Ronyn

How do you record? Do you play both tracks and overdub? or do you have a second performer? What kind of church are we talking? Like a cathredral or smaller? Any estimate on room size?

This one of my favorite game songs of all time, so forgive me if I'm real hard on it. I really dig the arrangement and concept, you play classical guitar beautifully! This mix reminds me of another I've heard with dual acoustic guitars in this same style. I can't remember which song, but I'll venture a guess you're the same remixer. If you are, I gotta admit I'm a little disappointed to not hear something..."new"...outta the mix. I really thought the emotional momentum of the piece could use a real good build, like more tracks added slowly, or some subtle underscoring, etc. Perhaps the static laid back thing is your style tho...I know some people like it. The only other things that bugged me was the micing of the guitars. It sounds a little too honest to me. I think you should consider the room you're in and try some omni's to capture room ambience, the synthetic reverb helps but I can still hear a lot of fingers and frets sticking and moving more than I like (kinda like the guitar piece in Will Ferrel's "Stranger Than Fiction", that crap seriously raked at my ears). I think a good mix of close micing and distant micing would soften up the piece a bit and give it more of a "fantasy?" kind of feel. Just my thoughts. ^^ Great work!

I know this mix kinda died, but I'm determined to complete it... http://www.jamesgeorgemusicandsound.com/files/darkgaia1.mp3 I'm still debating if I'm going to use compression or not, I know I should to really heat up the guitar tracks, but once I do all the orchestral stuff is gonna get buried. Any ideas? I know the guitar sounds a little synthetic, but hopefully it's acceptable. I'm probably going to add Reason to this at the end and put in some funky drum tracks, so if it seems a tad non-percussive don't worry. This not close to done, but how's the sound? Works? Decent? Crap? Be honest

Yeah, sorry haven't been around giving updates ^^. Obviously it's a little embarrassing to keep posting in the forums in lieu of having done nothing. Things are finally starting to settle down in my life, and I've got free weekends again. And I don't even want to tell you what else went wrong to slow me down late Feb. (it started when my RAID arrays mysteriously disintegrated...).I'm going to work my ass off this weekend to post something complete/almost complete. Project leaders: I'll leave AIM up this weekend. It would be nice to discuss things live with ya, so if yer on send me a hello (maestrodeclure). Regarding focus, well, I was actually working on a orchestral sound with a rock/FX blend. I kinda don't know what I'm doing with the rock, kinda playing by ear. So please pick on my WIP this weekend rock people. I think I got a good sound going, I'll post it for feedback...

This sounds similar in style to The Elder Scrolls, nice. I like the expressive samples, but with expression you should be careful not to interrupt the envelopes too much; it can sound like hiccups. Try editing them or possibly slowing the tempo a little to let the expression out.

This piece was a challenge to render thanks to CHIPP who just HAD to write something complicated. I hope it cuts the mustard, thanks for letting me work on it! Good luck with the judges!

*cough*

Wow this really sounds different from what I remember. I like the new intro. The staccato brass that comes in at about 2:48 playing the main theme doesn't sound right or natural. Maybe because it's a sfz getting cut before it finishes the sample, not the best for staccato. I'm thinking just letting it play out would improve the sample sound, and give it some epic contrast as well. Really impressed with the ethnic instruments. They almost sound live, heck maybe they are.

Finally getting a start on this. Thought I'd get some feedback on my initial approach: http://www.jamesgeorgemusicandsound.com/files/gaia_intro.mp3 Not complete, but feedback still appreciated, or ideas for other sections. Still looking for a good name for this track too. Will update through New Years, check back.

Just thought I'd drop in and let you know I'm not dead. Starting my mix now and will work quickly to finish it before the new semester. Starting a WIP. Watch for it...

While I certainly don't do this as a rule of thumb, I minimally try to at least return the love given to my WIPs and mixes. If you post or review my stuff, chances are I will return the favor. Feel neglected? Stop neglecting! Anyone that reviews my stuff will get the favor returned, minimally.

I know Sil gave ya some good stuff, so I won't bother with a breakdown. On the whole it's alright. Kinda reminds me of Michael Kamen scoring the Metallica songs. To me though, he tried so hard to make an orchestra sound like a rock band, it just didn't work. It was neat and fun to hear strings play famous tunes, but nothing "new in a special way" was added (IMO). Just be careful not to make your arrangement sound too much like a video game. There needs to be lots of variation, nuance, dynamicism, and instrumental color - things a nintendo could never do. This works needs new and special, unique orchestral special. I need to be less vague.

Man sorry it took me so damn long to listen to this. After the 1st 30 seconds, I didn't really feel I would have to listen to the rest, it's so good and well done. I was right, a solid arrangement. There seems to be some production issues though. Everyone keeps saying, more EQ! But to me I wonder if there's too much. It sounds like the guts were cut out of almost every track, halfway muted-like. I honestly wouldn't know why, but perhaps you can figure it out. If not the EQ's fault, then yeah, use it to put the raw stuff back in, it's a little too clean and pseudo-muddy. Maybe a little more attack time on your compressor too, make it bite more (assuming that's even the issue).

