metaphist

YES. The first transition is still a little awkward IMO. The second transition back to the slow is perfect. I'm liking the string section around 4:00. Ending is great. Is the piano sequenced? If so, very nice humanization on the timing, but I think you could be more dynamic with the levels. I'm no piano player so don't take that to heart, but it's worth messing with IMO. I think if you can smooth out that first transition like the other, the arrangement is pretty damn solid. I'll have to check out the Cross source and give the whole thing another listen afterward to see if anything there strikes me. One last thing I wanted to say: hopefully you're not impatient to get this submitted, because I feel like this kind of track depends greatly on pacing and the overall journey that the listener is taken through. After you've gotten it where you want it, it would be a good idea for you to leave alone completely for a while and come back as fresh as possible. Really listen and see if the journey you've created gels on the first playthrough. That's all for now. It's been a while since I've had that much to say about a WIP, so that should show how much I like it. Cheers.

Glad your feelin it so far, we have a ton of good ideas in the works so stay tuned, you won't be disappointed! Part of the hilarity is how hard we diss the main characters, while all the references still show how much we are fans. Most of our tracks will be like that I made the thread before reading that you can actually start the thread in General Discussion before having it moved here. I think I might contact a mod to see if they can move it to Gen Disc for a while.

Thanks for feedback so far. More or less my own sentiments on the track. I think I'm still on the fence about how minimal I want to keep it - there's a certain charm in that, but it has to be done just right...

Love the intro, definitely succeeds in conjuring up the dreary Crono past, but I feel like the lighter section comes in a bit too soon? I want to say milk the sad intro a bit more, even though the mix is already pretty long, it's one of those efforts that warrants it. I'm not familiar with the Cross source, but I feel like I hear that flute playing some off notes, specifically around 2:00. I understand that particular flute style is purposely flat/sharp, but you might want to watch it a bit closely. Again, not familiar with that source so take that into account. The return to the sad section is nice. I want those distorted drums to really take center stage at some point, but they stay in the background. Maybe filter sweep them to the front and really work with the groove, and bring them back again to set up the next section. Just an idea. Piano section is nice, but I think it comes in awkwardly since the previous section wasn't properly explored, and ends rather abruptly. That's really the overall impression I get - chock full of good ideas, but each section needs to be explored a bit more and the transitions really well handled. I love the concept and think it will come off quite well with some more TLC, and I wouldn't be afraid to make this a longer mix if I were you, maybe up to 6:00 or so.

Took a listen in the high qual phones, production is sounding pretty good to me. Kudos on successfully resurrecting this bad boy. Sounds like a lot of work went into it.

Ok I fucking love this XD XD XD But I think the vocal samples are a bit corny. I suppose you were going for that given the source. I also downloaded CD not too long ago and was completely blow away by the 90's awesome-ness. I think it's worth subbing just to see what they'd have to say. I agree it might not have quite the polish it needs, but it's just too fun not to like IMO.

Been wanting to do this remix for a while, and since I finally got the (closet) studio together, I can finally record. No EQ work or mastering yet. Verse comes in around 2:00, my goal was to throw in a reference to every (major) Zelda game that's come out so far. SFX at the end planned to be scratched up eventually, but you'll get the idea. I'm thinking it's a bit minimal in the interpretation department, so thoughts there are appreciated. --> Temple of Rhyme <-- --> Temple of Rhyme v2 <--

This one slipped under the radar for me. While listening to the OST again, I immediately searched OCR when I came across the source to see if anyone covered it. I was not disappointed, especially being partial to hip hop and breaks. This one's definitely going in the whip. Great justice was done here, thank you.

So most "nerdcore" (as far as games go) either takes the perspective of the main character and/or other good guys, a third persons perspective about the game itself, or just gaming in general. We tend to take the villians perspective, or some overlooked enemies that you might not really think about. These characters are sick of getting overlooked. They are angry. We are the Angry Sons We don't pull any punches, thus some parental fucking discretion is advised. Also, personally, we'd like to elevate the lyrical levels of nerdcore in general. We're nerds, but we were strictly into the underground hip-hop scene, and all that came with it (not just rap). Games naturally crept into our hip hop. I feel like a lot of these artists are on the opposite end - trying to throw some hip hop into their games, and as such the art suffers a bit. Anyway, if you didn't already click the link you can check out our 2 promo tracks at angrysons.net. Honest opinions are welcome. It's just the beginning.

I've been catching a lot of Ufouria on Rainwave and it has an amazing sound track. Very nice rendition here, and thanks for covering this relatively unknown game.

