Cyberdrive
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Posts posted by Cyberdrive
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I know this is an odd one but is this theme up for grabs? I'd really like to remix this:
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I second TurboTax.
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Made this because I felt bad for the guy who's been requesting a Drakkhen remix on the request forum for 6 years with no takers. Wasn't going to post it here initially but I think it may be decent enough to do so. Source material below:
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Something I whipped up for the title
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Ok so I think I have the arrangement pretty much done; I may shorten it but I'm not planning on adding anything. Ignore the waveform; soundcloud is being stupid. The remix itself is more focused on the motif than a particular incarnation of the theme, but I drew inspiration from this one as it is my favorite:
Some concerns I have:
1) I want the initial "metroid noises" to be jarring, but I'm afraid I may have made them too loud due to feedback I got from someone outside this websites community, Are they ok as is or do I need to tone them down? Also, is it obvious that they are metroid noises? I drew inspiration from the opening to the gamecube game prime but I wanted to make them a bit more intense.
2)General mixing stuff; is my low end ok, is the mono mix acceptable, etc. Ive checked all this myself of course but I'd like a second opinion from someone with experience.
3) is the arrangement ok? Is it too basic or monotonous? Is the percussion, although complex, too repetative?
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41 minutes ago, Neblix said:
Headroom is one dimensional.
A signal (represented as samples in time) is a linear combination of waves its component frequencies with their respective amplitudes.
An assortment of frequencies at certain amplitudes may not *necessarily* reduce headroom at other places, but they certainly can. If a 500 Hz sine and 1000 Hz sine start at the same phase and the 500 Hz sine hits the 0 dB ceiling, you can bet they will constructively add and thus clip at various points in the waveform. It's just math.
I suppose that makes sense. Learn something new every day
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Subtractive EQing and side-chain compression do wonders for achieving a "loud mix" pre-mastering, which as anyone who mixes with loudness as a factor will tell you is where you need to start thinking about it. Even conceptual decisions about priority come in to play before you write the first note.
Using these techniques, depending on you mix, you should be able to have most of your elements near the ceiling if desired (I NEVER mix with a ceiling of louder than -6 db; loudness beyond that is achieved during mastering). If not, ask yourself:
A ) are they adding anything to the mix? Is the mix too busy? (this was a big learning difficulty for me)
B ) do the individual elements in question need to be that loud?
Remember, all the mixing and mastering in the world wont amount to a hill of shit if your piece doesn't work composition wise.
As for that Dimmu Borgir song, I'd have to look at which one you mean but I can tell you that they usually don't have a whole lot of weight in the sub bass frequencies due to the genre. Most of the sub comes from blast pedaling and there is no dedicated sub bass (like in dance music or other "loudness" oriented genres), so it likely that the guitars would be the loudest element in the the mix next to the kick drum, which is probably subtly side-chained to them and they probably have a subtle "dip" the guitar eq where the punch of the kick comes through. Dimmu also knows what they are doing compositionally. Their song "Puritania" is a very good example of this. Notice how the instrumental drops in complexity and intensity during the vocal parts to let them pop through. So yes, it is possible that the peaks of their guitars could touch the ceiling, especially after limiting (which is the stage at which you are seeing the audio). A 0db harmonic at 500 hz is not going to reduce the headroom at 1000hz; headroom is not one dimensional.
(Keep in mind this is coming from an electronica/industrial producer with no formal training so take it with a grain of salt :P)
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When you are producing material with a wide stereo field, you are bound to lose some gain due to stereo phase cancellation. I try to mix my stuff so that the gain is lost more or less equally across the frequency spectrum, so I get a similar sounding mono track to my stereo one.
Generally (and I say that because as you know for every rule there is an exception), I have a mono kick, a snare that's close to mono on the low end and a bit wider at the top (but not much), and everything else is mixed to taste but so that the only real change when converted to mono is that the drums are a bit more prominent.
Obviously, things in the sub ~74hz range are completely mono so that I don't end up with no sub bass in the mono mix.
I use "Haas effect" (delay based) widening sparingly, and only on the full frequency range (excluding drums and sub bass because they get funny). Most of my prominent delays are 1:1 time wise for L/R
For this same reason(mono compatibility and delay complications), I try not to go crazy on the 'verb as it leads to mono mud.
Occasionally I will pan things (for an effect or what have you) but I
My question is,, as far as electronic stuff is concerned:
1) amidoinitrite?
2) what is an acceptable level of overall gain loss?
I try to lose no more than 3db of RMS gain MAX and generally am able to get more than a wide enough sounding piece, but I'm always looking to improve....thoughts/tips/tricks for a wide mix?
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Also see my thread just posted earlier this evening:
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Its not like this is the first time a Final Fantasy composer has plagiarized. I present to you, J-E-N-O-V-A:
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As iconic as the Final Fantasy series soundtrack is, I've always made the argument that its hard to judge if you've played the games because you have to ask yourself; "Was this song REALLY that good or was it the associated emotion from the games plot that makes me like it?"
The soundtrack is also highly derivative. Jenova's theme "J-E-N-O-V-A" from Final Fantasy VII is clearly, at the very least, "inspired" by the ending theme to the film "Blade Runner", which was scored by Vangelis. The motiv from Sepiroth's theme "Those Chosen By The Planet" sounds eerily similar to parts of "Music for the Funeral of Queen Mary" (a synthesizer version was used as the intro to Stanley Kubrick's film adaptation of "A Clockwork Orange")
And now I think I've found yet another one:
I know the intro in this song is almost identical to a final fantasy song, but I don't remember which song or game. Anyone have a clue?
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I loved Drakkhen as a kid, although I played the DOS version. I also am mostly an Industrial kind of guy. I'm gonna take a crack at this.
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Correct me if I'm wrong, but the drums seem really loud compared to the rest of the mix, and not in a good way. How much of this was sampled? The mix sounds like you may have just put a drum loop over pre-existing material. At any rate, tone down the drums they are way too high in the mix.
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Metroid - Title - "Parasite M"
in Post Your Game ReMixes!
Posted · Edited by Cyberdrive
Thanks for the reply Zorrakh:
1) the low "ping" noise is actually an homage to the SNES metroid opening. I will look into making it a bit more sparse.
2) I think everybody is working on their mixing to some degree; no worries
3) I will make it shorter as I was getting that vibe as well. As for the track "Doomsday" I am familiar with it; going to half time might be really cool in this piece as well...thanks for the suggestion!