Theophany

Ok, I've had a chance to listen to your track again and have a few comments on the mix. In general, it's all sounding really good, arrangement is solid, all the instruments have their own space in the mix, and it sounds pretty full. I don't really think you should have too much trouble getting posted because of the quality of the arrangement, but since you want to push the mix further here are some general mixing tips, some of which I've taken from a few other people who have asked me about this: - Filter out ANY frequencies you don't need with EQ, but especially bass frequencies. Everything that is not a drum or a bass instrument should have reduced or no bass. The rule of thumb is to rolloff the low end until you start to hear it effect the sound, then back off a bit. You don't want the sound to feel too thin or lose its character, but you want to control your bass because those can make a mix muddy. I can hear your mid bass pretty well but it's definitely a bit of blaring bass interference on the side that may not be necessary. - The other suggestion is to use automation to spotlight what you are focusing on in different sections of the mix so things feel like dynamic. While I can hear everything in your mix pretty clearly, I do think that mixing-wise it feels a bit like autopilot which makes it sound sequenced. Try to find opportunities to spotlight particular instruments in your mix, and put your best sounding sample to the forefront in that respect. - If you are adding reverb to something, always use a send track so you can control the dry signal and wet signal and EQ them separately. This means that on track 1, you have your 100% dry sound. Send that dry sound to track 2, and add your reverb unit. EQ the reverb to rolloff the extra bass because that can muddy up your mix, and you can also turn up some of the high frequencies on the EQ to see if you like how it sounds. If you prefer a full wet sound that's cool, just roll the bass off where you can. - You have some solo-type instruments taking the stage in your mix, but I've noticed that the entire mix is pretty static. Flutes on the left do a solo but they stay on the left and there is no noticeable change in volume. I think it might be helpful to create more movement in your mix by panning a solo instrument to the center or making it stand out more in the mix a bit during a solo section. Or send that flute to another track and fade it up to make it sound larger in the mix for that section. So if your flute is on track 1 panned left, create a send to track 2 and pan that right, or center, and see if it creates more clarity or presence for your flutes for the solo section. Try to capture the texture of that instrument a little, maybe increase the higher frequency EQ in that section to give a bit of sparkle or turn up the reverb a bit, then back it all down when you move into the next section and have the orchestra fill up the empty space created by the solo. In general, every mix is different, and in the case of your track I think there are three key elements that should define the mix: 1: Percussion plays a huge roll in how you transition and add energy to certain sections of the mix. I think for big transitional moments, bring it to the forefront, turn it up, bring the close mics up a bit if you have that option, and sometimes this means ducking other instruments out of the way to create an opening--so EQ them or automate their volume for that moment to let the percussion shine through. 2: Solos. I mentioned this already, but the same concept of letting the percussion shine through in key moments should apply to your solo sections. 3: Uplifting moments. There are a lot of uplifting or transcendent moments throughout the mix, and for those moments I think you need to spotlight something and have it soar above the orchestra. Strings or horns are great at this, and try to pair them with powerful percussion moments because I think the general idea is to uplift and then have a powerful release, which is what your percussion should be--the downbeat or transition out of or into a powerful moment. Don't be afraid to duck other instruments out of the way to focus on a particular instrument or idea. Sound design and mixing is about making choices--sometimes you can have everything, but sometimes it's better to focus on one thing and build that section around one sound or concept. In general, don't be afraid to mess with your mix and make mistakes. Save your file as an alternate version, and go to town--take risks, experiment. The only way to really get better at mixing is to do it, learn what works for your and what doesn't, but you have to take risks and push yourself. If you can bring some more dynamics I think this track will feel a lot more organic and alive and allow your arrangement to shine through. If the dynamics and arrangement stay on the same level, people tend to tune out. Your job as a mixer is to make sure your arrangement has impact so that people connect with it. Even the best arrangement can fall on deaf ears if it sounds weak or the mix lacks style. For your next update focus on creating some more movement and rhythm in your mix--add more automation to your volume and EQ as the mix progresses and be more extreme with it. If you don't like the way it sounds, you can always dial back, and you may still find something else that ends up being useful. Best of luck man, hope this helps!