Yes, the linked version is the one submitted. I credited you for the name in my submission comments

I seriously LOL'd, as you pretty much confirmed my point. The above sentence accurately describes what most hardcore Dubstep is actually trying to do. Of course you don't have to like it, but keep the genre and artist intention in mind.

Cool beans, thanks Emu. It's definitely quiet, noticed that not too long ago myself so it's not you. I planned to go back and remaster at some point so I left it as is. I pretty much concur with your feedback. I've contemplated cutting from the section right before the last transition so I'll see how that works. I'll revert it back go Fin for now until I get to it.

Whoopsy doo, totally fixed. Thanks.

The original and the instrumental have to be of near identical quality for it to work perfectly, so it can be a problem sometimes when you get the two from different sources. But it should work to some degree nonetheless.

Are you people hearing the same thing I am? I mean, it kind of sounds like most of you are missing the point (complaining about pitch shifts and whatnot...). I'd like to hear the "finished" version if I could (not sure why you just gave a snippit). But it sounds like a pretty win concept to me. Also, I'm pretty sure I've stumbled across acapella from R before around the net, so you should be able to find something. I've definitely heard the instrumentals for sure, so you could invert the waveform and extract the lyrics if you need to.

The business.

So you may have a different version by now, but I'll comment on what you have up. Better again, I can hear the humanization but it's still not enough for the rapid parts. They sound like a telephone ringing, don't you agree? You need to find some real performances of that type of playing and emulate how it sounds. Check out some stuff like this It's obviously a different style, but it will give you an idea of how drastic you can go on the levels and timing. Don't forget to apply the same attention to detail on your percussion (specifically that hi hat). I called your timpani a kick because IMO you were using it more in the kick sense than in a timpani sense. I'm not sure a timpani lends itself well to such regular usage, since it blends into itself and tends to overwhelm the sonic space. It's generally more of a climatic instrument for intense sections or one's that are building energy, not a regular part of the percussion. The arrangement is starting to come together as well. However, I still feel you need a more contrasting section to break up your mix. Around the middle when you switch to the Wily Theme, you change things up a bit, but you should expand upon that. You could for instance have a completely different instrument for the beginning of the Wily theme, and build back to a return to your original sound for the rest. It's still rather "vanilla" in terms of the overall tone, and still gets a bit boring by the end. Even if you have a different version now, the advice is still general enough to apply. Look forward to the next versions.

Been a bit, just bumpin for mod rev.

Been a bit busy, probably give it a listen tomorrow though.

BTW, Im about to put together some budget recording options for me and my boy's new group. He particularly liked this beat when he heard it, so we'll probably record some stuff over it when we get set up

This version is already a lot better. Just adding that extra instrument does wonders for this in my opinion. The bass is better as well, but I still have issue with that kick. It kind of sounds like a weak timpani rather than a normal kick. I know you also have an actual timpani in there, but the kick should be more of a normal drum kit kick in my opinion, more punchy, less verby/airy. Hearing the celesta, however, instantly brings up another issue: humanization. Humanization is just what it sounds like - making your instruments sound more like they are being played by an actually human rather than sequenced on a computer. It's something most people need to add to their mix at some point, but it's painfully apparent in your celesta playing since you have those rapid note sections. They all the same volume and are spaced perfectly apart, which makes them sound very robotic. You humanize it by altering the volume and the timing of each note to mimic a human performance. They way I like to humanize is by actually imagining I'm playing it myself. Whether or not you can actually play the instrument in question is less important when your starting out. Just imagine your actually hitting each note, would you hit the first note hard and taper off on the rest? Would you do the opposite? If the section is exciting, you might hit each note slightly early in anticipation - if it's calm, you might be very gentle and hit more notes late, etc. Hopefully you're working in a program that easily lets you edit volume and timing. That's it for now, keep working on it!

This song was a huge inspiration for me back in the day when I first started making music. It was the kind of tone and emotion I tried to put into my very first remix. <3 Malcos

I think you still have the same basic problems going on here. Arrangement: Not bad, there's definitely enough going on with interpretation. But as mentioned above there's not enough distinction between different sections of your song. Since you keep the violins AND the arpeggio square throughout the entire mix, it just drags on after a while. You have to keep it interesting in some way, be it through instrument change, tempo change, style change, etc. Even something like a solo piano piece uses techniques to keep interest, even though it's still just one instrument. Production: Your bass elements are extremely weak. The string bass could be brought down and octave (same note, but one whole section lower), and definitely needs some volume. As for the kick drum, I couldn't even tell there was one until minutes into the song, it's almost inaudible - crank it up! I'll leave it at that for now. Once you take care of some of those basic problems this should really pick up. I loves me some MM5, so I'm looking forward to progress on this