback, dude. ))

I've uploaded a version of my newest remix without any compressors/limiters (not in one single track, not even in the drums and of course not in the master track). It may lack in loudness - but I like it much more and it's much clearer than in the version with limiters/compressors. Here's the previous version 1.1 with compressors/limiters (not in the master track - but in the flute and drum track): >>> https://soundcloud.com/master-mi/star-tropics-the-fire-of-the-southern-cross-master-mi-remix-version-10-uc Here's the version 1.2 without any compressors/limiters: >>> https://soundcloud.com/master-mi/star-tropics-the-fire-of-the-southern-cross-master-mi-remix-version-12 I created this version pretty close to the EBU R128 standard - had still about 3 dB unused headroom in my DAW/master track. Just the LUFS in my track was a bit louder and had a far bigger range (about 4 dB or +/-2 dB instead of the recommened range of 2 dB or +/-1 dB) between the loudest and the quietest part. In R128 the absolute LUFS has to be around - 23 dB +/- 1 dB. The absolute LUFS of my newest track is between - 21,5 dB and - 17,5 dB, so a bit louder - I just wanted to use as much safe headroom and "natural, uncompressed loudness" in my DAW as possible. I don't get it why R128 only allows a loudness range of 2 dB between the loudest und the quietest part - doesn't make sense at all because I also like classical tracks where you obviously have differences of much more dB between silent parts und the heavy swells, the louder parts sometimes.

I've just uploaded Version 1.2 - this time without any compressors/limiters, not in the master track, not in one single track (not even in the drums - and I really like 'em as they are now). Although the track has not the loudness of the previous versions but the full range of dynamics sounds so much better now. I think we should definitely get rid of compressors and limiters just hunting for some undefined extra loudness. Check that track: >>> https://www.youtube.com/watch?v=3K5oF9Cmy0c >>> https://soundcloud.com/master-mi/star-tropics-the-fire-of-the-southern-cross-master-mi-remix-version-12

Heya, guys - in the last time I've read a lot about topics like loudness war, compression, limiting and have made my own experiences with this at my DAW. I think most people here know that compression and limiting can increase the loudness of soundtracks within the production process a lot - much more than all the single tracks and the master track could bear it by just turning up the volume (dB) - without causing clipping sounds. Compressors and limiters make it possible to give a soundtrack much more loudness without clipping - I guess this is one of the main reasons for the ongoing loudness war, better compressors >>> higher loudness possible. So, many radio stations, television broadcasting transmitters, commercial broadcasters and of course music producers started to increase the loudness of their audio stuff because they thought (and still think) that a bit louder audio stuff could attract much more listeners than the competitors at the global market. And I guess they were right when it comes to the habits of the mass of listeners - they obviously liked the slightly louder (but more compressed) audio stuff often more than the quieter audio stuff of the competitors. But the problem of this phenomenon is a continuously worsening of the audio quality of soundtracks - 'cause of the increasing compression or even just by cutting or emasculating the peaks with limiting. Some fans of high quality hi-fi music or hardcore audiophiles criticise this - and I guess they're absolutely right. I also think that it's pretty nonsensical to do nearly everything (even cutting down the full range of dynamics which is often really beautiful to listen to - without taking anything away from this) to increase the perceived loudness like a mad hatter who just wants to be the winner of the loudness war. I think we should move away from the war of loudness back into our ambition to increase dynamics and music quality to the upper limits - yeah, without limiters. Maybe we don't even need any compressors/limiters for creating the best soundtracks if we just edit and mix/master them right - or at least we would use compressors only then if we want to just give some pressure to drums/basses. So, I guess we need some kind of loudness rules - what do you think of EBU R128? https://tech.ebu.ch/docs/r/r128.pdf I have a loudness metering tool in my DAW (Samplitude Pro X2 Suite) based on this standards. What with your DAWs/loudness metering tools? Would be cool if the remixers of OCRemix would support the idea: "End the loudness war - let's back to the roots of full range dynamics instead". What's your opinion about this topic?

