Aaron Marshall

Pretty neat effort here You lost me around :35 when those synths came in. As a general rule, which can be broke from time to time, you don't mix layers like that so foward in the mix. Pads, strings, synths etc ... Slap a low pass filter over that synth at least and give is some modulation. Listen to how buried your bass instrument is underneath that bright synth. Send me the stems to this mix and I'll remix a section of it to show you what I'm talking about.

Yeah, don't worry about it too much. Just give yourself plenty of headroom so you don't even come close to clipping. In this day and age, the one of 24/32 bit audio; it's asinine to clip anything. There's so much headroom. One good thing to keep in mind is; even the best converters will start to distort in some small way beyond 3db below 0dbfs. That means when your master meter peaks at -3. Chances are, you don't have anywhere near the best converters anyway, so you're dealing with an even stickier situation. Amping up your mixes too loudly is kind of like running a car engine floored in neutral. There's no functionality, yet the technical aspect of your device/machine is being strained unnecessarily. Feel confident in your recordings. Glance at your master meter. If it's hitting too hard, drag the fader down, and turn the volume up to a reasonable level on your playback system. Don't use your mix to give you the volume you think you need. Be in control. Loudness has nothing to do with the amplitude you can give your mixes. Let the mastering engineer get things up to a competitive level. They know what they're doing, and we have a focus on doing just that. Playback level is important. Listen to your favorite music and have your friends sit next to you. Can you carry on a conversation? You should be able to with maybe a slight amount of elevated voices. If your playback system sounds like a rock concert and you have to yell, it's way too loud. Your mixes won't come out properly. If it's too quiet, you'll be tempted to mix louder, which is detrimental to your sound. Trust me. I want the best not only for you, but for music and audio at large.

Wow, lots of great tunes on this project guys. Great job. I think my favorite was Benjamin Brigg's Lucidic. That was the stand out piece to me. I'm probably biased because I love that song so much. The website looks amazing. It has so much class. Great job Caleb Winters. Outstanding work on this project to everyone involved.

I like what you have going on here. I agree bigmow that it's a bit segmented musically. I was actually thinking that without having read his feedback yet. You have a lot of good ideas going on here but they're not all culminating to a point like they need to. I like your approach to the mix. It's very bold. Lower the piano layer. It doesn't need to be so up in your face. However, your master is too hot and your limiting too harsh. You could easily drop the mix by 3 to 6db and be fine. As an experiment lower the master fader by 4db, and go easier on the limiting and reupload it. Humor me.

I would do a remix. I'd stick pretty close to the original arrangement, but give everything more definition. You should release it as a single. Martin Tallstrom would be an awesome fit for this track. I'm not sure how much he would charge for a session. Martin performing a song from Twin Peaks:

Thanks Chris. I really appreciate it. Your name sounds familiar. The guitar doesn't sound bad at all. It's not as good as the composition. It's just such good writing that I wish the guitar layer had just as much integrity. The mix could use a lot of work. Based off of this composition I think Mordi could easily get signed. He just needs a killer mix

It's a very minor issue. I like what you have going on here.

Wonderful composition! It reminds me of Dire Straights and Tangerine Dream. As far as the composition, absolutely nothing is wrong here. The mix is good for what you had to work with, but I don't like a lot of your instruments. I'd love to enhance/revoice the instruments in this and make it release ready. You had me with the keyboard instrument at the beginning. I wouldn't change that layer. You lost me with the fake voices and the fake record scratching. The guitar sounds mediocre. That's not good for a composition that's based around a guitar. It needs to be a real guitar. If you can't do that, then your samples need to be stellar. The synth layers, I really respect what they're doing in the arrangement, but they need revoiced too. You've done a great job. In any other composition I wouldn't critique the instruments so harshly if I didn't think the composition deserved better instruments. Understand that I'm being hard on it because the composition is so well done.

I really like this tune. You pulled some crazy stuff in this track. The times when it pitched down threw me off. I was thinking "this doesn't work". But then I was pleasantly surprised at where you directed the sound. It did in fact work. I want to do a cover of this tune at some point. Thank you for doing yours. It's experimental and inspiring in a way. It says to me, don't be afraid to F stuff up.

Go with Windows 7. XP64 has no future. 7 does.

Your mix sounds good. Though, I'm a really big fan of the original song. I wish you would have stuck closer to its melodies and movement. There so much golden material in that song.

Very nice. It makes me imagine a training montage in fighting movie like the Kick Boxer. I like the arpeggiation that comes in around 1:54

Oh wow, this is great. I loved Gradius III. I'd love to have you perform on a track. Great job.

I'm digging this. This is one of my favorite themes of the Zelda series. Your groove is pretty good. I think some of the elements that aren't part of the groove or the main movement could be turned down a few db. Good job.

maximum volume lol