Rexy

I can't believe I left that behind >_> It namely got the title because of the 5/4 time signature. There, that's all there is to it

Great time with family? Check. Rest and relaxation? Not easy when we were on the road to Dublin that day. Alas, Happy Easter nevertheless!

Now I understand - the actual moisture for the reverb was to be looked into, not the input signal. Don't worry, I've managed to look into it again and rectified it. During the remaster I also played around with my sound card as to why I don't see a clipping signal in Cubase when mastering but sometimes I actually hear pops when hearing the mix back. Then it struck me - looking into my PC speaker settings there was a sound playback enhancer option that might've unintentionally amplified the playback while rendering it. It worked because after turning it off, the clicks on WAV playback seemed to have vanished. The limiter setting was boosted to -1.5, and Roomworks now looks like this: This would probably also be my last revision before I leave for Ireland tomorrow. My expectations for when I return next week are pretty much the same as the past few days

Yeah, apparently I'm still stuck on version 2.2, but it somehow still works. xD But by frequency altering on RoomWorks you were referring to the dampening rather than the input filter? **facedesk** I'll see if I can tweak it just a little more. Thanks for the clarification

Yes, but at the same time, you also lost because the Spring Yard section was at 65. Don't get too cocky.

lol halc, I know you're a new judge but I'm sure the giant yay/nay fonts should be better off saved for the panel. But thanks very much in regards to the feedback! I recall having a huge track record for mixing too quiet, but for the most part that with Stevo's limiter experimenting suggestion have helped for the most part in trying to bring out a clearer sound in the coming update. So, it's over on the OP. I've taken the production based feedback, and my settings currently stand at thus: My limiter settings. This was the only dynamics plugin that I had that didn't distort the sound when the limiter was turned on for some reason. Having it set to its default -6.0 made the louder parts sound a bit too flimsy, but I hope this compromise - coupled with the mixer feed boost, which on original output settings somehow brought the input signal to around -3.0 - would also be able to reduce any form of pops. The current EQ settings, as per Brandon's instructions. They definitely made the recording sound a lot less bassy, so thank you And yes, I have RoomWorks, so I gave that a go and had a play around. This setting seemed to have a good subtle hall ambience about it when hearing it back. The Tonehammer sound sounds a little flimsy for what I'm looking for but I can't deny that it's got some good expression behind it. But I need to remember what you said about you being an amateur and not quite taking said remarks to heart, Brandon. I might grab it down the line, but maybe not for some time yet due to its price tag. I have also closely analysed the source-liberty ratio and measured it out to be 14:11, so I'm sure it'll check out fine with the panel. I'm glad to see I'm practically there arrangement wise, but is there anything else that may need looking into in spite of these improvements? I'm open to see how much further this could probably be refined

"If you can't handle the critics..."? The poster that came after you flat out insulted the project's remixers by saying their music tastes are weak. There's a difference between receiving criticism and being painfully ridiculed for who you are. In regards to feelings behind the name, again that's something that might need the attention of the project manager. I guess now you know why some of us may put up naming some of our creations until the last minute

The demos I've seen for Alicia's Keys look promising and could fit with some softer performances; however, if I am to invest on it then I might have to wait til I come back from my vacation next week. I don't think there's anywhere that would just get you to download the whole thing immediately after purchase :\ Either way, very helpful tips in regards to the tone Brandon. You brought up an observant point about reverb; I was kind of concerned about the whole thing being too cloudy if I ended up going by the standard settings I've gotten used to in the past. Right now, my settings currently stand at this: In past arrangements my predelay and room size would be roughly twice as big, but then there came the cloudiness concern again. I could try expanding the room size at least by another 50% and see what happens, if by "skimpy" you mean "not enough room for the reverb to flow around". And yes, it has been way too long.

