Hayeser

Thanks all,
I ended up getting the Scarlett 2i2. I guess I really didn't understand what I was looking for until you pointed out the difference. 
I was planning to use Audacity, since it's free and I've got some experience with it.
Again, thanks for the help!

What I heard was a note that had a sudden volume dip for a short moment. If it was a low velocity note, I think it would just be quieter. Maybe a volume or CC11 automation got a stray low point, or it wasn't as smooth as it could be. Really though, it's a very minor point, and I only pointed it out to help Neifion with attention to detail. It doesn't detract (IMO) from what is still great.

It is indeed a dynamically lower note; it was intended to be performed lower than the surrounding notes, but perhaps it came off a bit lower than desired. Good catch there. Thank you guys for listening and I'm glad it could tap into a bit of that nostalgia for you, Hayeser.

I hear you loud and clear on this one, my friend. I'm pretty busy this week on some other projects but I would definitely like to remix this track. Time to get epic funky!

In fairness to Bleck, there's been a conversational vein of "OMFG WHY CAN'T I JUST ENJOY DA MOVIE!?!?!?!"
 
You can. No one has said you can't, or even that you shouldn't.
 
I certainly enjoyed it. Twice. I personally didn't find my enjoyment dampened by taking a minute or two to think about what I saw...
 
It's a discussion topic. For discussion, see... If you want to argue that the symbolism & themes aren't there, or that they are being misinterpreted, go for it. If you want to make a blanket statement that no films should ever be analyzed, ever, you can do that as well.
 
However, it's a little obnoxious to be all frustrated & exasperated and act borderline persecuted just because someone else disagrees and/or actually wants to discuss the film. On a discussion thread. For the film. Eh? If not here, where?
 
Or was this supposed to just be a ROCKS! vs. SUCKS! poll of single-sentence superlatives?

Feedback is most welcome, please- I'm new to the OC ReMix crowd so I'd love to start off strong with my first submission. Thanks!
 
I initially imagined going more orchestral since it's such a melodic, fluid piece. Alas, there have been other remixes of that nature, and my strongest suit is bass/groove/vibe. That seems to be untouched territory on this song, as far as I can find, so I embraced a new direction.
 
It's got an R&B/Electronic vibe that slowly build while scattering in the notable motifs from the original. I reharmonized the chord structure, and took my own liberties on the bass line, made my own samples, etc. This is one of my all time favorite games that I've played through countless times since I was a kid. Track is made with respect and affection. Cheers!
 
ReMix:

 
 
Source:
 
 
 
 

I started doing what I needed and got better at it with time, never really practiced as much as just recording stuff and thinking it was great then having it actually be somewhat good eventually. It's nice to think something is great when you're starting out even if it sucks donkey udders

I must now reassemble my face, as it just melted off.

Do you find that you're a 'rewards-based' learner or incremental? I've been the former until recently, and we tend to be encouraged by demonstrable results and discouraged by not seeing immediate progress; it was a tough mental habit for me to break, and one that I still have to work on regularly. Easily caught up in 'broad strokes' learning, where you're getting a little bit of everything instead of perfecting the rudiments in each skill set. Not a seemingly direct answer to your question, but check out Josh Waitzkin's "The Art of Learning"; it definitely took away much of the anxiety/overwhelm I was experiencing trying to learn multiple new skills, especially while balancing work and personal life.

Since time (and how much of it I needed to be spending on any given task) is what seemed to be stressing me out the most, I started using a Pomodoro Timer app, and would break my skill building and all tasks into (up to 4) 25 minute chunks, punctuated by 5 minute breaks. So say I didn't want to go down the scale warmup rabbithole, I'd give myself maybe just one pomodoro on scales, then break the remaining 3 in to other things (one on jazz standards, one on shedding sixteenth notes, etc) still in the wheelhouse of improving that instrument/overall skill. And then maybe my next Pomodoro set will be tackling something in my DAW that I need to fix/figure out, or getting through a chapter in a composition workbook, or watching a tutorial video and taking notes, etc. Giving myself a limited time on this stuff made me get to the crux of techniques much quicker. I don't usually like time restrictions competing against creativity, but since it's more about developing vocabulary and efficiency in order to be able to express yourself to your fullest potential, thus contributing to your creative output, they go hand in hand I think. That said, I agree that if you're really engrossed in something and making progress, you don't have to cut yourself off...see it through and dig in.

