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Cool arrangement, lots of neat ideas here.  But the production needs more work.  Right off the bat, the bass that comes in is way too loud and dominating, it is pounding my ears at 90Hz.  The synths playing melodies and countermelodies are all playing in roughly the same frequency range, and when the soundscape is full such as at 0:32, there is just too much playing at the same time and it is fatiguing to listen to.  It feels like not much EQ has been done to allow each synth to breathe within the mix, and everything is stepping all over each other, in frequency and in writing.  From 0:33-0:46 I hear a lead, an arp, a countermelody, and the upper end of a very busy bassline, all mushing together.  The writing is all super busy and the synths do not have room to breathe.  Listening all the way through, there are several sections that are overly busy like that. Despite several areas with very cool filtering and bitcrushing, the mix sounds repetitive because the timbre of the synths never changes all the way through, and sections of writing seem to be repeated wholesale.  The synth that is used primarily as a lead is probably better used for a backing writing part; the patch is cool but it is nebulous and does not carry a lead melody well.  A lot of the time, backing arps do not fit harmonically with the leads and countermelodies, and there are clashing notes here and there. I don't hear any sidechaining at all on this mix, so the kick barely comes through.  Proper sidechaining of the instruments (bass at a minimum, but I sidechain everything in my mixes, in varying amounts) will let the kick punch through, it will add groove to the mix that isn't there now, it will help clean up the mixing, and give you much more clean mastering headroom. Unfortunately I concur with the guys that this mix is fatiguing overall.  It is overwhelming due to the full-time busy writing and too many elements playing at the same time and in the same frequency range.  This will need to be reworked.  Keep in mind that contrast is key in a mix like this.  If you have busy lead writing then the backing elements should be simpler at that point (blocked chords or simple supportive writing, not a busy countermelody and also an arp and busy bass writing).  If you have a distorted element, then the other elements should be significantly less distorted (distorted lead plus clean backing elements or vice versa).  I recommend soloing two or three elements at a time, that will help you decide which element is the lead in that section (and if so, is it cutting through properly?), and also if the elements are fitting together harmonically and rhythmically.  If two elements are really competing, you can also use EQ to give lead elements priority (with a possible boost at its fundamental) and then notch backing elements at the frequency where the lead is primarily playing.  You can also make sure some elements (typically leads) sit more centered (at least their fundamentals) and backing elements are wider or even use a Haas to completely stereo-ize the sound.  The goal is to create a 3D soundstage where every element has its place to shine! Larry said "you can have arrangements with a steady energy, but the dynamism has to come in other ways."  He is so right, that's a good way to put it.  The dynamism will come with contrast, as I described above. NO

Hi! :) Here is the new one. pls tell me what you think and have fun.   Spider-Man and the X-Men in Arcade's Revenge - Cyclops Remix      

https://drive.google.com/file/d/1HlQTj8BuHj-oZ37ziJ2wGDCix3a4u5pT/view?usp=sharing Latest revision after most recent rejection. Hey, I got a couple yes votes this time, yay:) Anyways, the thing that stood out the most as far as critiques are concerned is that the tune sounded muffled, as though being "played from behind a pillow". Also, one of the judges said something about if he had the stems, he could have it above the bar in a half hour. With that in mind, I exported the project as three stems; drums, bass, and synths. One of the judges said something about the bass drum being too prominent, I dialed that back some. On the synth stem, I added a patcher patch that split the frequencies at about 800 hz, and added some "subtle" additional saturation, eq, Kilohearts dual delay, and side channel reverb to the above 800 hz portion of the signal. I should add, that in the mix, before exporting the stems, I brought many elements closer to center. I think I got the "pillow" problem solved here, after A-B'ing between this version and my last submission of this mix. Feedback welcome please!

Been listening to this piece for almost 20 years. Out of 175 remixes in my carefully curated collection, this one is just... lovely.