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http://www.ocremix.org/remix/OCR01639/ there it is =) hope you enjoy

this sounds like something i'd want to explore. afterall, like arek, i loves me some majora's mask... incidentally, my favorite zelda game since A Link to the Past...

have you checked out my remix of the same theme? i explored several angles of her character including the very one you're touching upon. it isn't exactly... cute... but my arrangement does give her a playful sort of femininity. i don't know if you've heard it and it wasn't what you were lookin for... but it is there, nonetheless if you'd like to find out =)

i'm still soaking this one in. you know, a popular musical figure can pass and i won't flinch. a musical legend passes and i'm riveted with sorrow. RIP, sir. you were a fine artist.

i dont know but max does ask a lot of easily searchable questions

agreed i'm always zen. if it is my music being stolen or messed with then of course, i'll be a little more upset but it isn't as though putting your music online is a safe practice to begin with regardless of copyright laws it comes with the territory. it is what it is. use at your own risk

nah, bro, these knuckleheads are the grab-a-pitchfork-and-kill type. good luck suggesting anything otherwise

it would be too difficult and time-consuming to keep track of all the times somebody wanted or tried to be me

huh? ...um, huh?

holy fuck, i think i wanted to say something like that =) also, how are you, brother

there is a whole lot of truth to that statement.

i might be able to pump this puppy dizzy with steroids and resubmit. i agree with the lack of punch throughout despite it being by design (i was thinkin yanni throughout and yanni doesn't usually have meat on the bone). i also want to redo the piano ... the original take was a live take but i scrapped it because i'm not much of a pianist and replaced it with, what i was ironically hoping would sound like, an overly mechanical toy piano. guess that didn't work =) in any event, i'll tweak the EQ on it, re-record the piano and *maybe* shorten the Dream section of the track although, guys, are you freakin serious? hahaha

first of all, that was an awfully asinine thing to say ================ it has already been alluded to but theory, as a discipline, may be a great route to take in rounding out your capacity as a musician but ultimately your artistry will come from other sources anyways. in other words, when snappleman suggests that you first start considering yourself as an artist and as a musician, the suggestion is to cultivate your ability to use the tools you'll learn in theory to aid you in your work rather than serve you as a crutch. however, what i really want to suggest here is that theory really is just a language. while music theory (and like dannthr and zircon have already pointed out) is a very expansive and broad field, it doesn't serve only as a set of rules and such. in actuality, the things that theory describes are already present in the world around you... for example, a natural C is a natural C regardless of whether you call it that. what theory affords us is a way to put everything into a communicatable language and an applicable system... in other words, it is far easier to wade through the complicated world of sound when you have a plethora of terms, names, standards and explanations for things. a lot of music purists are going to vehemently disagree with me on a matter of principle but i am still convinced that experience weighs more than a few years of musical education. like any language, the more you use it, the better you will be at using it and likewise, a person who has been creating music for 40 years will have encountered a whole lot of "music theory" before all is said and done and while he or she may not be aware of what the rule is or what the note is called, they'll know the rule and how the note sounds more than someone who took a couple of years of courses. it is ultimately a choice you make. i studied theory for a couple of years when i was very young and it built a nice foundation for understanding basic concepts of music that have aided me over the years. a lack of theory knowledge can cripple you at first if you don't have much musical experience but familiarity with music and experience can replace extensive music theory knowledge as most of what you'll learn in theory, you will hardly use when writing.... it is like here in auto insurance... in order to get licensed, i had to learn a whole host of broad knowledge about indemnity and the laws and blah blah.... but in the end, the actual art of selling insurance is quite simpler and its complexity is in other parts of the process. truth is: theory is what you make of it. it is there. it is there regardless of whether you study it or not. if you make music out of your garage and have never read a book on it ever, you are still using theory... you just don't know it. study it but don't obsess over it too much. there is far more that goes into making music than just what a note is called.

hmm. i didn't catch this the first time through the panel but i'm glad i was able to track it down this time. i'm a big fan of new age musiks and that said, i'm hearing a little arkenstone mixed in with some dean evanson. the evanson evocation is in the seemingly aimless wandering nature of the track. it may be stylistically incompatible with some but i'm all for it. the track remains calming throughout. the drumkit, despite the playing sounding marvelous, is weak and too thin and far back in the soundfield. i can sense the tone you were going for but at times, i catch my ears digging through the wide, expanisve vacancy in the mix lookin for meat and the drums are hangin around on the outside. the syncopated, delayed synths are badass .... as is the rest of the instrumentation. excellent choices of instruments. there is a real edginess to the harp but i am a fan of it. i must say that my most significant problem with the mix is the ending. for what it had been doing all throughout, the ending sputters out. it lacks too much energy to be effective. you gotta look into that... it is conditional until then YES cond.