Here's a bunch off the top of my head. Surely you can find ONE of these useful:
 
Orchestral:
https://soundcloud.com/stephen-anderson/i-am-the-sentinel-credits - dramatic film score
https://soundcloud.com/stephen-anderson/dinosaur-dna - action score
https://soundcloud.com/stephen-anderson/unity - pretty much perfect bass
https://soundcloud.com/stephen-anderson/turn-my-crimson-into-white - african cinematic spiritual
 
General Electronic:
https://soundcloud.com/zircon-1/level-bounce - funky electro house/chiptune
https://soundcloud.com/zircon-1/rise-of-pharaoh-remix-of-lara-croft-and-the-temple-of-osiris - middle-eastern drum & bass
http://ocremix.org/remix/OCR02367 - drum & bass with vocals
https://soundcloud.com/isworks/celestia-terrarium-naked-by - ambient/atmospheric
https://soundcloud.com/isworks/shreddage-2-nuclear-dubstep-by - Dubstep reference 1
http://ocremix.org/remix/OCR02318 - Dubstep reference 2
 
Eastern:
http://ocremix.org/remix/OCR02305 - General middle-eastern
https://soundcloud.com/ocremix/11-tibetan-tussle-timaeus222 - middle-eastern big beat / dubstep
http://ocremix.org/remix/OCR02853 - far-eastern cinematic / dubstep
http://ocremix.org/remix/OCR02094 - meditative far-eastern
 
Rock/Metal:
https://soundcloud.com/isworks/shreddage-2-subterrenea-by-ian - Djent metal
https://soundcloud.com/magnus-engdahl/wing-it - Common metal
http://ocremix.org/remix/OCR02293 - In-your-face rock
http://ocremix.org/remix/OCR02625 - Melt-your-face metal
 
Solo Piano:
http://ocremix.org/remix/OCR02962 - Nocturne
http://ocremix.org/remix/OCR03096 - General jazz
http://ocremix.org/remix/OCR02954 - "Freeform" jazz

I wouldn't have seen it again or raved about it myself if I felt like it was blunt, didactic, and/or overbearing thematically. With the exception of the bag of seeds and maybe a couple other moments/lines adding up to MAYBE a full minute of material, I think it was handled very well. I nevertheless do think the themes were quite explicitly there; they were just easy to look past (or at least not dwell upon at length) given the frenetic pacing & amazing action.
 
 
...yeah, but that short conversation is the one that involved the bag of seeds. And she explains - "back then, everyone had their fill" (or something like that) - back then, you didn't HAVE to kill people. That was before (drumroll) ...the world was killed. By men.
 
"Who killed the world?" is rather explicitly painted on the walls of the breeder place when Joe barges in and discovers them missing, and is again recited as a line of dialog. I'm fairly sure the answer is: men. Also on the walls: "Our babies will not be warlords" - I think you're conflating slavery in the abstract with the very specific form of reproductive slavery - to me, a stand-in for reproductive rights in general - that's actually playing out. Give it some thought.
 
 
I think the "green place," and the bag of seeds, and the many mothers, and the emphasis on reproductive rights, and the "Who killed the world?" refrain, and the depiction of men as (almost unilaterally) unreasonable and selfish religious nuts, and the depiction of women as (almost unilaterally) reasonable and compassionate individuals uniquely capable of seeing past Joe's BS and having emotions and what not adds up to something a bit more than just "bad guys vs. good guys," as you've laid it out. I don't think it's a stretch - I think it's rather explicit, actually - but like I said, I also think it's handled really well, offers a refreshing change of pace for this genre, and makes it all feel a bit new (in addition to the stylized, fantastic directing) without really proselytizing.

