Post #21 · Posted at 2012-07-11 02:40:09am 12.9 years ago
 Zukin-Man | |
|---|---|
 |
Member+ |
| 4,681 Posts | |
 | |
| Reg. 2008-05-12 | |
  | |
| "Nature: Naughty" | |
Quote: DDR (Yanyan Remix)
duh
Post #22 · Posted at 2012-07-11 02:40:28am 12.9 years ago
| Dreamland200 | |
|---|---|
 |
Member |
| 1,353 Posts | |
| | |
| Reg. 2011-06-28 | |
| "choons" | |
Oh Yeah, I heard that too. It was just... not good.
Post #23 · Posted at 2012-07-11 05:51:07am 12.9 years ago
| XeneSyS 87 | |
|---|---|
 |
Member |
| 711 Posts | |
| | |
| Reg. 2012-04-17 | |
@DDR Yanyan Mix: Have you thought about mashing up two songs that have the EXACT SAME BPM, so that both songs will share one unified beat? IMO, the best mashup combos are ones which share the same BPM. It also takes the guesswork out of BPM guessing and syncing.
Here are a few tips i'd like to share about song mashups (aside from the BPMs):
A) Find two songs with the same or similar genres. (i.e. Eurobeat and Metal wouldn't exactly sound appealing, would it?)
B) "Dice and Splice" (cut and paste) various measures at different points in each song, because simply layering two songs together from start to finish doesn't always sound good.
C) Make sure that the beat doesn't start drifting off later on into the song, meaning that you'll hear beat delays that increase in time throughout the song.
D) When copying & pasting measures, paste into a new unsaved recording and then loop play it to make sure that there are no audio skips (when looping). It takes a lot of trial and error to get measure cuts exact.
E) Sometimes it's beneficial to change the volumes of each song at certain measures, or if you'd want to add fade-in/out effects for a progressive buildup/down effect. This is a more advanced technique and requires a lot of experimentation to get right. (But it's completely optional.)
F) Always make each song it's own seperate layer! (if you're using Audacity, Adobe Soundbooth, etc.)
Here are a few tips i'd like to share about song mashups (aside from the BPMs):
A) Find two songs with the same or similar genres. (i.e. Eurobeat and Metal wouldn't exactly sound appealing, would it?)
B) "Dice and Splice" (cut and paste) various measures at different points in each song, because simply layering two songs together from start to finish doesn't always sound good.
C) Make sure that the beat doesn't start drifting off later on into the song, meaning that you'll hear beat delays that increase in time throughout the song.
D) When copying & pasting measures, paste into a new unsaved recording and then loop play it to make sure that there are no audio skips (when looping). It takes a lot of trial and error to get measure cuts exact.
E) Sometimes it's beneficial to change the volumes of each song at certain measures, or if you'd want to add fade-in/out effects for a progressive buildup/down effect. This is a more advanced technique and requires a lot of experimentation to get right. (But it's completely optional.)
F) Always make each song it's own seperate layer! (if you're using Audacity, Adobe Soundbooth, etc.)
Post #24 · Posted at 2012-07-11 08:00:50am 12.9 years ago
| Nightime | |
|---|---|
 |
Member |
| 1,117 Posts | |
| | |
| Reg. 2008-10-18 | |
 | |
| "ARR JOO LEADY??" | |
Or at least learn how to beatmap and accelerate/decelerate your mixings so they autosync. You can also use beatmappings to keep songs at a steady, mean BPM, even ones different from their originals.
Note how even though the lead-in songs are all 170, by beatmapping SEXY PLANET and TRIP MACHINE (luv mix), I can make them go 170, too.
You should also note the speedups between NIGHT IN MOTION > KICK THE CAN, and DREAM A DREAM > SHOOTING STAR.
Ultramix 3's "Interval Off" course mode didn't have the best mixing either, but at least it had the sense to intentionally distort between stages. I really wish that course approach would be better expanded upon, utilizing those two, simple fading principles above.
Note how even though the lead-in songs are all 170, by beatmapping SEXY PLANET and TRIP MACHINE (luv mix), I can make them go 170, too.
You should also note the speedups between NIGHT IN MOTION > KICK THE CAN, and DREAM A DREAM > SHOOTING STAR.
Ultramix 3's "Interval Off" course mode didn't have the best mixing either, but at least it had the sense to intentionally distort between stages. I really wish that course approach would be better expanded upon, utilizing those two, simple fading principles above.
