chokst~1.bat

Yeah, I kept looking, and just tried the "Terratec Users" option now, filling out this info: http://www.e-officedirect.com/flstudio/cakewalkregistration.html Interesting. I guess I'll get the info in the mail in a few days, unless I'm not a Terratec User (whatever that is).

I'm not, do you know of any sites that give away this kind of information for free? I bought FL Studios from a store (as opposed to the internet), and I don't think I have the option to see them either. How lame.

Wow, I just listened to this again today and really enjoyed it. Tons of emotions, suspense, and creative/refreshing sounds all over. I must have been having really bad ear/headphone problems a few months ago... or something (???). This sounds great and is very captivating.

Ha! It took me forever to figure out what you were talking about there Nasenmann, I always just did something similar to OverCoat. Interesting idea. While trying to find that "link to selected channels" button, I noticed a whole slew of other things I would have never paid attention to normally.

I'm not really into this mix. The production seems kind of cheezy to me (choirs blaring too loudly, same effects being reused, ideas dragging on for too long, grating violin usage, lack of enough textures within the background and atmosphere to keep things interesting and full where they could be). There's some nice light and unique touches in places, and I enjoy how some sections sort of creep up on you, but I believe that alot more could have been done to provoke feeling here, like adding a more noticable bassline in places, having some ambient noise or screaming at around 2:50 to give those uneventful bells some life, taking volumes of certain notes up gradually, playing around with wind sounds or low frequency effects at 3:39, bringing out the plucked strings and cycling harps more clearly, doing something entirely different than the twinkling at 4:38 before the static loops back to the start to keep things fresh, etc. I don't have enough desire to make a detailed list of suggestions, though; this song just seems much too lacking to me for what it is. I really liked your other version of E2L4 though (atleast in it's more raw, psychotic WIP stages - that clean version with the intro/outro feels more mundane).

I've never submitted anything to OCR, but here's the first two Reason experiments I ever made. :vomit:

So, I'm listening to... "analoq - Demon Con Gusto" (e3l3) ...and enjoyed it enough that I decided to keep it on repeat for the length of the soundtrack instead of listening to the rest! (catchy synths, pads and drums. I loved especially the buildup at 1:36 and the 2nd octave change at 2:52. The NIN/Closer similarities at 1:36-2:24 and 3:12+ kicked ass)

I've been just starting to play with that weird triangle thing in the top left corner of the piano roll, and it's pretty fun (placing it with existing notes to bend them back and forth). I thought maybe that's how you usually did your crazy bending in most of your songs, but I have no idea if it works the same with VSTs. Does it? Behold some random crappy sample using that triangle bend thing on the background pads: pattern.mp3 Your Robotz Warehouze Nigga Hardcore Alphabet sounds great after my 50 second Skullmasterpiece man. Great album.

Haha. What a weird idea. Redrum and Matrix are probably my favorite things about Reason. I'm going to have to try this sometime.

I'm not very fond of hearing your opinions being spoken like they're facts Compyfox. You're allowed to have an opinion, but you really shouldn't be trying to dictate to people how to think in a reviews thread. Graylighting had some very legitimate issues with this song, and you seem to be trying to change his words around into something much worse; to the point where it just makes your claims invalid. Obviously, you have something against Gray for some reason which is beyond what he's talking about here. Most of the judges said that they had a few issues with the song, and this was somewhat not your fault and unfixable from your position, but if you actually paid attention... Gray actually complimented your engineering. Get the facts straight, and keep in mind that everyone has their own focuses when judging; some of which you may have not have even considered (which would mean that you are arguing for no reason, since you're just assuming that you know what they actually meant [but you really didn't] when you're saying that they're wrong). I think you're pretty shallow if you didn't understand at least one concept of what Gray meant when he said that he felt the drums lacked punch. Punch doesn't just mean being loud and in your face, it also means being something that keeps your attention all the way through. How is using snares and hi-hats that don't ever change in velocity and frequency (not to mention not EVER blending in with the more submerged/filtered instruments in the background; always maintaining that exact same clean and mechanical foreground presence), going to give your song an accurate "it has punch" compliment? Each of those drum samples have no sustain whatsoever either, and the actual beat never changes that much. They also sound very General Midi-ish, which doesn't make it any funner to hear them for the entire length of the song. They appear to be in their own channel and on a constant loop, with a few minor changes here and there (that are never based on anything beyond pattern selection and actual sample notes being played); every other aspect of the drums is completely oblivious to the feeling and flow of everything else going on. Not sure if any of this is what Gray was talking about, but it could open you up a little to the fact that people do have opinions that are different than yours; which shouldn't be used to try and mock them and gain sympathy from others (or to preach your "superior technical facts"). Everyone feels things that are true for them.

