timaeus222

Damn, the writing in this is actually really awesome! Chords are tight, fills are nuanced. The bass even sounds supah, despite its tone being noticeably fake.

makes anyone happy unless you're this robot thing that does things

Well, I dunno about resources, but I've known examples I loved when thinking about drum writing. http://ocremix.org/remix/OCR01849 - Jazz Fusion http://zirconstudios.bandcamp.com/track/system - Eclectic rhythms http://ocremix.org/remix/OCR02767 - Unique rhythm that makes an otherwise plodding groove lock you in. Plus, dat drum solo. http://ocremix.org/remix/OCR02703 - slow drums in unusual context

The bass is quite loud, just FYI. As a result you also have the kick drum too loud, most clear at 1:37.

Damn, those quarter tone tunings are freaky, but NOT flat or badly dissonant. They work so well! Quirky but definitely one for the record books---first remix passed with quarter tone tunings? I also love that odd little zourna sound.

Man, there's a lot of sub bass in these. Cowboy Bebop also has a rather old piano sample. You could mix more quietly on these. Both remixes have overcompression from the drums, and the Space Dandy remix is muddy from the reverb in the E. Piano. Otherwise these sound alright for what you're doing.

I forgot I had that. Thanks for reminding me.

With FL Studio, you can do Shift+Down on the D-pad three times, alternatively.

I agree with OA. This sounds like 80's action music. Noticeably mechanical sequencing in the piano and flute, but otherwise pretty solid for 2000.

Well, the guitar sounds narrow, for one. The drums actually sound pretty good, but would sound better if the guitar was wider. If you double-track the guitar, it should clear up room for the kick and snare.

Hehe, save me some Vectorman, dude; it's gonna drop hard for the BadAss Vol. 3 album!

Heads-up, I'ma vote soon. Pokey the Choker - Takes a little long to get going, but once some dynamics changed up at 0:54, there were some more microchanges going on that helped to lessen the repetition. To me, 2:03 sounded drastically different than what came previously, so perhaps something to connect the sections by the bass frequencies would have helped. Overall the production is great, no substantial issues there. I guess I would have liked the snare/clap layer to be a tad louder, but other than that, it sounds quite good. Arrangement seems to have a rather "standard" structure to me, which is fine, and differences between breakdown sections helped to give a sense of progression. Use of sources sounded like one piece to me. Mother of Sinistrals - Piano sample (somewhat lofi) could have been humanized more by putting a longer decay on the reverb. 0:32 harmonies seemed dissonant in a weird way. The parallel intervals there could have been just straightforward harmonies rather than consistently-sized intervals, and it would sound less awkward. 0:52 fade-in of the 8-bit synth sounded jarring to me. Actually, I guess the intro and outtro didn't seem to fit the otherwise chiptune arrangement. Somehow the acoustic drums are buried (even though these specific chiptune tones have thin frequency distributions). Maybe the tempo didn't help too much, as for me it made this sound more repetitive than it could have been. The arrangement has some neat ideas here and there, but at the same time, textures sounded sparse (for me it was not because you were using chiptunes). The sax at 3:11 didn't fit IMO, and needed humanization through more dynamic velocities and automated swells; it also sounded too loud. There was good development throughout; maybe it took rather long to get through these developments, but the concept made sense, and there wasn't too much copy+paste IMO. My main concern with this was how concise it could have been in articulating the ideas within it. A Demon's Executor - So let's get this out of the way: the orchestra is quite mechanical. However, it isn't that bad. In this electronic-orchestral hybrid, it's a little more OK to have it mechanical. I would have liked it to begin without "just starting", so an intro would have helped. Maybe you did mean the first section to be an intro, but the thickness of the textures reminded me more of a "main" section. Things could have changed up earlier than a minute in, even microchanges. Overall it sounded like a lotta copy+paste going on to me, and things got too muddy past 1:15. Gratuitous Sax and Violins - Sounds cohesive. Sounds like the sax was humanized fairly well, but mixed a little to the back. Strings had a few missteps in the sequencing here and there, but not necessarily obvious ones. Bass instrument is a tad loud. Drums sound very slightly overcompressed, maybe from a hard knee limiter (btw, the peak volume is about -1.5 dB). Good source meshing. Earth's Sacrifice - The string instrument on the right (cello?) seemed a little dry, but humanized fairly well at times. The harp could have had some automation to do "swells" to the volume for humanization. The overall groove felt pretty constant for quite a while. 4:28 had some stuff fading in that was a totally different key. o.o; Good mood throughout and it sounded like one piece to me.

Performed an oompah-loompah-esque arrangement of this in high school. Funniest song I ever sang IMO. 'Cause I almost knocked over a mic stand in the middle of the performance (and saved it!). Basically the story is that I get to hit on a girl in front of my character girlfriend and get pulled back aggressively. Rawr.

'Sup? I don't often do straight covers, but here's one with a MIDI keyboard. https://soundcloud.com/timaeus222/stormy-weather-cover-by-timaeus Finished it in about 3.5 hours, because I was in the mood.

I was like, "okay, yeah, it's good, whatevaa" about 2 years ago. These days I can tell that this is quite a well-thought-out arrangement, and it's a pretty damn good piano tone.

Thanks for the kind words! Yeah, I agree about the source tune; part of me just wanted to do it *because* it was so weird and awkward.

I don't even remember hearing this 2 years ago, but this remains awesome.

I agree with G-Mixer that the clap is buried. Not sure why though, as this sounds four-on-the-floor to me, so the sidechaining from the kick should have helped. Bring up the clap volume at least 2 dB more so we can hear it. =P Good bass. Sounds kind of Genesis-like. At 1:24, the lead sounds a bit dry. Maybe it only has delay. It can be upfront even with reverb, just sayin'. The lead at 1:53 (and so on) sounds a bit distracting since it's so loud and dry on the left. That lead could come down a bit each time it comes in. Also, the drums sound repetitive by 2:22. Maybe some more drum fills could help make it seem less repetitive. By 2:25, I'm wanting the lead to change up the melodic interpretation, which is quite conservative. It hasn't changed. By 2:52, it just feels like there's a lot of copy+paste. The dropoff at 2:57 sounds rather lifeless with just plain sustains. It's like people with Squidward faces when they sing something happy. I also agree that the hits at 1:55 and 2:56 and so on could be punchier. Compression and tightness is something you could try. And uh... fade-out ending. Wat. So basically, some repetition, lead dryness, and lead expressiveness issues. Some levels should also be fixed. Maybe add an ending too.

I think so.

Haha, I guess 7. xD When I made that ReMix, it was still Cinematic Synthetic Drums. =O Oh yeah, and Impact Soundworks is having a 30% off sale on , the new update to Shreddage II, until July 23! If you already have it, it's a FREE update!

It's too general to know for sure without a specific example. Try not to think too hard about it, because if it sounds good, then it sounds good. Again, if you don't want to clip, just find a better limiter. I suggested two of the best ones I could ever find or use.

I recommend that Old Mandolin library too!

Sounds awesome! The only thing I don't like is how abrasive that sustained lead is.

The drums seem too aggressive, but otherwise I think this works.