timaeus222

FRACTION FRENZY. lol I played it in 7th grade, and it was like this. Teacher: "What are you doing? Class is starting." Me: "Math." Teacher: "Okay then." *walks away*

It was exactly as I intended to say it!

Boss. 'nuff said.

Such subtle advertisement. I never even noticed. Yeah, I dig this. Easy to relax to downtempo music.

Happy Bev Day! : D

Damn, some crazy development in this! It sounds like swung jazz for a while, but then adds a little string staccato and E. Piano here and there, goes through a dissonant battle-like phase (in a good way) about 1/3 of the way through, then goes back to its jazzy self about 2/3 of the way through, mixing in the strings again and a little E. Piano as well for the ending. Recommended!

I don't really know Rexy outside of her piano arrangements (maybe that's a sign for me to check out more of *her* music). This is a very well-developed chiptune arrangement that deserved to be in the mixflood. Some quite excellent bass, too.

The point of the differences is to show the effort in transforming the source tune and the personalization that can be put into remixing it. Even if the instruments are different, if the notes and dynamics are too close to the same, then it still counts as a MIDI-exact arrangement. We don't forbid conservative remixes, but we do try to encourage a substantially different interpretation in the notes, instrumentation, mixing, and overall structure.

Technically, if you get permission, then yes, you can submit it (though really the original composer should submit it), but there is no guarantee that the arrangement will be substantially different enough to pass.

I hear dat devil's interval, though I'm not really bothered by it; for me the dissonance stopped at 2:00.

Nice and punchy. I might remix this source tune someday.

What. What is this. I didn't say a thing on this ReMix? C'mon son! This is a fantastic example of Drum & Bass with Dubstep done well. I love both genres, but this manages to mix both together without a grating quality, repetitiveness, off-putting qualities, excessive abrasiveness, or anything like that. There's definitely some extremely tasteful glitching, and I love it. I downloaded this back when it was posted, so just to be absolutely clear... THIS IS BOSS.

This is what I would suggest here. I would actually not try so hard as to directly reference classical music (unless it feels natural), which is generally quite different in melodic contour and rhythmic tendencies, but instead just imitate the playing style to remind people that it was an inspiration to your ReMix. For example, this ReMix feels like it has some Beethoven influence (Moonlight Sonata) at 2:15.

This is pretty awesome! I love the little frequency-modulated bell sound playing the arp, and the live flute really helped on those flourishes, what with those little imperfections in the playing. Maaaaaybe a little overboard on the electric guitar playing, channeling a lil Joe Satriani-esque shredding into this piece, but hey, it's cool. Just don't lick the guitar strings. xD

*facepalm* what if people spam him D:

First of all, great arrangement. I'm just hearing some mixing issues that are bringing this down. The timing seems odd to me. Don't take this the wrong way, but the drums feel a little sloppy in particular. It's as if you played this in live with some Delay Compensation mistakes but then left them in. The brushed snare also kind of sounds more like white noise to me, so maybe a different sample can seem less white-noise-like. The bass at 0:54 clashes a little with the low notes from the piano. You might wanna high pass the piano above 200Hz. At 1:17, the sax that comes in sounds too upfront and seems fake. It should be quieter with some more wet mix on the reverb to blend it in better, and perhaps a little scooping EQ in the low-mids to let the piano notes come through. 1:54 is just a small thing, but I think a softer cymbal could connect the two sections more cleanly. Same at 2:17. The strong hits there kind of don't connect the dynamics IMO. 2:28 - 2:39 brings in some more realism issues in the lead on the left. Sounds like a violin but didn't play like a violinist would. At 2:51, the low guitar clashes with the bass, and later, at 3:01 the sax's low-mids clash with the bass. 3:50 is a very minor thing, but that low piano note suggests to me that perhaps you could keep experimenting with different piano samples until you find one that works well for all the notes you're playing. It doesn't sound that fake to me, but it sounds thin. The other, higher notes sound good IMO. Odd thump at 4:22, whatever it is. Might be an acoustic bass? Overall I like the arrangement (good concept, nice dynamics and flow), and the main issues I would address are the low-mids mixing, the sax volume and EQ, the sequenced violin realism, and the little thump at 4:22. Good job so far.

Glad that it's working out!

Yeah, this sounds clean of unwanted distortion and crackling.

From the looks of it, a lot of synthesized music can work, rather than just techno. I mean, you got that tech font that looks kinda like Visitor TT2 BRK or something, so it suggests electronic to me.

I've actually tried the demo version of it, and man is it RAM-heavy. As long as you don't mind that, then come to think of it, that's another one that I would have suggested. Its filters are really good. In fact, Hans Zimmer and Howard Scarr worked together on a soundbank for Zebra2 called Dark Zebra, and actually programmed Diva's filters into Zebra and distributed the mod.

I'd take a look at OP-X Pro II.

And the look is?

But but but... then they'll taste all gritty and grainy and stuff, like ye olde canned chicken. HOW DARE!

Yo' synth bass is so phat that it can't lock into a groove without jumping all over the place (I guess it's not really an insult, is it? )! I guess my only small crit is that the ending could have been faded out more quickly; it felt like the phaser pad was lingering past the ending.

I kinda wish the rhythm guitar was wider, but ah well, that would've made the mixing harder. Overall Blake did a great job on the sax, and this arrangement has some cool big-band/rock energy that is highlighted by the great performances.