tacoMusic saidYeah, it would be more fair to have a list that randomises track order on page load.
Seems the list is chronological and I’m at the bottom! If you even get down that far, thanks for listening!
Oh please no, because the page malfunctioned about 8 times well listening to all the tracks and I had to find my place again!
The way I’m approaching it is I’ll let the first few seconds run and if it catches my ear I’ll let it play but if it doesn’t I’ll skip around to different parts of the track to see if other parts catch my ear, basically trying to narrow it down from 400+ to maybe a 100 and then I’ll go from there. So far there are some really cool tracks!
pssst I’m also having a few drinks, seems like the only way to get through so many tracks. SHHHHH, don’t tell anyone Hopefully doesn’t cloud my judgement too much!
Whoooeeee, let the voting begin guys! 448 entries-don’t know if I’ll listen to all of them in their entirety, probably just listen to a few seconds from each one and if one catches my ear listen the whole way through? Happy to be part of this contest, good luck everyone!
I assume that you meant plugin, so, here’s my answer:
Most of the times I use Kontakt, some of the libraries from NI or AcousticSamples. Now the AcousticSamples moved away from Kontakt and all their librarie are available exclusively for UVI / MachFive. The good news is that UVI is free, the bad news is that you need iLok for that, the good news is that now iLok can just install on HDD, the bad news is that your computer has to deal with another program installed and if you’re short on CPU…
Is it now possible to manage ILok licenses from a hard drive? How is this done? I’ve been avoiding ILok like the plague as I’ve had horrible experiences with the USB ILok in the past. They wanted me to pay them $200 to transfer licenses to a new ILok when my ILok broke. I would like to get some EastWest stuff…
I always thought Hans Zimmer needs a composer
Hah. I read somewhere for Interstellar Christopher Nolan told Zimmer to “knock it off with the ostinato strings and horns.” Maybe he will score something on par with Silvestri’s work on the new Cosmos?
Going through all of the old tracks sounds like a massive undertaking.
I’m sure all the new reviewers are just as good as the old reviewers, in terms of their musical abilities and skill. Perhaps the problem is that we are all human and when you inflate the number of personnel or people working on a something, you will inevitably shift the existing paradigm. After all, everyone brings their own ears, experience, and unique perspective. I believe that’s what’s happened here. Music is a very subjective thing – even mixing and mastering can become very controversial topics depending on who you are talking to – there is no “gold” standard when it comes to what sounds good; you guys (reviewers) can only try and match what the perceived “commercial standard” for this site is, and that standard is obviously changing, or has changed, either because of new sets of ears, internally, demand from authors, or other factors. I’m not saying that’s a bad thing, but I wouldn’t be surprised when people who thought they had the standards figured out are suddenly caught off guard, confused, become annoyed, or are even angered.
All we really have to go by as authors (in terms of examples for mixing/mastering/production) are the other tracks on this site. Most of these hard rejections are along the lines of “not quite meet commercial production (samples quality/mixing/mastering) standard,” sample quality aside, if it comes down to mixing/mastering, shouldn’t that be a soft rejection? Can’t you usually fix those types of issues? Admittedly, you can’t fix them in every case, but when you hear tracks that sound good from an engineering/mixing/production standpoint, and their rejection e-mail says otherwise (or at least that’s what the author says), it can be quite confusing, not just for the author but for anyone who hears the track.
I know you guys do the best you can, but I believe this will always be an inherently flawed system, with margins of error, and even if those margins of error are small and acceptable, they will invariably upset someone. I’m sure some members of the review team make more mistakes than others, just from a logistical standpoint the guy whose been doing this for several years and has processed thousands of tracks is going to be better than the guy who started last weak, even if the new guy is seasoned and experienced with music in general. I’m not trying to badmouth the reviewers – my hats off to you guys – I don’t think I could do it, just because music IS so subjective, and I definitely respect everyone who is a reviewe’, and their skill and the level they have achieved with their music, but it is and always will be far from a perfect system.
I DO THINK the mods should move/restrict all of the item discussions to the item discussion forum, otherwise I don’t see the point of that sub-forum. If people want to discuss hard rejections and the review process in a general sense, I think they should be able to do so, but everyone posting their specific rejected tracks on the main forum is starting to get a little out of hand. I think it’s become the “well he did it, now I’ll do it” sort of thing. It leads to discussions like this which are good, but I think if someone really feels wrong they should send an e-mail to the team.
Appreciate the response, you’ve always been one of the good ones, not to say there are bad ones, but well, you know, some people are more passionate than others…that’s any job, any field.
Pretty much the only way to get that “real” piano sound is to play it as best you can and not quantize everything, and to also have a killer library. Hell, I play piano and have gotten the “piano sounds too tight” critique before.
In this particular case, I think he’s probably talking about the bit towards the end with the chords; could just be your library, but the piano does sound a bit artificial there.
and yeah, those fast runs.
I say good luck, it’s always hard to transition from getting that paycheck to paying yourself, whether it be starting a business, music, whatever. If you take the perspective of, “what if, instead of spending all that time working a job I’d been producing music?” imagine how successful you’d be! You would have spent tens of thousands of hours doing something you love, and investing in residual, cumulative income, instead of a one time-payout. I think anytime you invest in yourself the gains aren’t always immediate but in the long run they can payoff.
My music is part time and probably always will be, but for the last few years I’ve also been trying to transition away from a paycheck towards living by my own means, and I’m confident with a lot of hard work it is possible. Quitting that (more than) full-time job and taking a pay cut so I have more free time to do what I want was the best decision I ever made. The hard part is kicking yourself in the ass enough, but with the internet and digital distribution it’s possible to make it in this new frontier.