Lucky for you I just happen to have a soundclick account and don't mind downloading it over and over. Anyway, haven't been able to log in for a while, sorry I didn't listen again sooner. The brass does sound a little more wet, thank you! All in all it sounds like what I remember, except for the ending. To be honest, I think I liked the previous ending more, this version seems to have less contrast between the sections, like Sil mentioned, than before. Kinda feels like a film score without a film, which I know is what you intended, but it shouldn't "feel" that way to the listener. I don't have the previous version anymore so I'll have to let you figure out why that might be. If you restore that feeling then I'd say cut, print, submit. There's only so much you can add before you're just taking away, and I think you're reaching that point.

back in! woot, props to the liontameister! thanks man!

Kinda odd how those reverse cymbals end so suddenly, but I like the effect. I might put a touch of reverb on that track just to give an audible tail, or aftertouch. I think it would help the build of the piece for those string ostinatos to get louder slowly as the rest of the piece does. Dig the new music at two and a half mintues, breaks the repetitiveness more. I think the additions here are what the judges were looking for. It would make my day and I would wet my pants if you added some more reverb to those brass tracks. Make them more epic, wagnerian, what have you. Personally, I don't think they sound natural that dry, good don't get me wrong, but odd. Best version yet!

Taucer's criticism is fair. However, the only parts that are "note-for-note" are the intro (source), outtro (source), and some of the structure and underscoring of the main theme. If you listen closer though there is a lot of added harmony; at that time I didn't want to touch the melody. In all fairness, I've considered how lucky I was to get this passed then. I'm sure it wouldn't get passed now, and I'm not clueless as to why, don't worry. If it stays on the site, score. If it gets dropped for QA, that's cool too. I would love to remake something more my own with my new equipment. Technologically, I couldn't do it then (AWE32, need I say more). I owe this mix getting posted to Vegas and a good engineering class, not to my equipment. Que sera sera.

Haven't had a lot of time to be around lately, but I did make it a point to listen to this update. To answer your question, it did sound like a some instruments were pushing out some distortion and fuzz. At first I thought it was just the bass heavy mid section, but I can hear it all over slightly. Distorting on purpose? I'd double check your EQ's too, make sure you didn't amplify some fuzzy freqs accidentally either. Probably check your compression too. I think the last half is stronger than the first half, and the trick will be to keep people listening long enough to hear the good parts later. I think in the first half, the sonic soundscape overshadows and overpowers the musical content. In the second half, they work together much better. 3:20 is probably the most sonically simple section of your music, yet oddly enough, the most musically powerful. I really think less is more in this case. The mix as a whole, largely due to the scoundscape dominating the first half, seems too dripping wet. I know ambience is the goal, but every track doesn't have to have spacey reverb in ambient music. Still not a fan of that (rainmaker?) effect either. It would be better if it kind of faded in and out, ethereal-like, but I can actually hear it starting and stopping out of nowhere-sharply, and no offense, it sounds like someone using the bathroom (imo) or operating a faucet. The panned spaced out tweets at 0:50 that come in don't match the emotional mood of the piano trying to play. In general, the FX really distract from the piano and pads altogehter. They are playing some very beautiful lines that would really be moving if not for the obnoxious FX screaming "look at me!" Look for FX that compliment the piano and pads, not compete (i.e. maybe use a piano plunk or similar kind of sound as the source sample for the tweets? might have a neat kind of psychic echo effect or something). If you're burnt out on this one, step back from it from a while. I know if you come back to it later, when you haven't heard it for a while, you'll hear lots you didn't before, and maybe by then have thought up some solutions. I also know you're working on like, 10 million projects right now. Just be careful not to stretch yourself out too much. Quality is infinitely better than quantity, and it would be a shame to see your quality suffer because you want this mix over and done with. Sorry if I'm being too harsh. It really is beautiful to listen to, but someone with your talent really deserves some effective feedback at your level. I've heard your mixes and I know you can really blow people away with this mix, I'm guessing you're a little tired by now though. Submitted or re-worked, good luck!

aaaaa, good to know, lol. Yeah, FL isn't my forte. I really thought I heard more wah wah than phasing, but I shouldn't be surprised, it had the same effect. Clever usage.

Saw this about to fall of the board, so gave it a listen. A very cool flange effect, I like what you've done with it. This kinda stuff isn't exactly my bag though, one effect for more than 30 seconds seems like overkill to me. Any other ambiences you can add?

You should totally rework and submit, you almost passed. When you first released this, it was extremely repetitive, almost a one trick pony with the horn blats and bass drum. It's come a long way and is very entertaining, but perhaps the underlying concept from the beginning is inhibiting it. I agree with sil about the structure. It's kinda evolved to an a, a1, a2 structure, I think it could use a "b", maybe even a "c"

The arpeggio is minor. I think it just stands out cuz it's one minor chord in an ocean of relaxing major. I think it sounds fine.

That jump to minor at 2'02 mentioned in the description sounds deliberate to me. It's matched by the other guitar. I think it sounds odd because it doesn't dwell on itself long. I love to hear stuff like this. Beautiful work, original concept.

Crescendo to Cooking.....I LOVE IT! ha ha Sorry mlo, I keep intending to post regarding your mix. I'll try to today. I could try and master some tracks, I've got the computer and software for it, but I'm still a bit of a neophyte compared to those in the "biz". If you can get someone that really has proven themselves that would be better though. If you can't get anyone, I can give it a shot.

I play violin, viola, and bass. Although getting hands on the last one might be tough, doubt anyone would write solo bass anyway. If you need solo violin, I'm yer man. I got small hands though so viola usually takes more recording time to get in tune just right.