Thanks man! Very grateful for the kind words

Awesome, thanks! Sorry about that, good to know

Hey guys! It's been awhile since I posted here but hopefully it's okay to share this in the general forums. In honor of Wind Waker HD I have collaborated with Alejandro Perez Heinze and Laura Intravia to create a remix of MOLGERA. The artwork was created by a friend of mine--an amazing artist from Thailand. Please check out his other work on Facebook at https://www.facebook.com/pages/Imagination-of-Victorior/121256427917841 I hope everyone here has been well. Thanks again for your support of my Time's End Project. I will be releasing part 2 of the project in December. I look forward to restarting Ocarina of Time here when Majora's Mask is finished. I'll be submitting Molgera to the ocremix panel shortly!

It's is an original film/concept made by myself and a few friends. We did a Kickstarter for it last year

Hey guys, I wanted to say thank you to everyone who helped spread the word during our Kickstarter last year. Dust has come a long way and I wanted to share the new trailer we've released. Dust Facebook As some of you know I have been missing from ocremix for the last 6th months, but it's directly because of me working on Dust 7 days a week. The last 4 days before this trailer launch nobody even slept. If anyone was wondering, the music in the beginning is by Naruto Shippuden composer Yasuharu Takanashi. It's pretty amazing but he was interested in the film and donated his time to create the music. The music starting at :40 is by me, and I also sound designed the trailer. So I just wanted to say thanks again. You guys have been supportive of my work, and hopefully with Dust getting closer to being done I can begin contributing here again. Jason

happy birthday!!

Hey guys, sorry for being MIA for so long. Emunator and I are thinking we need to overhaul the first post a bit and figure out a less confusing approach to managing submissions and claims. We've had lots of good submissions but also some difficulty, so we're going to be looking at ways to simplify things and streamline our audition process. In the meantime I'll be working on tracks and getting back in touch with everyone on the project so far. If anyone sent me a wip and I didn't get back to you, please send it again! Sorry to ask but I'm not very organized and I lose track of things pretty easily.

Happy Birthday guys!!

@Mirby, thank you! In anticipation of the release, I have posted "Lovers Mask", a rendition of Zelda's Lullaby for Anju and Kafei. Please check it out and share <3

Thanks for the support guys. The outpouring of love for Majora's Mask on facebook right now is unreal. I can't wait to release this. I hope my effort was enough.

Two of my best friends are responsible for the website. Rendering/desgn: Mike Grier Coding: Andrew Thompson The mask was modeled in 3D by Cordell Felix. There will be a complete credits list when the album launches

Hey guys, On Dec 21, I am releasing a free Majora's Mask tribute album. This is the biggest project I have undertaken and I would like to ask the support of ocremix in helping me spread the word. For years I have wanted to create an album that attempted to capture the beautiful and nightmarish world of Majora's Mask. This album has been in the works since 2009 and has recently come to feature the vocal work of Laura Intravia (Flute Link) and Lorraine Noack. While I am only releasing the first disc, the album will eventually cover the entire soundtrack. If you are a fan of my work, I would ask that you take the time to share the website on facebook and twitter. 12-21-2012 is only coming once. For Majora's Mask fans, I hope my small tribute can help commemorate this momentous occasion. Website: T͉̺̍͑̔̒̐̚͜iͥ̂̽͑ͯͧ͟m͍̹ͮ́e̷ͧͯ'̳͚̊̉̀s̲̦̦ͬ͋ͮ̚ͅ ̵̞̞͉̩̆͐E̵͖͎̱̱͒ǹ͓̭͓̙̯̗d͙̟͔͇̫͙͑̊͠ "Lovers Mask" (Zelda's Lullaby) remix A better look at the art: Art Full Resolution: http://i.imgur.com/QJWfu.jpg Facebook Cover1: http://i.imgur.com/UGdAo.png