timaeus222   Members

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.

I herd teh j00jes liek sync leeds, so I made dis ReMix.

At 0:09, there's some sort of abrasive fake guitar, and although it could be interesting, it's rather resonant and it hurts for the entire time it continues (FL Slayer?). Anyways, as this is, it doesn't sound too dubsteppish to me. I can't really classify it. I think the 808 snare gets a tad buried under everything else. This has potential for some cool harmonies though. Keep working on it!

Definitely recall this from the WIP forums. This was a pretty fun remix. I guess I would've liked a less sparse break from all that sub bass, but the wubs were nice and varied, and I actually think the drums were beefy enough. I do think though that the mix is bright enough, and that the cymbal is both more lofi than the rest of the mix and a touch too bright, but otherwise this is pretty solid. Oh yeah, isn't "fin" masculine? =P

Yeah! That's an old season of it, called Sasuke. Dude, that's awesome. xD

Nice, they kept in the cool items. Still able to break down doors and walk up mini ladder ramp things.

Have you guys tried some -esque stuff? Like ? You should try it if you get the chance.

OT: - Sounds unhappy and creepy to me.

Well, considering this is supposed to be Chillout, I think a few things don't work based on how they don't keep the mood. The PWM lead and the dance kick make it more energetic rather than keep things ambient-like. The lead is too abrasive, while the kick reminds too much of high-energy hip-hop. Perhaps the lead can work if you low pass it so that it sounds more distant, but I think the kick needs to be a different sample. Also, the sustained lead that plays with the tremolo pad is different, but sounds about as abrasive as the other lead, and again sounds not as ambient as the other instrumentation. The FM bell in the breakdown section might benefit from going up an octave, as it seems a bit atonal on this octave and might not seem like something to focus on. Other than that, it's a good take on the source. There are good ideas here, but the things that stick out just need to be pushed down a bit.

I love all the FM synths populating this excellent soundscape. The textures here are not abrasive, and quite accessible. You never know what's going to happen next, but it's still very much appreciable. Clem's arrangements are always so outgoing, and occasionally out there, but if you had never heard his style before, you'll remember it now!

Hola, Damage drums. =P I liked the little stereo field nuances in here from the sweeps, panning arps and such. Even with the Heavyocity stuff, it didn't feel quite like the drums were trying to be the star and cover the lower-quality samples up, so that's good. Neat irregular rhythms here and there, and an engaging arrangement that actually had a good sense of direction.

I decided to do a lil music video for this. =P