Just have uploadet the newest version 1.1 - there I removed the compressor/limiter in the master track completely for much better dynamics. Maybe you'll have to turn up the volume a little bit more. I think I'll keep it this way (no or far less compression/limiting) with all of my future soundtrack/remix updates to go back to the roots of full range dynamics and high quality sounds - instead of trying to be the "winner" of the loudness war or something like that. I hope the composers/remixers of OCRemix will support this idea, too (I think I will start a special thread for this topic in the forum). So, check out the version 1.1 of my remix: >>> https://www.youtube.com/watch?v=gcqC7asM-sM >>> https://soundcloud.com/master-mi/star-tropics-the-fire-of-the-southern-cross-master-mi-remix-version-10-uc

The hot summer inspired me to make a remix of the NES game Star Tropics. It's a remix of the dungeon theme. It's still far away from being finished - but I hope you'll enjoy it. Original game track: >>> ---------------------------------------- Newest version of my remix: 1.4 >>> >>> https://clyp.it/ggch1nth Have fun and enjoy the awesome summer time! ))

I really like the remix "Searing Aggression" of Zircon - love the style/genre of this track. But if you listen to my remix as well to Zircons remix on youtube (both max volume in the youtube settings) you will see (or rather hear) that both track volumes are nearly equal at the point where both tracks really start. My DAW metering shows no single point where my remix goes over the edge and clipping. And I can't hear one single clipping noise. So just tell me at which point you can hear such clipping noises - as I said the master track and every other track in the mixer is far below 0 dB within the whole remix. (might be some interferences of the lower frequencies within the bass tracks - but nothing what bothers me personally) And it's not my ultimate goal to make a soundtrack sound 100 % real/realistic - I just want to make it sound really good in a way that expresses my true nature. Sure I have to learn a lot more and get much better skills to express my nature and emotions more exactly. But I'm pretty satisfied with the progress I make step by step.

Bass seems to have too much hall/reverb - not quite sure if it's really the bass or a pad-like sound that interferes with the lower/mid frequencies (especially in the beginning part. But besides this it's a really awesome remix - love the lead guitar sound! \m/

Actually THIS is the compressed version of my track >>> check out the newest version (1.3) of my remix: https://www.youtube.com/watch?v=zNqel5SJPPE or https://soundcloud.com/master-mi/lufia-2-tyrant-breaker-master-mi-remix-version-13 ------------------------------------------------------------------------------------------------------------- With my compressor AM-Munition which I used for the drums and the master track this time the track got much more pressure - sounds more powerful and so much better. In the previous version I didn't use further compressors (except of the VSTI-internal compressors of the electric bass guitar and the rhythmic power guitar which are standard settings for those VSTI). There I also used a limiter called sMax11 - but it didn't do too much on limiting the master signal with my settings as I wanted - so the master signal got slightly over 0 dB at some points of the track. So you could have been right with your thoughts that the previous track had some clipping problems (although I couldn't hear any single clipping noise there). This time I only used the compressor AM-Munition to regulate the loudness and pressure of the drums and master track - the overall and max master volume in the whole track was around - 3 to -1 dB. I don't have used a limiter this time and I think it's much better with this choice. Don't know what you mean with the fake guitar sound - in the previous version 1.2 I only used 3 (bass) guitars - you can listen to them right from the beginning >>> an usual electric bass guitar (mostly play short rhythmic notes), a rhythmic power guitar (mostly playing short rhythmic notes) and some power chords (playing long, powerful notes) - as well as 1 electric lead guitar at 3:07 and at 4:46. The other sounds you have listened to in the later parts of the track might be the electric piano with distortion effects which I used from 1:40 on and at peaks like at 2:36 and later ones - it sounds nearly similar to an electric guitar but it's just the electric piano. ----------------------------------------- Within the version 1.3 I've also made some further changes: - added a lower deep lead guitar for the beginning part (makes a much more powerful, darker atmosphere - perfectly fitting to the destructive power of the god-like Sinistrals) - adapted the volume of the other instruments, mad some little changes at the piano part and removed the annoying distortion effects at the electric lead guitar part towards the end

