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Everything posted by Nase

  1. you really think it's minor key? i am sure this is technically major. but the minor parallel is surely strong in the song. the 2nd part is very minor, including the bVI modulation. it's a very major minor tune. i can easily see why that would make some people perceive more of a sad note....bittersweet is serviceable, i like the word "whimsical" but i don't know if native english speakers feel the same. it seems one of those very open words on the fringes of its meaning. it's very definitely easier to feel whimsically, bittersweetly nostalgical about this tune than about the super mario bros. main theme, right?
  2. oh look it's trenthian! them old names gif me the fuzzy.
  3. funny. i'm mostly off the internet these times, and the only two series i have on my hard drive are twin peaks and stargate. i've become very familiar with this theme. right off the bat, the bass just don't do it justice. i know the guttural feeling when i launch an episode of TP. it's not present here, it's just too clean. more bass boost and smudging with the string ensemble would have been needed. the 4-5 minutes do just whizz by, so i think it does something right. but i just can't fullly conjure up that *waterfall* of emotions that's linked to TP, cuz the frequencies are too separated and drawn back. i have to commend anyone who attempts to do a mashup of a video game and twin peaks in 2020, though. nice work man. i just would've hoped your mastering would've done it justice. capture that analogue lower mid and bass range of 1990. i'm afraid this mix could be much more with a bit of appropriate mastering applied. i played some lemmings somewhen in 92 - 93, but it was most certainly without a soundcard - so whatever brilliant parralels you drew between the OSTs is lost on me. i'll check it out at some point. it's very definitely a nice mix, and the TP refernce is obvious, but i have to be insistent about getting the mixing/sound right on this one - it's just seems crucial when you do a tribute like this. so it's a slightly unfair/special piece to judge, to me. myself, with my lackluster mixing skills, i'd need a loooooong time to get a badalamenti-like sound that pleases me right. so i probably just wouldn't do it. but still allow me to raise my criticism, cuz twin peaks to me is just sacrosant. can't help it. how do you like the 3rd season?
  4. my laptop, hooked to an older but sufficient tv. If I’m not running games, it stays pretty cool. note the little circular extension for coffee and beer, all but to lessen the spillage on gear. No craftsman here, but I managed to make that myself the ashtray is of metal, and my grandad used to use it. On and off smoker nowadays, but I still enjoy smoking whenever it coincides with some musical productivity. Too rare, these days. Not the smoking, the musicking.
  5. You could have a more predetermined hard-set panning going on where each piano occupies like 70% of the stereo field left and right respectively, from lows to highs, or you could adjust the piano lines in a totally free form way in the stereo field, pretty much ignoring the idea of conventional microphone setups. If your arrangement is really defined by 2 pianos playing alongside, the idea of ignoring any conventional static setup of microphones seems like a real attraction to experiment and getting some unusual stereo sound out of the 2 pianos. I’m really just saying that ignoring any kind of believable setup could maybe elevate your piece to something different, unheard-of, and you might end up liking it better that way. I haven’t mixed much natural piano in a long while, but I remember that whenever there were some implied rules like bass notes on the left and highs on the right, it could be fun to break those. If you can defy expectations in a meaningful way, just go for it... it really all depends on what each piano is playing, and how they complement each other in the stereo field. You either write for a predetermined setting, and create a believable three dimensional tone, or you write for effect and free form, going freestyle with whatever free form panning you prefer at the moment. whatever Piano vsti and sequencer you’re using, you don’t have to flat mono them, right? You can probably do a compromise Where one piano does 70% of the stereo field from the left and the second one does 70% from the right. Whatever vsti you’re using, you can probably adjust the degree of stereo separation from 1-88 per key. So you can yourself decide how mono you want each piano to sound like. This all depends on whatever instrument you’re using, and the way your sequencer and built-in mixer corresponds with it, I suppose.
  6. Man was in his mid late forties when he scored Keen, Doom, etc, right? It’s like, dude, Rock’n’Roll, am I right? They don’t make em like they used to. stories, I mean. Nam vet approaching 50 making midi metal in the 90’s for some 20something nerds’ soon to be masterpiece. it’s just so cool. fuck the industry. couldn’t watch the video though..