simply put, it is far too repetitive to keep the audience's attention for very long. the vibe of the track is alright, albeit 1995 but if you changed it up a bit more often, the track would work. as it stands, it doesn't keep my attention past the 4th or 5th time through that same melody. the synths, themselves, are terribly old school and would have been fine if you were releasing this in like 1995 NO

ok which brings me to the main question: the USB turntable... is it pads or an actual vinyl? my fingers are used to real vinyl but i dunno what options i have

don't mean to reiterate what everybody else has been saying but indeed, stay away from belt-drive turntables (if you scratch as violently as i do, at least) and practice insanely. scratching is a muscle memory type of ability. once you got the touch in your fingers and your ear is accustomed to picking up the beat (beginners usually use the snare or clap of a track to guide them), you will then be able to do anything you'd like. it is ultimately a familiarity type of art and your build that familiarity from standing at that turntable for hours. look into djconsole. i forgot the exact model name but their CD turntable ain't bad. they also have one that uses mp3s off the computer through an intuitive and easy to use software program... the waveform preview panel is brilliant... it allows you to literally visualize what a traditional DJ would do with his ears... you can line up the waveforms as you see fit to mix channels in and out and do whatever it is that you're doing. i know most of what i said makes no sense but i sometimes have trouble explaining things. if i find out the exact model, i'll come back and post it - i know its affordable and very likely under 200 or right at it. good luck.

hahahahaa holy fuck that's awesome i mean, i'm going to use that.... i always tell larry to light up the sky with a leaf to call me when i've been away from the judge's queue for too long but seriously, dan, what the hell hahahaha

i haven't had classical training past a year or two when i was a kid but i'm no graduate of shower 101, either if you request my faculties, just shine the weed leaf signal in the sky...

aarowswift, agreed when are they finally going to make that sword of truth movie they're always talking about. i heard something about a tv series for terry goodkind's fantasy series but i'd much rather see it on the big screen. are they ever going to do the belgariad? or the wheel of time? i was hoping with the success of the lord of rings and the consequent embarking of the narnia movies, that fantasy films would be on the upswing again like it was in the 80's... imagine that, an era of fantasy books made into film. and then ZELDA the movie hahahaha [/fanboy]

happy bday brother see you at the party, richta by the way, nick, you spelled his name wrong! haha

the best thing said about this issue is the statement about the frailty of faith. truly, if one's faith was so fragile, then the books and now the movie are a success to draw attention to it because it is clear that religous fervor without the strength of the faith beneath it is a failed commitment. perhaps, that is really the problem. one who believes deeply in God, would never doubt that God is unkillable as he is also unmutable, uncompromised, and undetered. i think a lot of christians are, once again, insulting themselves.

the only thing is i want to have as little software and as much hardware as possible in this particular instance because i'm good with my hands on the turntables and need to rely on touch to accomplish what i want... i don't ever feel comfortable with software scratchers, etc. i'll look into those... i think the one i had been thinkin of is the serato but i just need something that will be as close to the original artform as possible...

actually, micing an amp is not necessarily the most "efficient" way of recording a guitar, at all - it might yield you the most organic sound but aside from that you can run into a myriad of problems a optimal scenario would be to record your guitar both directly (that way you can get a clean feed to fill out your EQ) and through a mic (to pick up the organic, warm sound of an amp). the key to remember is tone... you aren't just going for what sounds alive but also what will sound good in the mix... wiesty described how to mic an amp perfectly. the question now is what kind of amp you have. big amps, despite sounding awesome, are better fit for performance at high volumes. i love using my little 12 inch amps for recording if i'm going that route. as for your feedback problems, i think sixto might have already nailed it with mention of the ground loop. technically, with direct-in recording, you shouldn't be geting any feedback outside of device buzz. in other words, how close are your pickups to your computer screen, TV, halogen lamps, etc... you'd be shocked to know that if you have overactive pickups, you'll pick up just about every electromagnetic interference in your room if you aren't careful. move around in different directions and spots trying to find a spot that is immune to your surrounding electromagnetism. or somethin like that

yes but if you want a quick fix all in one solution, miroslav or EWQL silver, gold, platinum, whatever you want... is a great option. the more you spend, the better samples. truth is, though, and a lot of people forget this... it is what you do with the samples and not just the samples themselves. obviously some instruments are always goig to be trouble points (notorious brass sequencing) but for the most part, if you can make free hammersound soundfonts serviceable, you can do quite a lot with miroslav i personally love mirolsav and get funky wit it allll the time... at least until i get my paws on EWQL, that is. far prefer it over GPO or edirol orchestra (which i was using for a short while and i vomitted all over myself as a result)