noynekker

Hi Paul . . . it's a great song with no obvious chorus, through composed, as it's all about how the lyrics unfold and passion builds . . . and there's that great build up at 2:17 that really won me over ! As the song goes along the harmonies really start to fill things out, I think they are well blended and quite well done. Myself, I prefer more low boom in the kick drum, which really stands out in the early parts when things are more sparse. Had a few listens on speakers and headphones and overall it's very well performed and recorded. You would do well to crop or resample the image smaller a bit for Soundcloud (to see the car going over the cliff) . . . when I went to listen on Soundcloud and saw the whole image, it gave me more of a chuckle. Hey, I guess you were more comfortable when the Bush's were in the driver's seat ?

Oxygen . . . very beautiful, a good breathe of fresh air (pun intended ?) . . . I loved it beginning to end, orchestration, levels, all very well done !

Not a Dell . . . just custom build

I'm using Intel i7-3770K @3.5GHz - - (8 cores) 32GB Ram - - NVIDIA GeForce GTX 660Ti Yes, I can also verify that the slow load times occur for Ozone 9 plugs in my other DAW as well, it's surely not a Cakewalk issue.

OK, then it's an original, inspired by the Princeton fight song.

What an amazing musical world we live in these days (if these are all "plugins") . . . it's a very professional and classy piece you've done here. My journeys on this were . . . ancient Egypt, SuperTramp, 1960's Hollywood, experimental jazz . . . thank you for the journey !

David . . . very cool, lots of fun ! . . . maybe you'll develop this further another day, so the fun can go on longer ? Is this an original, or a classic re-do ?

Paulo . . . "posted before under a different name as your voice seems very familiar to me" . . . this is exactly what I was thinking ! He has a very distinctive voice, I won't mention who I think it is . . . kinda' like the TV show Masked Singer. Anyways, all that aside, it's a great tune ! . . . though, the thinly mixed (or recorded) sound of the lead vocal really stands out as something to be fixed in this piece.

I noticed when I first purchased Ozone 9 that it took considerably longer to load than all other plugins . . . but once loaded it works just fine. So, now you're saying they are very slow when trying to use them . . . I haven't had that problem, just the load times are much longer.

What exactly is happening ? I just tried to open some projects from the Platinum era, and they all open fine. Does it crash ? Is there an error message, maybe a plugin you no longer have, have you tried opening holding down the shift key ? I believe you can still download the rollback installer to the May version in the "early access" area . . . but it might be best to try and get some help here, so you can move forward to new versions.

Hi Jerry . . . another work of beauty ! I especially like the way you blend some "classic" sequencer sounds into the landscape of this piece, but in true romantic tradition it never repeats itself too much, always changing and evolving. Also, the drum work is really excellent, almost starts to sound like a kit, but then you manage to keep it orchestral. A most enjoyable listen, thanks for posting this here.

Bjorn . . . man, it's a beautiful thing to listen to . . . my favorite part is the strumming part in the intro, and I wish you got back to that somehow later, but louder as a theme development ? Regardless, it keeps moving along and painting different pictures as it goes . . . so nice, you're a very prolific creator, as I've noticed on the forum here, and I always like to tune into what you're up to.

Hey Grem ! Very nice to hear something new from you, HA ! wish I could "write songs at work" then perhaps it would be my job . . . it's a slowly unfolding groove, and yes, the way you kept it simple really worked for me, not a lot of rhyming overly poetic lyrics, but very much from the heart. Thanks for posting, going back for another listen . . . EDIT . . . on my second listen I think I got it more, and found it to be a powerful message for me, personally . . . thank you Grem.

Do any DAWs do SysEx to Vsti ? I thought SySEx was just hardware synths

CJ . . . well that's what I thought, but when I tested it, after unfreezing I see the Console Faders move down, but the Automation Lanes don't change. Automation read is turned on. I even tried to exaggerate it for the sake of testing, but same result. I'm thinking it's something happened in this particular project, because I tested again in another project, and it works as expected. Trying to find out why in this project the Automation lanes seem locked, with regards to freezing and unfreezing.