  7. In case you’re not perfect at transcribing tunes to midi already: I’ve always had the best results relying purely on ear, trying to transcribe parts of any given tune that I really fancied, but once I get something I like I just more or less roll with it. It’s good exercise: rewarding on the one hand to nail a difficult part verbatim once in a while, but it’s also possible to turn a couple mistakes into a happy accident combo and get something derivative but highly original, if you’re lucky. there’s many many ways to tackle creative arranging, but this is probably the best short balanced advice I can think of for someone learning the ropes: don’t use midi, train your ear, but don’t aim for perfection unless you really want to, instead see if whatever mistakes you might make can be turned into a virtue. it’s sort of a jazz staple, only not in real time. Poor man’s Jazz if ya will!
  8. if it's not happening in the headset....wonder if it's happening bc of your room. something may really be into resonating with that kick. the flaw in that thinking is, the whole song shouldn't technically get a drop in loudness, it would more be drowned in a bassy resonant sound and thus maybe seem less loud in relation....the other part of the song. not sure, man- oh and maybe totally unrelated, i had, in one project, a boost in loudness of whatever mixer channel i had currently highlighted (clicked upon). this may be some routing/function i accidently activated and don't know about, or it was a bug? i haven't had absolutely free undisturbed time to totally delve into no.20, which now actually seems to be the best sequencer. to me. anyway. i lack experience with some of the bugs or features that are easily viewable as bugs when you dunno what the heck is going on. one more old thing came to mind: sometimes audio bits can have content well below or above the general 20-20000 hearing range of us humans. this can seriously bring down the volume of what you can hear. don't ask me if it's because of some internal hidden limiter yet (maybe to prevent gear damage), or...whatever. point is, try EQing everything to zero below and above 20-20000 (or 30-18000, my EQ is not that mathematically exact, and as long as i don't hear any difference....) well, it's an idea.
  9. about 10 years ago, i read an article marveling over the infancy of our medium, highlighted by the fact that [pretty much almost absolutely] no one known for his work in the industry had yet died. well, all things end, change. rip! never played your game. certainly felt your vision and influence one way or the other. i can name those 2 ways, to be (b)anal about it: Dark Age of Camelot and World of Warcraft. hope you had a great exp inside and outside of silcon alley!
  10. set up a post minimum for sigs (really don't care about the exact number), so make it an added feature for the survivors/persistant ones in case they want that, and hammer it into them that if the sig is too "OMG BUYLOOK @MYSHIT (it's a grey area discussion, right?) that they can get bans for that. uh, set it at a 1000 posts. i mean the logistics of 'policing' that would probably be not humongous in effort, and maybe fun at parts cause the whole thing is a bit ridiculous. the core problem/nuisance is understandable loud and clear. still, you can joke around with the grey grey gay areas of semi-somewhat-self-promotion. ah yeah it needs its own judges panel for exactly that. i forgot.
  11. see if you can add a simple 4 to the floor beat in your mind (untz untz untz untz) to whatever you're hearing. it just takes some listening practice, and i can see why it's not so easy to figure out for you here, it's also the sounds and arrangement apart from the syncopated rhythms. everything is a bit blurry and eclectic. but if you can make it groove to an imaginary dance beat in your head, it's probably 4/4.
  12. hey mazedude, since you reacted to my post, i wanted to ask you something: have you ever put the original doom.wad into your tracker as a sound? because i remember doing this, and it produced a very distinctly pitched, a couple seconds long dark synth sound. i found this really astonishing and unlikely back then - and it should be reproducable. wanna try it?
  13. can't believe i never commented on this piece. i might compile a double CD set sometime with essential OCR classics from my time. cyborg blobby would have a definite spot on there. hugely creative, an infectious sound palette used to great effect, resulting in impossible levels of catchy-NES. i remember this one exploding on my senses back then, and raising awareness of how neat this site really is.
  14. in my book, mazedude just kind of came out of his egg and just was ready to rock by minute 1. this shit is timeless. i have nothing else to say about it i mean, maybe he's come a long way but i wouldn't be able to tell, judging from this. if he released this in 2010, i also woulda agreed to him having come a long way- it's quite crazy.
  15. this is a grown up mix. it's perfect i think. gotta respect mazedude. defying time
  16. and what a perfect pun to introduce said person...? nice coincidence, considering jake's overall (hi)story arc with OCR. wouldn't you say? also, pretty fucking groundbreaking in the medley department, for a tune from 2000. but well it's virt, what to expect. it's conceivable how to come up with this in 2000, but still, impressive!
  17. it does not get more legit than a blitz lunar midi.
  18. i just didn't know this. it's as good as the best streets of rage tracks. a really shining example of mega drive synthesis. great pick!
  19. adding to the list, i've been looking for sin wars by daknit, bard of tarot.