Finally I could rebuild my remix from Ground Zero and I used this chance to overhaul it completely. Check it out here: https://www.youtube.com/watch?v=qvRN--KVzkY or https://soundcloud.com/master-mi/lufia-2-tyrant-breaker-master-mi-remix-version-12

I really like this composition and the dream-like atmosphere of this track. Maybe I miss a little "dry" part in this track where no pad sounds, halls or delays dominate the soundtrack (maybe 2:14 would be a good point for starting with this) - but that's just my personal taste. In my opinion it's already great as it is now.

Never said/wrote something of a professional remix in my new post - just mentioned that I'm the owner of a professional DAW - which is simply true. I know that I have to improve and that I will improve my composing, arranging, mixing and mastering skills a lot more if I want to make it really into OCRemix. But I see it like the Japanese way of thinking - Kaizen, to get better in little steps. Maybe I will have a better chance of improving my skills by creating my first very own composition to get much more away from midis/original notes. But I see this remix definititely as an improvement compared to the previous version - and in my opinion much less repetitive and more varied/interesting. According to my ears/headphones the peaks/refrains have some parts with really nice instrumentations (like the guitar/pan flute part at 4:20). "Epic" may be a little tough but I totally like the finishing parts with the saxophones - those were some of the few parts in the track where I had used my first own notes that fit in pretty well and sound really powerful towards the end. Not sure why you don't like the synth bass - maybe I have to try another headphones. But I also like the artficial/electronic bass when I listen to it with my MP3 player In-Ear headphones. At the moment I'm pretty satisfied with the results of this remix - although I know there's a long way to rise from the state of a bloody beginner. )

Finally I could go on with my remix Fighting Fantasies, a remix of the famous battle theme from the awesome videogame Final Fantasy 7 after upgrading my DAW from Samplitude Music Studio 2015 to Samplitude Pro X2 Suite, a really professional music producing software with which I can work with up to 999 different VST/MIDI layers per track now - instead of only 16 different VST/MIDI layers like in the previous version of my DAW. So, for the newest version of my remix I've made a lot of changes within this track. As you can see the track is now almost 3 minutes longer than before. I've also made some smoother transitions (especially when it comes to the slowly rising or falling loudness - so-called fade-ins and fade-outs - of some intruments and synthesizers at several points within the track). Furthermore I've added a short intro with some nice synthesizers and created a lot of absolutely beautiful sounding variations around the powerful peaks of this soundtrack. I'm sure you'll love these if you're a fan of the game and the original battle theme "Those Who Fight". And for the final parts of this track I've used a very powerful thrombone ensemble and a very expressive playing saxophone (thanks for the guys from MAGIX Samplitude for creating Vita Saxophonia) that leads into a really epic finish. I hope you'll enjoy this new version of my remix. Although it's not the final version of this remix, yet - but the main parts are done. I'm sure there won't be too much changes anymore until this remix is really finished (will do just some mastering stuff & fine tuning, maybe some small changes around the instruments, synthesizers and some single notes). -------------------------------------------------------------------------- Check it out: https://www.youtube.com/watch?v=x8m8gI-wShw https://soundcloud.com/master-mi/final-fantasy-7-fighting-fantasies-master-mi-remix-version-12

This is my remix of the Balrog Theme from Street Fighter 2 - in honour of the Street Fighter series, the character Balrog and his badass theme and of course in honour of Mike Tyson - one of the best and straightest boxers in human history. Original game track: >>> ---------------------------------------- Newest version of my remix: 1.2 >>> >>> https://clyp.it/0qz3jt4t Further information relating to the newest update of my remix you can find in the description of the Youtube upload.

Wow - that sounds totally interesting to me - go on with it. )) From which program you've got those eastern vocals/choirs - are they part of Cubase?