Are Instrument Track Freezing and their Automation Lanes independent of each other ? ie. If I freeze an Instrument Track, then add Volume Automation Lanes . . . when I UnFreeze, do the Automation Lanes keep the volumes I added while they were frozen ?

Well, I was transported back to Jean Michel Jarre, then dang me, ain't that a banjo appearing, huh, Jean Michel never did that . . . mmm, some Gregorian chant, then the metal guitars ? . . . OK, perhaps some genre confusion, but all good fun by the end . . . maybe the listeners are to blame for trying to pin it to something. I actually like near the start when the kick comes in, it's mid punchy and not boomy. "I've been working on something like this for weeks, I'll be as brief as possible" . . . HA ! I also appreciate how the drums become metal genre drums when the guitar cuts loose. My only mix critique would be when the metal guitar kicks in, it is so much louder in the mix that it really stands out, but maybe that's what you intended. I liked it a lot, though my neighbors were banging on the floor, they're obviously not Gothic appreciators. I also like that musically, it is a bold statement.

Hey John Bradley . . . always liked this song, and you made an amazing version of it here. I can hear a lot of work went into this production, some great guitar wizardry. Nice that you've detailed about how it was recorded. Fooled me, I thought I heard a twelve string, must be in my head. Thanks for posting ! It REALLY is a great listen.

Yes . . . I've seen this too, something is amiss with plugin recycling . . . doesn't work the way it did before . eg. I have to turn off plugin recycling to get my 2 (Ozone) plugins on the master buss to both come up together. ctrl+click will not allow both.

Allan . . . enjoyed this one ! . . . perhaps reminiscent of Moody Blues, or a laid back lounge version of Nowhere Man by The Beatles ? The vocals are very out front and clearly recorded, well performed . . . myself, I want to hear the instruments you have accompanying this somewhat louder, as I hear them clearly on a headphone listen, but at lower volume on speakers I find their level too subtle, especially with the traffic going by my window on a summer day I like the way the piano gets jazzed up near then end, it adds to the relaxation of the piece. The harmony vocal and chord change ups are also pleasing . . . nicely done !

Hi Paul . . . yes, I still had to turn it down a bit to enjoy it . . . and I did enjoy it . . . dual harmony electric guitar solos ! Man I miss those so much in this modern stuff. The stereo guitar recording is classic. Great lyrics, if you hadn't mentioned "tribute to the eighties" I still would have recognized the lyrics as eighties, not sure why, but I'm old enough to remember I guess. It's also very well recorded, so much retro fun ! Muchos Contributatos !

Mark . . . on my small speakers (small speakers matter !), I can confirm the vocals on this new version are much clearer, upfront . . . what you've adjusted makes a noticeable difference from what I listened to last night (which wasn't too terrible mind you) . . . I wish you much luck with your shopping !

Hi David . . . I gave it another couple of listens with the ending in mind, and it seems to me near the end where it builds and gets higher pitched, there's an opportunity in the recording to get a fuller sound (ie. more low end frequency - give us some more lower cellos ?) The very end part sounds like it's intended to be a very quiet fade, I don't find it "strange" for that era. Overall, recording wise, if you could add some more extreme dynamics through the piece it would add a lot for the listening experience. So, you've taken a a guitar version of a romantic piano piece, and transcribed it for strings . . . quite the project. Much admiration for that, and I always like what you contribute here.

Mark . . . collaboration with "ex bandmate Rick Kimbrough" ?? . . . you're still very much together on this one, acoustic textures among the best I've heard recorded recently. This song is so easy to listen to, like all your others. Thanks for sharing here.

David . . . hopefully you're sipping some fine Pinot Noir (not that cheap other stuff) . . . it's a relaxing listen, introspective string piece. I tuned in late here, so I guess I never heard the ocean sounds you mention from an earlier mix . . . it sounds like you were trying to get more ambience or room to this mix, but I don't hear it here, and think it must be a very hard thing to do with just strings . . . ie. hard to know when too much ambience, or not enough . . . perhaps there is not enough percussiveness in a legato string piece to actually hear it . . . add too much and it would be swimming and distant. I think what you've done here sounds great on my speakers.