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Mega Man: The Wily Castle Remix Gauntlet 2013


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Your dedication to good metadata is a shining beacon in the bleak sea of "Various Artists."

God Bless America. Anyway, I want to discuss another thing I'm seeing with novice mixers. A bit of a disclaimer: I'm going to talk now about my own approach to arrangement, and hopefully that will h

If it sounds like a duck, and looks like a duck, it can't possibly be a duck because he put a limiter on it that specifically protects against ducks

Fun fact: on my Round 2 entry, I drew from my own soundbank of duck-like synth leads (that I didn't even make for that specific remix)---80's acid house bass (as a lead), modified moog, and something I made myself that I can't really describe by name. ;)

Edited by timaeus222
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Just a note for all the mastering newbies, it is possible to have clipping in your track even if you put a limiter on the master. No, the sound level will never go above whatever you set the ceiling to, however it's still possible to clip a signal before it gets to the master track, in which case you will still be able to hear clipping. Really you need to make sure that none of the individual tracks are clipping before they get to the master, as well as any incoming signal if you are recording live instruments.

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There is no Gravity on Mercury

Jameson Sutton: Action feel is nice. The bass sounds like the one from the Oldskool Demon OC ReMix. :P Production is OK, but the balance is off overall. Note rhythms seem to be keyboarded in. Nice modulations here and there.

Its a machine swing duder. I plop note for note. I'm all-clicktual.

Track was rough because I work 12 hour shifts every day :(. Wanted to do another pass. Didn't have time because I had to go back to work.

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Its a machine swing duder. I plop note for note. I'm all-clicktual.

Track was rough because I work 12 hour shifts every day :(. Wanted to do another pass. Didn't have time because I had to go back to work.

It's okay man. You did what you had time to do. Besides, the comment about the bass being like the one from 'Oldskool Demon' was a compliment. ;)

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Lol I love how everyone is corrrecting Timaeus' reviews. I would like to say we all appreciate said feedback, regardless if it's "right" or "wrong". It's good to hear what someone thinks from their perspective. It's not like anyone career stopping is reading this thread XD

Edited by Jivemaster
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Oh neat, I learned something today. Guess I don't know as much about mastering as I thought I did ;D

anyway, I don't mean to "correct" his review, and I do of course appreciate the feedback. I just wanted to point out that there wasn't any clipping from what I can hear, which has obviously been covered a few times now ;)

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Yeah, I guess that's what I heard. It may just have sounded like it was clipping because the sample rate reduction was a bit too intense. Besides, it's not that big a deal that I was wrong. So what?

So, nothing. I don't think anyone thought it was a big deal. Darke's purposes may differ, but I see these compos as an opportunity for education and experimentation above all else.

Lol I love how everyone is corrrecting Timaeus' reviews. I would like to say we all appreciate said feedback, regardless if it's "right" or "wrong".

I don't think anyone is saying that they don't appreciate feedback. The scare quotes are unnecessary too, since both instances were objective matters, not subjective.

Objectively wrong feedback is often just as useful. For example, in round 1, some people commented on the guitars in my mix. There were no guitars in my mix, but I learned that a certain synth sounded an awful lot like a guitar. It was a coincidence, but it made me think about the saturation/distortion methods I used on it and worked backwards. By the time I was working on my next mix, I had a functional pseudo guitar amp that I tested on WillRock's dry signal. I was actually able to replicate a simplification of the tone he used on the amped signal. I would've never thought to try this at all, had someone not called that synth a guitar. I doubt I'll ever use this to create a sim guitar (the real thing will always be better), but at the very least, it'll inform my methods when using guitars in the future.

In Ben's case, he now knows that certain types of bitcrushing can be mistaken for clipping. He'll probably be careful about that from now on.

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Yeah, gonna ride on Prophecy's line of thinking and add that if the audience hears something as an issue one should pay attention to what they're saying - even if what they said is technically incorrect, the fact that they heard it in that light means that there is something in your track that sounds like the issue that they're hearing. Whether or not it needs to be addressed is always up to the author, of course, but it should be noted that the audience may not be hearing it the way that you do.

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Yeah, gonna ride on Prophecy's line of thinking and add that if the audience hears something as an issue one should pay attention to what they're saying - even if what they said is technically incorrect, the fact that they heard it in that light means that there is something in your track that sounds like the issue that they're hearing. Whether or not it needs to be addressed is always up to the author, of course, but it should be noted that the audience may not be hearing it the way that you do.

this.

Really guys, don't overreact to what anyone says, even if that "one" is an expert in production, arrangement, synthesis/sound design, what have you. Whether it's me, timaeus, Ben Briggs, or anyone. Everyone has useful feedback, and everyone has something to learn; it's all about perspective and direction.

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Objectively wrong feedback is often just as useful. For example, in round 1, some people commented on the guitars in my mix. There were no guitars in my mix, but I learned that a certain synth sounded an awful lot like a guitar. It was a coincidence, but it made me think about the saturation/distortion methods I used on it and worked backwards. By the time I was working on my next mix, I had a functional pseudo guitar amp that I tested on WillRock's dry signal. I was actually able to replicate a simplification of the tone he used on the amped signal. I would've never thought to try this at all, had someone not called that synth a guitar. I doubt I'll ever use this to create a sim guitar (the real thing will always be better), but at the very least, it'll inform my methods when using guitars in the future.

In Ben's case, he now knows that certain types of bitcrushing can be mistaken for clipping. He'll probably be careful about that from now on.

Thanks Jason, this is actually what I was getting at. My words are never chosen well. ;)

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