Right... but it's a cult. Cults often expend resources, even when resources are scarce, in the course of ritual & to heighten the "experience" - I suppose it might even add legitimacy to seemingly-superfluous things (like flamethrowing guitarists) that they are intentionally done with the knowledge that scarce resources will be consumed in the process. If there's no cost to the pomp & circumstance, it might seem hollow?
 
If you watch movies looking for anything that might be anachronistic or implausible, I personally think you should focus on the bigger-ticket stuff that's integral to the plot. In this case, I think I've provided an adequate potential explanation that jives with anthropological understandings of cults... instead of a human sacrifice, it's like a gasoline sacrifice... an ostentatious showing of power meant to intimidate partly because of the resources it consumes. You also see this type of display in nature, usually as part of sexual selection...
 
And on that note, I do think the guitar (especially in light of its pyrotechnic ejaculations AND eventual fate) is a pretty transparent phallic symbol...
 
So the guitar is a wang that shoots fire... a wasteful, insane, indulgent display of masculinity and blind rage. I don't think that's a stretch, given the emphasis on what happens to it (one of the 3D effects, too!) in the end...
 
I'd love to get into a lengthy discussion about the ways the film could be interpreted as "feminist" - I put the word in quotes only because, along with "feminism", it tends to get interpreted at least two different ways. Anyone have thoughts on that topic?

You need to go see this movie if you haven't already. Was a big fan of Road Warrior for most of my life, and I had been anticipating a new Mad Max for about as long as the internet rumors were circulating. Still, I went into this mostly blind without obsessing over pre-release media and production info/rumors as hyped movie fans tend to do these days. All I wanted was more Mad Max with post-apoc car chases and that would have been totally fine. What I got was way beyond anything I could have imagined. Everything was cranked to 11 with wacky ridiculousness yet somehow still manages to make sense within the world. The action and cinematogrophy puts modern CGI- and shakycam-laden filmmaking practices to shame. I shed tears while watching just because it was so damn good. It grabbed me in a way that no other spectacle-driven movie of this century has done. Whether that be action, superheroes, sci fi or epic fantasy.
 
Go see it just for this guy if nothing else:
 

Great nylon sound

I find the note entry inconvenience insignificant compared to the other MIDI editing features that S1 has. It's one tiny thing you have to get used to (only once) as a price to pay for all the really nice things FL can never do because of its pattern system (which is starting to show its age). Patterns just downright aggravate me, especially because I've been trained to use it for so many years and find myself struggling to write basic linear music because I'm so accustomed to writing one clip and then just painting it across the timeline for repeats, which stifled my ability to learn how to write music for... 8 or 9 years since I started learning what notes and beats were?
 
You can get the same repeat change-persist (change it once, changes everywhere) behavior in S1 as patterns but without the restrictions, and without it being forced onto you. Ghost notes are more important to me than any other MIDI Editing feature, so I deal with the pencil/erase tools (and like I said earlier, you have to cram a bunch of instruments into one pattern for ghost notes in FL).

What's this? A disturbance in the OC Force... like a million submissions untz untz'd and then were silenced....
 
On a serious note, an OC Reject is just an OC ReMix waiting to happen.... do or do not, there is no try

^^^^^ Things we're getting a little heated...so please ,for a moment, enjoy a calming image from one of my favorite painters...here I'll throw in some soothing sounds ( Beach tide goes in......Beach tide goes out....Beach tide goes in.....[seagull call].....Beach tide goes out)

I thought I'd start a topic to honor those who have put out their honest hard work to the judges, but for whatever reason, didn't make the cut.
 
Perhaps make a place on the internet just for this. Call it OCReJex or OCReJects.   Maybe make some album artwork to go with it. Kinda like OLReMiX but not as funny.
 
Anyway, I'll start:
 
Anyone remember Battletoads - Cold Chillin' ? It was so basic; so minimalistic; so chill; and so rejected. But it will always have a special place in my iTunes folder.

