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Northwest Majors 8 - Yet another FGC Album


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9 hours ago, timaeus222 said:

I don't mean to be harsh, but the timings on the main elements individually and as a whole are too sloppy; although it's good that it's not mechanical/quantized/robotic, it's "too human". The soundscape is nice, but the performance could be tighter.

Wooo, someone actually replies to me \o/ Thanks for taking some time :) I can definitely see the flaws you're talking about at the beginning, as I record classical guitar through a simple mic. Sadly I can't really fix my equipment issue, that's why I mainly do MAO music. It's hard for me to figure out the problem once the guitar disappear though :/ I think you've got a better ear and experience than me. But that's what I'm looking for! Thanks again.

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Did this project ever see the light of day, just out of curiosity? NWM was like last weekend.


Edit: Also, for games like USF4, do you need to be remixing one of the new characters' themes? How do themes with overlap from SF2 and whatnot work? Sorry if this has already been asked.


Edit2: Also with games like P4A2, do reused (not remixed) themes like The Almighty have to be credited to Persona 3? I'm assuming you can only use original themes like Circus Bear. I would imagine a certain rigor would be a good practice in situations like this, even if it is tempting to use tastier themes.

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On 4/1/2016 at 9:17 AM, Furorezu said:

I've done a bit more polishing on my song, how's it shaping up?


@Furorezu Huh, sorry, I didn't notice this when you posted it. Whatever you did, it worked; I think you didn't add your post-mix reverb, because it doesn't sound nearly as distant, and it has a decent bass presence. I'm not on my good headphones so I can't say much more than general advice for comparison to what you're doing, but it's definitely an improvement in the perceived audio fidelity.


General advice (not necessarily directed toward your mix, but to you in general, so you know what to look for):

One thing to watch out for is adding what you call your "post-mix reverb". If you lower your dry mix (the input signal), then you get a more distant sound since you retain more of your reverberated output (the wet signal) than your dry signal. It's like taking the instrument out of the room, but keeping its "reverberated essence", which isn't exactly realistic. :)

Also, it sounds to me like you're adding it on the Master track, which is not necessarily how you should do it. In a digital environment, you're free to add reverb onto each instrument separately. Technically, even a bass guitar would have natural reverb in a room, but in a mix it adds muddiness (frequency overlap in the 100~300 Hz range, more or less) since the low frequencies are being reverberated somewhat as well.

So for example, if you begin with identical reverb settings for a bass guitar and rhythm guitar, you should raise the low cut within the reverb plugin that's assigned to the bass, so that the wet signal is high-passed (has its low frequencies filtered out). The wet signal is just the processed (reverberated, in this case) output due to the given input.

For a bass, generally a low cut frequency of ~200 Hz is about right, since it cuts out the low end reverberations, but not the midrange + treble, and your bass still mostly has its natural reverberation behavior. For a rhythm guitar, a low cut frequency of 300~400 Hz, more or less, would accomplish the similar goal. This way, the kick and snare's low frequencies, which are collectively around 40~250 Hz overall, should be clearer.

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