SnappleMan

Pretty good, but I got a few complaints. The overdrive that you added to the guitars was not only unnesessary but it destroyed alot of the nice round tone that the original tracks had. The stuff you did to the drums killed most of the tone and dynamics, the drum track sounds very flat and lifeless now. The fading in synths is too blatant and loses any subtlety you were planning on. Maybe if you kept a couple of them and then faded in the last synth track later on? It sounds kinda silly having them all come in at once like that. You mixed the bass way too low and the song sounds like it has no rhythm without a defined bass. Sorry to be so rough, but mixing is a serious problem within these communities that nobody addresses. We gotta be tough to learn properly. Try again and see if you can't improve on those points I made. Oh, also, the compression on the overall track is too heavy, you should take it down a bit. I gotta admit, it is a little bit unfair to give people this kind of a track to mix, because it's much more difficult that having to mix a song with just synths or an orchestral song. I mean, synths are the easiest to mix because they are very easily controlled in terms of frequency, and can all cut through perfectly no matter what (with a little care that is), and most orchestral samples that people here use are made to be easily mixed, pre-panned and all that. This song contains nothing but dry elements, some synths, and some live. Frequency slotting is really tough with guitars because such a dynamic instrument really suffers if you cut any of the wrong stuff out, and for those less experianced with guitars, it's hard to tell what a good guitar should sound like. And the multi sampled drumkit is extremely hard to mix, and easily the make or break element of this track. I urge everyone to use every mic channel when mixing the drums, it's the only real way to get a live, organic and dynamic sound out of it.

http://theshizz.org/forum/index.php?showtopic=8933&st=100&gopid=440018entry440018 Check out my last post in that. You can download that .rar file with all the tracks for a short little song. Mix it, document what you did to what channel, post it here. Also, read what the people at the shizz do with it. No better way to learn to mix better, I think. Oh yeah, a link to the files would be nice.... http://inverteddungeon.com/triacesuperfan/SnappleMan/FFMQ_MixingTracks.rar

I can do piano.... very well. Metal is much more fun and challenging though.

Nigga please

No sir, I don't like it. Volume levels are wonky, kick is too loud, samples suck, arrangement gets old fast. Shows much promise though, and for that I am spiffed.

BWAHAHA! That all depends on if I give you a song or not, fagface!

I'm changing my name to Jack Meoff.

Look harder.

Scales.

Hey Zirc, you've tried all this stuff out yet? I'm wondering what that stormdrum kit is, is it a normal drumkit or some kind of special percussion?

That's not at all true. Anyone who has experiance playing a decent amp will tell you that guitar suite sounds crappy. There are simply too many factors to take into account when identifying an amps tone, like room sounds, the mic used, the cab used, the mic placement, and the natural distortion that comes from driven tubes. The JCM900 which guitar suite emulates may be accurate on the circuit level, but that's just the first step in the tone it should produce. To get guitar suite to sound good takes alot of work, but you're right in that the price is right, and it certainly is better than nothing.

I'm at 160-200kb/sec.... I love my job

I use an Audiophile 24/96 and am completely happy with it. I really dislike guitar suite because it's not accurate at all. I mean, emulating a tube amps circuit without some kind of vacuum tube emulation is pointless, it'll just sound like digital bullshit. But, with alot of smart producing you can get it to sound good.

Try learning stuff from Alex Skolnick, Chris Poland, Alan Holdsworth, Glenn Tipton, Marty Friedman, Tony MacAlpine, Gary Holt, geez, this list will go on forever. Once you get to a certain level, you'll realise that physics actually work against you. The most advanced lessons I've tried to learn have almost all been about limitation of movement, the less time you waste moving your hands the faster and more accurately you can play. I suggest you check out John Petrucci and Michael Romeo, they're masters at that.

I just got a new instrument cable, it fucking ROCKS! Oh, and I've "aquired" Amplitube 2, it's spiffy.

Considering both projects are pretty much waiting on me.... :\

Or you can be like me and practice Megadeth's Holy Wars till you can play it all at full speed.

It's easier to think about it in terms of what you actually hear. If you can "hear" the EQ on a track, then it's not transparent. Kinda like salt, if you taste your steak, then it's a well seasoned "transparent" steak, if you taste the salt then you're eating at some assholes house.

So wait, I'm a bit retarded. Is that whatever it is claiming to produce flat mixes regardless of what you're listening on? You can't get a true flat response unless your monitors and room are tuned to be completely flat. Unless the bundle comes with special monitors, room padding and a special harness that controls the vibration of the air around you, your midsection, and your sack.... forget it

Well, the second half is roughly based on the original theme. Considering the first half of the song is a note for note cover of the original, I wanted to do something slightly different for the second half. That way you get a faithful arrangement of the song, and something different to enjoy once it's over

D: FM for the win If I could ban him from listening to the project, I would

I also have a problem with a few of the tracks being not as good as the originals, like the ones that are track 1-35... There's no way to compete with the FM synthesis goodness of the Sega Genesis, especially when it's done so amazingly well like in this game. But overall, I doo agree that some of the more inexperianced artists took more of a liberal approach to the songs. Although I think it's more a matter of losign focus of the original songs. The OST is strongest in its bass and drums, and while the melodies are very good, they're not as defining as the rhythm section. It takes a keen ear and a good understanding of what it is about the song that makes it recognizable that will help you produce a song which is easily recognizable and at the same time not just a straight cover. I mean, take Rexy's Angel Island rendition or Gecko's Launch Base song, for example, if they had concentrated more on keeping the original basslines intact and used them to hold the song together better, their songs would be recognizable while at the same time allowing for all kinds of arrangement in the melody department. Don't get me wrong, those and all the other songs are great, but the key is to try and figure out what the composers were going for, and then try to expand on their vision in a way you think they'd have taken it had it not been a 50 second loop for a videogame.

iTunes is for gays.

Go for it. You hated my version ?

Dan is too fat for WMP, sorry