This is dope. Well done. Dig that dirty Nord during the wolf showdown. Points for the extra effort with the video.

Oooooooooh! I'm only 10+ years late to the party...
 
I'm catching up on years' worth of Remixes, and somehow missed this version of one of my favorite songs (and my first OCR submission) from the head honcho. This is my favorite version on OCR for the diversity alone. The juxtaposition of instruments did it for me

Might as well put my details here:
WillRock
General information
Real name: William Harby
Location: UK
Occupation: Composer
Preferred method of contact: Skype (WillRock07), PM, Facebook
Also reachable by: AIM, IRC
Five OSTs I recommend: iunno
About me:
Dunno. You guys can look me up here. Also work as a composer for edgebee studios. Got a degree in music tech. Etc.
Reason i'm posting here is because I don't frequent the boards, and i'm technically still a WS Mod. but I DO like to look and help out people with their tracks, particularly if they come to me in person. Its better to send me a direct message (AIM/IRC/Skype) rather than PM because otherwise I may think "i'll look later" and not get around to it, but contact me and i'll more than happily help out anyone who needs it. I wouldn't class myself as particularly great with a specific area of critique but i'm a good all rounder and can probably give a decent idea if something will pass the panel or not. Hit me up on Skype!

Ultimately I can sum up the sources of some of my past mixing issues to be (pre-2015):
1. Overboosting EQ in general
Sometimes it's slight, sometimes it's super obvious. Listen closely.
2. Not choosing good sounds from the get-go
Pick bad stuff, and you won't have a cohesive palette to work with. Furthermore, if the EQ on the sample is good as-is, you don't have to EQ as much to get it to sound good in context.
3. Volume imbalance between instruments
This depends on your listening levels, but ultimately, it's hard to get volumes just right sometimes, especially when the complexity of the layering is high.
4. Not-so-good audio system
Goal: flat frequency response, ideally. That way, you're not biased towards certain boosts or cuts to compensate (or overcompensate).
5. Compensating for loud mixing with poor-quality compressors
Yeah. Think before you put on compressors. Why would you want to use something if you don't know why you're using it?
 
Hardest thing to fix for me: 1
Easiest thing to fix for me: 5
 
If you get a good audio system, you'll be on track to addressing most of those. That's not to say it won't be hard. The rest is constant practice, patience, and critical listening. Good luck.

Presonus Studio One: Best of both worlds. (audio + MIDI) Fantastic Customer service/forum
price:
Studio One Free: try it out
Studio One Artist: $99
Studio One Producer: $150
Studio One Professional: $299

They should make a Star Fox ride like the Star Wars Star Tours ride from Disney!
 
Star Tours is probably the best ride I've ever been on in my life. I think I would go on it three times in a row when I was little.
 
Invading Venom tagging along the Star Fox team, getting sucked into a Star Wolf battle, doing Barrel Rolls? That would be the best.

Hey music aficionados,
I recently came back to a strange and interesting soundtrack that I had to share. It's for a GBA game that was ported to DS called Mazes of Fate, one of a few first-person fantasy RPGs for those handhelds.
The music is crazy diverse and original. Check it out for yourself:
https://reduz.bandcamp.com/album/mazes-of-fate
I don't have a particular request, but I thought you guys would get a kick out of how cool this soundtrack is, and maybe somebody would be inspired to update a song or two.
 
A few of my favorites:
"Character Select" is gentle and sublime, though doesn't offer much to work with as far as source material goes. Could be a good intro and outro to a mashup with another track.
https://reduz.bandcamp.com/track/character-select
 
"Latin Dungeon" is snazzy and has a fun rhythm with interesting use of instruments. I like how casual and meandering it is.
https://reduz.bandcamp.com/track/latin-dungeon
 
"Mountain Town" has as distinct Secret of Mana feel, IMO. Upbeat and adventurous.
https://reduz.bandcamp.com/track/mountain-town
 
"Rashtel Town" Suprisingly funky.
https://reduz.bandcamp.com/track/rashtel-town
 
That's all, hope you've enjoyed.