Neat. 2:46+ rules. Same with 2:01. Nice mood change with some pads at 1:33. Sweet lead instrument. Ending leaves something to be desired. Interesting percussion all over. Some nicely executed melody changes (at 0:22, 0:34, 0:49, 1:03, etc.) I would have enjoyed seeing the frequency vary out of it's consistant bright and trebly range a little more. Didn't grab my attention too much right away, but the depth keeps me coming back for more. I'm getting into this more and more with each repeat.

Don't expect me to head it. We could take Bobby Prince's lead and just rip half the remix tracks from other artists. This could so work. Just like that NIN Super Mario remix thing... Waiting for Britney Spears 50 Cent's got the shotgun Into Mariah Carey's City Only midi-rippers would be useful though, not re-arrangers (sorry to anyone who's on OCR).

I found this when looking through the judge panel for songs with more than 4 replies (you know you'll find some interesting contraversy in those threads). Interesting new version, it lives up to the name well. My favorite part is probably at 2:20 when the song smoothly jumps back to the different synth/pads harmonizing and cycling through both ears, followed by that nice moogish bass and cool pulsating/reverby background notes. The two drumloops playing together at around 0:57 was interesting, and there's some nice effects hiding within the flow all around. For me, this song gets better after a few listens, after your expectations and/or element of surprise wears off... and you just want to relax and dive into the groove; watching all the subtle things come to life with the atmosphere. Pretty nice.

I can only hear around 40% out of my right ear right now, and this song still sounds very full and clear sounding for me on headphones (unlike just about every other song I have, which lose alot of quality when I have these ear problems). I read all the reviews before downloading, so I expected something pretty uninspiring. Normally I'm not a fan of repetition, but this had alot of clever and interesting things going on, and held my interest all the way through. I think it's great. It's executed very cleanly and with alot of good breaks and ideas. The song structure is a very nice change from the mainstream hits, it leaves every new surprise feeling even more special as they unfold. The wide range of sound techniques and effects puts this song above alot of other stuff on OCR for me. I could comment about which sections triggered me in an imaginative and positive way, but I'd probably name just about everything, as it's all quite fascinating. I like experimental pieces, and this lets me eat whatever I want from the buffet... without trying to shove it down my face. This song tells me that while the sun is shining, you can be walking outside at a relaxed pace in summer or winter, and there's always colourful things going on for you to find inside the scenery. Great stuff.

Try clicking on the instrument (in your Step Sequencer), then a "Channel settings" window will come up. Then go to the FX on the top right, and scroll it's display up to 1. Then go into your View->Mixer menu (or press F9), click on the FX1 section, then use something like "Fruity Reverb" on the FX1 track. Then it will only add the effect to that instrument, since it's the only instrument that you switched the FX in Channel Setting to 1. Not sure if that's what you wanted. Does it help?

|23$+ +1+|_3 $0 F4|2! Kirbylution has too many sylables. Too much of a tongue twister. Just my opinion.

Well, I have some pretty elaborate and specific visions for where I would like to take the song... a deep adventure; verging on the organic. I'd say just keep this one "free", atleast unless I post a decent WIP. If someone else posts an entry first, then so be it. It'll force me to work harder in the meantime.