  20. i think they know this works with any console that was considered cool and interesting, not just with consoles that cater to a specific nostalgia crave. i'd consider buying this because it was never released over here, and i'd hope playing this wouldn't just feel vaguely nostalgic but also fresh, it being an unknown system to me. dreamcast mini would be similarily amazing, in that same vein. what also makes these less successful but cool consoles attractive for a mini release is that with their modest amount of game releases, you could get a really comprehensive list of titles into one box. not just a quality sampling like with the SNES classic, but something that feels like you're really getting everything that made the console great. imagine an intellivision mini, though. that's where i'd draw the line...
  21. great long mix! well done on pulling the genre medley thing off. the happy hardcore/rave-ish ending was a cool way to top it off, even though it was very goofy compared to the other styles. "c'mon, unatco's after both of us" was an unfitting sample to end it with. not very epic. overall, this is an enjoyable format you never heard so much in the vein of on this site. i like it.
  22. i love secret of evermore. it's unlike any game. i cannot fathom how people seriously dislike it. does nostalgia factor into it? yes, because i was 'pure' when i played it. secret of evermore has a lot of things to like if you break them down methodically. it just doesn't seem like most of those qualities are picked up well by a non-nostalgic, well - saturated audience 20+ years later. the color palette. the graphics. everything about SoE's looks screams 'deep' to me. it was such a good choice to go with subdued, earthy colors for this game, despite the virtual reality setting. the music. some of jeremy soule's finest work. great ambient pieces too, experimental for the SNES hardware. the adventure/oldschool aspects. you could get lost in these dark woods for hours, as a child, before you start taking notes. without a guide, some parts of the game were pretty hardcore. the wholy story, while campy, is simply highly original for a SNES game. the 4th act fell a bit short overall, that's my only critique of this game. the gameplay is fine. it's like the most extreme 'total conversion' of Secret of Mana possible. a totally different game with the same base mechanics. but yet, every youtube video ever talking about SoE rates this game lowly. most just say it's a bad SoM copy, some go deeper and just hate every aspect of it with a passion. i don't get it. ..um, i'm probably not entirely on topic, but i wanted to write this at least once somewhere. Evermore's a fucking great adventure game. i can't understand why none of the magic i experienced with it 20+ years ago is widely recognized. maybe, and this is something i didn't think about before but it makes sense, maybe the intentional campyness is what makes people nowadays rate this game so lowly. not that they admit to it consciously, but it still totally influences the verdict. that theory makes most sense to me. and then there's localizations....i don't know how badly styled the campyness of SoE US was....i just know that the campyness of german SoE was in fact, pretty bad. i still loved the game. anyway i think the huge topic talking about this nostalgia stuff is 'BLISS' and what constitutes it, and often talking about bliss makes stuff not blissier but boring. it's like, hey i was a child it's magick, and yea i can upgrade my sentence building machine to the point where i can verbalize this bliss experience in fancy ways...i mean it's good, it's fun to talk about that, but it is seldom in itself....blisssssssss it's just talking about bliss. it's a good word though, innit? in the end everything is interwoven. all your experiences through spacetime. that's nostalgia. EVERYTHING sorta. if i want to find an 'objective' quality of a game, i would try and start with something like tetris attack. something snappy 1v1, with great mechanics. hard to relativate that. but tetris attack is not an adventure. there's just something about adventures. and being non-jaded, non-cynical, non-saturated enough to embark upon them. being pure...wtf is that? what is eternal youth? what is everythingß?????
  23. ok. i had a gameboy when i was 5 or 6, with just 2 games, tmnt 2 and dr. mario. i played and won the hardest level in dr. mario really early. i never beat the final boss in turtles. a friend of mine had megaman, which struck me as a particularily hard core game. don't think i finished a single stage, but then again i never had it for myself. i remember liking the music. when i was 11, i got a pocket game boy i pretty much exclusively played link's awakening on, often in school during breaks. thinking about it, i always got every console and very little games. my dad always liked gadgets, so he ended up buying them with me in mind, but he wasn't interested in getting me a lot of games. i had enough to play so i didn't complain. 2 game boys, 1 game gear, a mega drive, an old 386 with commander keen 1-6 among others, and finally my cherished snes.
  24. i paid around the same for a device to write on and load from cartridge 10 years ago, just to have backups in case my little sound dj cart failed...it connected via this huge pin connector the old printers used. and it was sloooow. $130 is not thaat much for such a niche product.
  25. a gameboy with all games ever released on GB would be such an epic item. it's going to be done once the copyrights don't interest anyone anymore...sometime in 20XX.
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