Yeah, I had a lot of issues with mastering it as was evident the first time around. I'll remember the limiter though, should probably help me with the "too quiet" versus "ow distortion" debates. In regards to the piano tone, the soundfont used there was the 4f-piano VSTi, which seemed to compliment my setup well for the past 2 years. Now that I'm since running on better hardware, I can be prepared to change to a more powerful soundbank, though if anyone has any ideas on what direction to go in, they would be more than welcome. Otherwise, thanks so much for offering your help Stevo

Yes, the pacing of "Fifty Rings" and "Under Construction" does indeed make things difficult, especially since I don't think the project thread openly stated Joshua Morse's involvement until closer to release day (hence my confusion over a third Special Stage track when looking over the track list with no artists tagged). The biggest problem is, how could the track order be modified? Swapping "Fifty Rings" with "Subsonic Sparkle" may somehow witness similar pacing issues albeit early on with "Shifting Islands" preceding it (though to be fair it's not considered jazzy ), while swapping it with "Caos" would somehow break the momentum between "Hogtied" and "Clockwork Criminal". I would probably go for the former alternative, but either way, I'm sure halc has a reasoning for what happened

While I understand your feedback in regards to this, and the detail of the post for that matter, your post however can be seen as a huge insult to everyone that came together and worked on it. Let me address some of your points. You say the tracks don't have the "right feel". Well, if you look back at the history of the project thread, it was one of the fastest to have all of its slots filled up, so those that applied for it seemed very serious to touch deep into it because they got the source tunes they so desired to do. True, I was one who somehow ended up with the source tune practically no one else wanted in comparison, but if we weren't finding any form of idea with the source tune at all then we could've just offered someone else to give it a go. Everyone had their way to interpret the songs they remixed, and for the most part they managed to come out just fine. Your second point just plain baffles me: Not true. All it tells me is that "haters are gonna hate" and that's nothing that can be done to change that. Most of the people on the project had taken music classes in some form or other and have understood the structures of the originals a lot more with this knowledge. So if you think we don't understand the music, then you've got another thing coming. And then, there was the blood-boiling third point: Taste is objective. The remixers on the project have come from many different backdrops in terms of taste and appreciation, and - I'm going to have to be blunt - the group believes that they have better taste than you. All I've seen of you around the forums, in the 3 posts that are floating around, is that your preference lies purely on MIDI-ripping, which has very little skill at all and - when looking for remixes on Youtube at least - would consist of 90% of re-interpreted videogame music out there. That to me tells me that you just "like the songs", in the same way you see the remixers as just "liking the songs". On the other hand, remixes on the site are seen as more interpretive depending on the artist's vision. Not only do they appreciate the song but they ended up developing ideas to make something quite incredible out of it. You don't have to necessarily "like" the remixes, but for the most part they would give a very unique twist to the original that may somehow give the attraction towards the song, and in some cases it may even grow on you thanks to that unique hook. And that's what makes remixes great as opposed to remasters; if you want "preservation" of videogame music, then OCRemix is probably not for you. Please forgive me if I sounded somewhat harsh in this post, but I had to come out and say it :\

It's a funny thing you brought up the Beatles, because I thought did one of the greatest acapella tracks I ever heard with their take on "Come Together". For the record I can also throw in and but nothing beats their Beatles effort IMO.I also thought Machinae Supremacy did a much better take on - seemed to feel so much more uplifting given the song's context.And Brandon Strader's mentioning of Children of Bodom's Britney cover similarly made me think of . Don't get me wrong, I love Poison's original just as much, but with a line like "At the drive-in, in grandma's wheelchair", you just can't help but smile, to be sure.

I appreciate the sudden praise, but this is the first time I've been to the workshop for some time, so I was kind of hoping for some constructive criticisms o_O Either way, thanks nevertheless. I re-mastered it as I stated last night, so hopefully the version in the OP should now be a clean recording

Do you need a hand? I'd like to get in on this one - Paper Mario is one of my fave Mario titles ever, so it'll be something to see through if it succeeds. I think I can make a good piano concerto out of the second one in the Finale set (the one with "Farewell Twink" in it), so we'll see. As for my back catalogue, "Time's Anxiety" (posted on the site) shows a good example of what I can do with the writing on multiple instruments. "Dream Traveler" for Summoning of Spirits can also serve as a good example, given that was arranged for piano and strings. I also am mainly a piano performer as well (re: "Tomorrow's Wake", "Schumacher's Bar" on Project Chaos, "The Feather's Reflection" on Threshold of a Dream), so you can trust that aspect to come through fine. If there's anything else you might need, just give me a knock