Woah, I was sure that LordMaestro was doing this. I've always loved this track, so if it really is free... I'd love to try and elaborate on the WIP I posted here way back in August. The only reason I stopped continuing was because this slot was already taken. Also, didn't Nasenmann already do something for E2L1? And TO for E2L8? And Roetaka for E1L4? I have quite a few "lost" entries from this project; if anyone wants to hear them. Some were pretty awesome. Here's the ones that I mentioned above: http://www.canadianphilatelics.com/choksta/lostdoom.zip

I'm going to start off this message by saying that the Wormhole level in Final Doom: Evilution (TNT) had one the most touching songs in it that I ever heard. That level's music was so heartwarming and great, and the level was awesome to play through too - as with the whole game. Though it was very modest, I loved the original song so much, and don't think anything could really come close to matching how great the original makes me feel. That being said... here's what I have to say about this remix... People don't seem to be that picky when it comes to adding piano to a piece, and that you can throw just about anything together on the fly and it will work... but I am. This seems very disjointed to me, and the whole song doesn't flow very well; in my opinion. The piano also feels too bright and in-your-face. I would have added more effects to it and fade it down the frequency range at times to keep things interesting. As it is, I don't think it really adds to the song. It's kind of battling against it, for the most part. The atmosphere in the background is nice though, and very true to the original. Those strings, synths and basses sound pretty good... but the foreground needs more variety than just a piano and loopy drums; and it needs melodies that flow better with the background (as the piano really trails out of sync with the music at times). I think the piano works good at 2:29-2:50, but needs a little work after that, especially with progression and build-up at 3:12. The ending also seems pretty abrupt, and leaves something to be desired. So yeah, I'm pretty picky when it comes to piano, and in my opinion, it isn't mastered enough to fit with the music; though it does have some good ideas. It needs more fade-ins and variety in sound / volumes / pan rates to keep things interesting (though some sections did a good job at blending in sort of well; like at the 1 minute mark). The name "Clairvoyant Elegy" seemed too fancy, and didn't appeal to me too much either. I'll keep listening to it. If I have a sudden change of opinion... I'll post it, but for now, I'm sticking with labeling this "disjointed" and "the piano needs some major fixings". Meh, whatever. Thanks for remixing one of my favorite songs ever; guys.

Ditto. The way everything sort of creeps up and jumps out at you is executed very interestingly; one of my favorite styles. I agree with Debotron-6K about the lack of bass, the song feels a little empty in places; but as he said, that's a very minor setback. Lots of great stuff to me beyond the 2 minute mark especially. Around 3-4 minutes it's goes full out crazy; so cool. Brings me back some great memories of everything from works of Transient to Aphex Twin, not to mention capturing that great classic computer game feel in many places. I'm really glad that this song made it past the panel and towards the direction of my eardrums. Neat stuff.

Argh. You people don't have ears! Wait, that doesn't make any sense.

Yup. That high static in the left ear is pretty distracting. I suppose that the fuzz is also the reason why the volume of the piano isn't loud enough; and much quieter in the left ear. Sorry, it's just kind of annoying. It's hard to enjoy something when the power of the piano that you wanted emphasize is kind of lost in the recording. I probably wouldn't have posted this if it was my song, because of that issue (and the little noises outside the piano like you're moving or hitting something here and there). Maybe it would have worked better if you recorded it straight to midi first; than used the same piano instrument when making it an mp3? Not sure. Anyway, some pretty cool chord and melody ideas; and I like it how you're hitting the keys pretty forcefully in some places to get the tension going. I like especially that section at 1:45 where it drops in pitch. Some interesting cycling note ideas. As you said, this kind of stuff isn't really that difficult to make. Once you get the hang of all that stuff on the piano, playing something on the spot just comes naturally; for the most part. That's one thing about solo live recordings that I'm always iffy about, the simplicity of making them kind of makes you wonder how worthy they are of being shown to the public. I don't know, I'm gonna eat some cereal now. *hands bladator a bowl... cheers, to crazy and fun pianoizm!*

To: MushroomGirl6969696969696969...

God that was just funny. I can't believe you actually took time to make that. Thanks! It was fun to play.

I AME TEH BEST MIXER EVAAAAAA4A IN THE UNIVERSE!!!!!!!!!!11111111 http://www.canadianphilatelics.com/choksta/37.mp3