anclunn

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About anclunn

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    Eggplant Wizard (+50)

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    See 'Dream Land'

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    Computer Programmer
  1. Really amazing to hear how this remix is evolving. Keep it up!
  2. Instead of having them on a single track, you should have them on two tracks, with every other note being on each one, and then having the previous note last a bit and fade out a quart of a second after the next note has started. The artificial sound is the result of the note cut offs being too clean.
  3. "We have grown, but there is still much to be done. Many that live in darkness that must be shown the way, for it is the dawning of a new day." I'm digging the slow build, controlled but chaotic change ups, and synthetic sound (which is true to the source). Rather than picking out any particular section, this is just a piece you let wash over you. Dare I say this is the first soothing rave music I've ever heard? It's what you'd play to your computer when it's time for it to go into sleep mode.
  4. Very nice very nice, but the strings sound so amazing that the synthetic nature of the vocals is that much more noticeable. You need real vocals for the chanting and humming. Also I'd recomend a sharper cut off at the end. Everything else though, amazing!
  5. Awesome. Amazing what they could do with 64k of ram. And you did it justice.
  6. How can nobody want to remix this amazing song?!
  7. This game had such a depressing (in a good way) soundtrack. I know most remixes out there are uptempo, but it would be wonderful if someone were skilled enough to tackle on of these pieces, and do it in such a way so that it remains somber and moving. Clearly, I lack the talent to do so, or I would do it myself.
  8. Okay, I need to get myself to a computer where I can listen to this with headphones because something tells me that's going to be a whole other experience. EDIT - Can I suggest some low toned wind instrumentation underlying the synth section, maybe fading in and out? An oboe or tenor sax I'm feeling. Again just a suggestion.
  9. Wow... So I listened to the Title Theme and thought, "Well okay, so that was bad." But then I moved onto Sub-Basement, "OMG, what is this shit?" High Rise Building was at least minimalist enough to keep it from getting bad enough to harm my soul. Space station was seriously like 8 seconds worth of random beat-box type rhythm repeated over, and over , and over... Elevator was a rip-off of a crappy mainstream song with a few notes changed. Oh yeah and only the annoying part of that song that gets stuck in people's heads repeated over, and over, and over. By this point I was nearing a breakdown. Perhaps there was a reward at the end. Maybe the credits allowed for some solace to.... "Ah!!! No! Turn it off! Please, I give up! There are five lights, do whatever you will to her, but leave me alone!" In the end, there was only 1 tune short enough to be bearable, and it was (so appropriately) the Game Over music.
  10. I'll only go into detail with the dynamics since that's what you wanted more of. At 0:17 the string should fade in rather than starting at full volume, which they should reach at about 0:28 or so. They should then pull back a bit at 0:52, but leave the noticeable drop off at 1:15. The piano could benefit from some panning. Though I wouldn't do the cliché left to right fade and back again. When you're doing triplets (three consecutive notes) in this case two notes with one higher note in between them (the piano does this quite often) why not have the first and third note come from one side and the middle from the other? People want to feel some appreciation when they listen to a piece with quality headphones or a sound system that really shows off its stereo or surround sound capabilities. Throw them a bone. The piece gets really big at 0:52. and it really doesn't die down at all until 1:38, and this isn't due to dynamic changes, it's more because of the number of instruments you use. When a piece gets bigger because of new instruments joining and then only smaller again when they leave, that's not usually a good sign, just as a general case, exceptions abound for many reasons I won't go into. This happens again at 2:24. With 2:24 the solution is simply to bring the choral soundscape in earlier, much softer. If they then swell up right before the climax but hold back as other instruments make their appearance it will sound much better, trust me. One last thing, I don't think the piece should fade out. The fade in was nice, and the minimalist segment at the end is good too, but I just feel like that the piece should pick up one more time and end on a stirring clash or shrill note. Just my personal thoughts though.
  11. Sorry this is so long, and I do like the piece, otherwise I wouldn't bother to go into such detail. VOCAL The choral chanting voices sound best when at a higher pitch. When they dip low like that they sound much more artificial. With the choir changing notes so precisely it sounds a bit off, as if it's one voice, when the sound is meant to emulate a group. I would recommend that instead of having the notes they are singing change, with the old note ending and the next starting, that you have some overlap where the last note is still playing for a just a moment after the new one has started (Only for the choir of course though.) This will work much better than reverb if you make it slightly different overlap at different points, giving the vocals an organic feel to them. HORN Also the horn that enters early in the second minute stands out as being more midi-like than the strings and winds. Really, maybe you should pick a different instrument here. This one in particular screams synth instruments and brings down the overall priduction quality of the piece. PIANO and STRING I have to say I enjoyed the run at 2:15. I think this part actually sticks out more because the multitude of instruments at the end give the piece one of its few changes in dynamics. In fact dynamic changes are something that the piece could really use more of. the phase at 1:50 works fairly well, and in fact most transitions (except for the stretch of emptiness toward the end and the final fade out) are very well done. However, that string section that does the repeating backdrop could fade to lower and rise to greater volumes at certain points while still retaining its rhythm. DRUM The drums next. at :52 they are wonderful and absolutely necessary, but then instead of reserving them for transitions you make them part of a repeating loop. I think this is a mistake. at 1:03 and 1:26 they really don't need to be there. At 1:15 it's okay, I'm up in the air about that one. The drums appear again for 2:13, 2:19, 2:24, 2:31, 2:36, 2:42, and 2:47. Of these I have to say that 2:24 and 2:36 were good choices. 2:13 and 2:19 need to be softer somehow. 2:24 is the right volume but needs to sound louder like its been built up to. so 2:13 and 2:19 should be softer or maybe a quick low beat instead of the muffled symbol crash or hi-hat tap it is to reflect that. Please, if you listen to nothing else about the drums, get rid of them at 2:47. With proper volume variation you should be able to emphasis a beat without the need of drums so often, as they lose their magic in a piece like this when used too often.
  12. Dude, Ike is awesome in Brawl. Haven't unlocked Rob yet, but friend says he's good. Falco feels way different but at least they didn't nerf link! Yeah, bombs that feel like real bombs!
  13. As far as the whole fade out thing, I think if you had just ended it cold at 3:25 it could have worked. However that's such a minor detail in an awesome work here. Good job, and congratulations.
  14. anclunn

    OiNK is dead

    The sadness is now that I'm hearing about oink, I'm upset that I didn't hear about it until it was shut down.