timaeus222

zykooooooo Happy Birthday, dude!

I surprisingly do. Cinnamonnnnnn

aw yeaaaah boi, Spectre. I'ma bring the spoooooook~ =)

There are a good amount of changes here since last time. I'm ok with it up to 1:24 - 1:51. For some reason, at that timestamp the accompanying arp seems dissonant with the lead that's going on (many of the intervals clash as 2nds, augmented 4ths, etc.). It's nice that you're deviating from the source tune there with the lead as well, but it feels a little awkward to me, in terms of the melodic contour. It's hard to explain, but if the melodic flow makes sense, then it "has direction", and that's what I think it's missing. It almost feels like an original section as well, based on how much it is deviated from Spark Man's theme, so I think you should constantly count up an approximate number of seconds that you (clearly) used the Spark Man theme and check to see if you aren't dipping below 50% of the entire remix length. If you are below the 50% guideline, then it's generally considered an original track with source tune influences. The breakdown section is a bit sparse, but you brought a sidechained pad later on, so I think it's alright. I'm glad you made that longer, as it did quite a lot for the dynamic curve, and the judges love a nice and dynamic remix. Overall, this was a pretty great update, and a nice and big step up from last version. Still a couple sparse parts such as 0:56 - 1:24 (maybe you can put in some more overt harmonies), 1:51 - 2:05 (perhaps thicker timbres or a wetter reverb can help, as what's there can work), and 3:00 - 3:13 (it's more the off-balance of the filler textures you do have with the bass that's creating a little sparseness here, not really the lack of complementary textures), and occasionally weird melodic reinterpretations, but much better so far. So basically, it can use some more filler textures and more natural melodic interpretation.

Seems like most of the issues are still there. The lead is still too loud whenever the wobbles aren't playing. The mixing is still a little too loud, but it's better than before. The bass hook from the source is still being used all throughout, and that's literally almost the only thing that I hear from the source tune. There's at least two more melodies you can use. Nothing wrong with not using them, but it would be a nice way to introduce variation into the arrangement. It's definitely too melodically repetitive, if you just look at the notes by themselves and ignore the structure. The breakdown section being longer was good, and I'm glad you chose to extend that. The piano is a little mechanical, but in this context it's not a huge deal. Lastly, the dubstep section feels longer, but the switch back to electro house is rather sudden; it just happens without a transition. So overall: - it can use either more melodic liberties on what you are already using, or other parts of the source can be added in. <----- Most important problem here. - the main lead is too loud when it's playing without wobbles in the background <----- third priority IMO - maybe humanize the piano velocities and add slight rhythmic errors <----- minor - can have less of a stream-of-consciousness feel to the arrangement <----- second priority IMO

What's up? I haven't posted new tracks here in a while. Here's a complete overhaul of one of my old tracks. Drum & Bass with a lil dubstep and ambience here and there. A little Pop-ish towards the middle, and inspired by zircon and Lindsey Stirling. By the way, turn the Box.com volume up to 100%, since by default it isn't. ReMix: https://app.box.com/s/663y2pg9zpoc4e9e0jzk Source: Feedback is welcome. I'll submit this soon.

When it first started, yeah, it was pretty minimalist, but it got ridiculously good after the 1:00 mark every time the pads came in. The soundscape is really well done, sound design and all. The bass is nice and low, playing notes that I would actually have done myself if the me of today wrote this back then. The pads fill things out excellently. The reverb on the hi hats is a little off, but that's pretty minor. The piano is rather dry, but it's not detracting (I'm surprised only zircon mentioned the piano). I also love the wobbly pad at 4:29.

Alright then. I'd be good with picking these: 1. Spectre Knight 2. Propeller Knight 3. Tinker Knight 4. Polar Knight

Yeah, the hand drums are overcompressed, and the plucked instrument is locked to the grid. The violin is also pretty unrealistic playing those specific notes. It's just the instrument choice, really. The notes are pretty cool.

Hurricane Relief Fund?