Totally see the point with the lil bit too high, ear-cracking flute, lead and some other stuff I will change in this remix later on. I've made a newer version of this remix where some problems are already solved. https://www.youtube.com/watch?v=mgBcsLpgY1E https://soundcloud.com/master-mi/final-fantasy-7-battle-theme-master-mi-remix-working-title-version-11 In this version I have improved the sound of the piccolo flute around the intense parts of this track. I changed the drum part after the beginning and removed the strange crackling noises between the endings and beginnings of the several parts in this remix (guess the reasons were some MIDI controller events in the midi file I had not deleted in the first version of my remix). I also used a string ensemble instead of the very high dreamy lead part - but I'll use a special section of the dreamy lead later on. Unfortunately I've already reached the maximum number of MIDI/VSTI layers (16 per track) of the actual version of my DAW - so I can't go on with this remix until I've bought the professional version of my DAW Samplitude where i can use 999 MIDI/VSTI Layers. I guess this will take some time. So, until that day have fun with this one here.

That's a catchy one for real, dude. Like the cautious part as well as the parts where the electric guitar gets in the lead. Metal Gear Fantasy - The Tactical Espionage RPG. Nah, no half-assed crossovers - this theme would totally fit with the orginal game FF7 - for example at the point when the new Avalanche group infiltrates the Shin-Ra HQ building.

I'm steadily working on a remix of the Battle Theme ("Those Who Fight") from Final Fantasy 7. It's my ambition to create a modern version of this theme - but without leaving those elements which make this track so interesting and memorable. So, I decided to keep those orchestral elements from the original theme of the game Final Fantasy 7 and combine it with the punchier and more powerful electronic elements of this theme in the amazing spin-off Crisis Core: Final Fantasy 7 and add some driving rock elements. Original game track: >>> ------------------------------------------------------- Newest version of my remix >>> 1.6 Preview >>> >>> https://clyp.it/fgslop4q

Guess, it will take some time for me to go on with this track. Since I changed my DAW (from Magix Music Maker to Magix Samplitude Music Studio) I have to make this remix again with all the midis and the settings - lowers my motivation a lil bit (but only just a little). But I tell ya, it'll be good in the end. I'm working at a remix of Final Fantasy 7 at the same time to keep myself up and to get some variation.

So, have bought Samplitude Music Studio - and it seems to work with all the pads which didn't work really good in Music Maker. I guess it's because of the much better audio engine in Samplitude. It also supports 64 bit systems and has a multicore support (have 4 cores). Just have an ear on it - just have exported a lil track with a Revolta²-Pad Sound. https://soundcloud.com/master-mi/samplitude-music-studio-demonstration Sounds pretty clean with Samplitude Music Studio, aye? I guess (and many people say this who work with Samplitude now) that the Musik Maker is more for Working with Loops and less with the midi stuff - so more for the mainstream guys who want to make music but who don't have a clue when it comes to notes, midis and the real tough stuff in music production. So I've just bought the Bid Daddy it seems - yesss.

I've tried this sound from Magix Maker in Magix Music Studio and exported then - with the best results (as I hear the pad in the DAWs). Maybe I have to get the Music Studio 'cause of its better Hybrid Audio Engine (although it doesn't make real sense cause Music Maker and Music Studio cost the same). It's really annoying, cause I have to buy at least 2 Versions of the Music Studio to have the same amount of Synthesizers and Instruments I had in the Music Maker - around 150 - 200 bucks at all - poor Mi (feel milked like a cow). ( But make sense to try those plugins in other DAWs - but some plugins like Revolta² and DN-e1 (which are really great in my opinion) only work with the engine of Magix - unfortunately.

So you would say that this DAW wasn't created with the ability to use it's own synthesizers? Come on, don't troll me - I'm in a bad mood about this - just planned to eat the sound drivers and play the synthesizers by myself.

My DAWs are Magix Music Maker 2014 Premium (and previous Versions) and Samplitude Music Studio 2 (this one just for dividing midis into the several layers as a preparation of a remix).