UPDATE 09/05/2011 [V3] - Another production overhaul including reverb and EQ re-evaluation, some further volume adjustments and tasteful splicing of any dead air to make it flow smoother. Full details are on the latest post. UPDATE 27/04/2011 [V2.2] - Realised that I limited the reverb as well. Rectified that. UPDATE 23/04/2011 [V2.1] - After a misunderstanding on the Roomworks plugin, as well as noticing that some soundcard settings were also responsible for the popping when rendering, Demo 2 got a further remastering. UPDATE 22/04/2011 [V2] - Refined the production a bit more. Taken advice to go by a different reverb plugin, as well as some equalising and limiter application. Hopefully the recording should sound much clearer. Screenshots of my plugin settings are on page 2. UPDATE 18/04/2011 [V1.1] - Remastered to erase all trace of popping. --- Yep. I guess it's my calling to try and return here. So, it's April 2011, it's been a good few months since djp hosted ABG's "Third Eye" and called out for some Crash mixes onto the site... and it seems as if nothing's happened. What's happened to the awareness I allegedly spread during my time here? Even then I wasn't all that great to succeed to get stuff posted on the site, so surely encouraging others to take a look into the score would help? Nope. When I stated my plans for the first time via Facebook, all I got was a certain Mr. Strader telling me that he has no idea what the hell the Crash series is. The plans though were to try and take it back into my own hands. I really don't have the confidence to get through this process again, but I'm going to have to knuckle down if that's what it takes. Long monologue aside, here be my attempt to respond to djp's wish. I picked the music for from the original Crash title because it seemed to fit my style a lot more than some of the more beat/riff-heavy tracks all over the original PS1 games' scores (lol devo). Cameos were also slipped in for the game's , and a hint of was also used in the intro.The feeling invoked here is more of an expansion on the ending for Crash 1. Interpretation in white text: You've left Castle Cortex in flames after storming through it to rescue your girlfriend Tawna, and you've fought against said scientist on top of his blimp with a tenacious victory. And with the girl back in your arms, you both ride into the sunset with your heads held high. Yet you may realise that Dr. Cortex may re-emerge someday to reclaim what he believed to be rightfully his, but you try to put it to the back of your mind as you and the damsel keep riding onwards. I really want to push everything I've got to try and see that long-desired wish of a Crash mix on the site. This is MY adolescence we're talking about here, not to mention a link to my namesake; and I'm even prepared to put a bounty on the entire series if I don't make it. >_> Alas, I would thank you all for any feedback given. I can really do with it

Apparently, for the record, Hetcenus beated both Brandon and myself to the punch via his Ice Cap arrangement for Project Chaos. I do understand what you're saying about the pacing of the album, and admittedly I've noticed it to be one of the criticisms that I've noted around the web. But it would probably make more sense if you ended up comparing the pacing of the original songs to the mixes here. It surprises me that you thought there was a lower gear brought in at "Shifting Islands" that remained up to "Hogtied", when I on the other hand thought the first half of "Spring Junkie" pushed the momentum up considerably. So yeah, a slight clarification there in regards to the pacing, and one that I think may need a little more explanation on halc's part if need be

Okay, I've reached "Under Construction" and I got to say really quickly that the reference to "Live at the Springyard" was totally unexpected and a pleasant surprise; instant highlight right there Harmony

I wanted to say it in the project thread before it got locked, but if Sonic CD goes ahead, you'd have me to thank for by starting that conversation. Anyway, I'm glad to see the album is unleashed; time to download and witness the finished product.

Okay, which of you guys slipped in something related to Sonic CD? That was a surprise seeing *that* game listed as a represented title as well. Either way, this is looking good for the release

This. When I heard it, I could imagine a slightly-faster bolero going on, which still makes it danceable but not in the form the average person may expect

Heck yes, if this somehow comes out before I leave for a vacation in Ireland at the end of the month then that'll make one hell of a going away present. Great work on the trailer Jose - you definitely know how to build up hype

Well I knew there were 2 Special Stage mixes between zones, though I would've thought they would've been sandwiched between Marble/Sping Yard and Labyrinth/Star Light. But if that's the case, does that mean "Subsonic Sparkle" is the invincibility music?

Mind me asking; I managed to figure out most of the source tunes looking down at the remix track listing, but what's the source tune for "Caos" anyway - the Game Over theme? (don't ask why I thought that...) Just curious, I'm sure I missed something somewhere