Nothing happened yet V_V

@GrapplingHook: Okay, so your picks were initially: Tinker Knight Mole Knight Propeller Knight King Knight and mine were: Spectre Knight Propeller Knight Polar Knight Shield Knight Wanna try a compromise list? Perhaps: Spectre Knight Propeller Knight Mole Knight Polar Knight or Tinker Knight Propeller Knight Polar Knight King Knight or something else (I really like Spectre Knight since it has several moods to pick from and nice arp lines)?

I dunno about posting the invite link, but do post the video stream link, so we can know it's happenin'.

A touch too compressed for my taste, but that aside (and I know this is super old)... This makes good use of minimal textures in the beginning to create a nice disco groove. The lil wah keys solo at 1:27 was pretty cool. The dubstep was a bit "where did that come from?", but it's not like it's too abrasive to listen to. Later on, I'm surprised you kept that hard snare going in an ambient-ish setting, but it's ok, you'd notice that today. Welp, not your best work, but still enjoyable.

So I guess in a sense, you're kinda like me in this way: you can get inspired at 3 AM, while I can catch many of my mixing issues at 3 AM. Congratulations on your first solo DP! Loving the pads and chord progression!

This seriously breathes of Gunstar Heroes sound design. It sounds like a GSH ReMix, even if I never knew that it was for GSH. Yeah, sure, some airiness in the lead would have been nice, and there's some strange note choices/harmonies in some of the arp work, but that's so minor that pffffft. The lil stereo offset at 3:22 was interesting. You can still rock out to this, and honestly, I didn't have any issues with the drums. I mean, if they really are the FPC defaults (I do kinda recognize the ride cymbal, but other than that...), that's some pretty impressive processing on those to transform them that much.

o_o I personally find the chimp sounds distracting, but funny.

I think that there's a lot of high energy content going on, and even though you do have some dropoffs, they still retain the high energy writing, only filtered in certain ways. As for the heavier sections, they seem to have the source usage in the bass notes, but it's not pronounced enough to hear, IMO. I think it can still work if you try to steer further away from the source than you are now; maybe accent those bass notes on a higher octave and write some melodic variation on it. Also, I hear the vocal samples are directly from the original track. That's fine, but it contributes to a conservative approach.

It sounds a little abrasive in the uppermost treble overall. The snare, and the sound at 0:48 seem to be the most piercing elements. Also, this is pretty loud, and can be toned down in volume.

I dunno if it's just me, but there might be some slight clipping at 0:47 due to the guitar. Somehow the bells at 1:26 - 1:38 are still too loud, but after 1:38 they're fine (except for 2:18 - 2:30 and 3:26 - 3:31). Probably some sort of piercing harmonic still in them. You have any alternate bell patches you can find in Omnisphere? Other than that, I would say that this is good to go.

I've never heard that song before, but yeah, I would add some tubas or contra bass spiccatos underneath to emphasize each measure.

Well, sorta. If you look reeeeeeeeeeaaaaally carefully. =) <div class="sqs-audio-embed" data-url="[B]https://ia802307.us.archive.org/23/items/Episode22NiGHTSAndRealaWithOverClockedUniversity/Episode%2022%20-%20NiGHTS%20and%20Reala%20with%20OverClocked%20University.mp3[/B]" data-mime-type="" data-title="Episode 22: NiGHTS and Reala with OverClocked University" data-author="Train Station at 8" data-show-download="false" data-design-style="classic" data-duration-in-ms="" data-color-theme=""> </div> https://ia802307.us.archive.org/23/items/Episode22NiGHTSAndRealaWithOverClockedUniversity/Episode%2022%20-%20NiGHTS%20and%20Reala%20with%20OverClocked%20University.mp3

Well... I hear the melodic variations going on, and good on ya for that. It's hard to change something that already had a good melodic contour to it. I would have liked more pads to fill things out in a few places, and perhaps some more varied bell patches to keep things changing. The synth brass is so cheeze. It wasn't something I would ya on, but I guess something more legato could have helped. I liked this more when I got to 1:58, but I also wish 3:21 came much earlier and was twice as long; that was my favorite part.

I've never really heard a VGM nocturne before (but I have heard a classical one, actually). Props on getting one of the first of these on the site! Great piano tone, too.