timaeus222   Members

Heard the album yesterday, and I have to say, there's not one bad track! Every single one has the polish, even the really old ones!

Does anyone know of a soundpack of just diverse Flexitone samples? I'm writing a song inspired by Dragon Ball, which extensively uses it.

Gosh, Dave, maybe this should have been called Tush Hour

Pretty polished remix. I wish the mixing was a little less flooded at times, but that aside, the arrangement was great too. Nice interspersing of genres. =)

I would have liked the treble to be a bit less abrasive, but otherwise, great, fun, and well-developed arrangement.

I'm waiting for the listening party to hear the whole album, but I really love the art! Literally some of the best art I've ever seen! <3

Try thinking harder for an original title. I never do "Source Tune Name (Artist Name Remix)" these days. Also, check to see how much of the source tune you used. Should generally be over 50% of the track length or so. The remix itself sounds sparse. The majority of it is sound effects, drums, and progressive elements. 2:10 really needs more elements. On something like an iPad, with little bass, you'd be hearing almost silence. Overall, there's not much development going on quickly enough.

Great job! I'm not much of a fan of dance music that uses a structure similar to this, but I think this progressed well and I actually didn't feel the need to skip forward.

I only leave those in if there aren't many. Otherwise when I'm done, I try to delete anything I know I won't use. I do know that if a soundfont makes a project file take too long to render, muting it won't help. By the way, you could just try it yourself and see what happens.

It depends a little on what tempo you're in, but if you just focus on the tone quality, generally these types of drums are strong (though I may have missed some): - impacts - slams - other "cinematic" drums - particular, well-compressed kicks and snares (yeah... the compression is the hard part to describe unless you've actually heard its effects. Thwap, snap, click, punch, etc. are all jargon) With regards to reverb, I start off with minimal amounts to just fill the void space on the headphones. Since actual rooms obviously are realistic and not so obviously have natural reverberations, and headphones kinda don't, headphones have built in reverb responses (or at least the ones I've used), and having the minimal amount satisfies that response, hopefully without sounding like it's too much. For a long time, that's all I've been doing, but occasionally I have done more ambient settings, like with vibraslaps, claves, and sleigh bells, so it's not wrong. Sometimes people think that if you have drums, they have to be noticeable or "active enough", but that really depends on the context. For example, I barely did any "active" drums here; it's just a lot of rather diverse layers with very simple sequencing on each layer. So, just think about how active you want the drums, and try writing to reflect that. The production can wait if you want.

Happy le birthdays! : D

Sounds a little like freeform jazz or something. Think about what each section/time stamp of the song is meant to sound like, and write the drums to reflect the mood from their rhythm and busy-ness/complexity.

Or, maybe it's on porpoise <_> Bomb-omb-omb-omb-omb-omb-omb-omb-omb-omb-omb

How the hell do you come up with this, j? o_o

Might be your best remix yet, bro! Great harmonies, strong bass, and strong arrangement! Favorite part is 1:48.

YAYYYYYYYYYYY

I agree with Justin that the way things were layered really contributed to how awesome it sounds. Nailed it bro!

The horns in the intro were , but when I read that these were free samples, it confirmed my thought: Justin is freakin' awesome. Putting the OCR bar aside, to make free samples sound this amazing is so not easy. I'm gonna be that one guy and give you 120 stars out of 120 (unless you want to count the bonus stars).

Best remix title ever.

Are we saying the whole string or just the number? I honestly can see both, so it may just be a browser problem (or not). You can move an object off the page for sure and it'll be as if it disappeared; it's possible, but the change in a string's positioning can't really 'conflict' with a browser's cache---it could be stuck on an old state, but not disappear "while it's moving" because I can't imagine how something could be stuck in between the change and the result. It really doesn't sound like what you meant at all. o.o; If the server-side cache didn't have time to update yet, it would be back at the old position, and you may just need to hold shift and press the refresh button on your browser to refresh the cache. If the whole thing is gone, then I can only imagine it being the case on Internet Explorer, which doesn't appear to be causing problems on my side. IE has really glitchy response to CSS positioning if that's what's being used (position: relative/absolute; right: X px; top: Y px;). Sometimes Firefox, Chrome, etc. have the proper positioning, but then when you check it on IE, it's way off; I've gotten that a few times when I was designing an old gaming website. Maybe the string's z-index is read as too low on certain system configs (That's a big stretch, because I can still click it)? If someone else gets it again, try pressing Ctrl+F and searching for "private messages:". See if it's even going to highlight that phrase.

I agree about the drum samples. It's not exactly all about the bass in film scores, but here the bass is very loud, while all the strings and drums are buried. Also, the legato strings and brass are coming in too late on each note and need more humanization with automated volume swells. Try this as a reference.

The sounds used have lots of treble piled up in particular frequencies that happen to be rather grating. The EQ is pretty packed, but cool concept. You should try more of this.

Happy Super Father's Day!

I'm not actually talking about the specificity of sounds, because that's just for the accuracy to which you convey your inspiration; you get inspired by an artist, and you might try recreating some of their sounds. That's not what I'm referring to. =p When I mean it is generally harder, I'm thinking of how it just so happens that the really thick bass sounds are almost always done with FM synthesis (and occasionally comb filters), and with FM, it's easy to bring in harsh/unfavorable frequencies accidentally (Rozovian could vouch for that), but at the same time, if done carefully, you can get very controlled low bass frequencies with some nice warmth. Not only that, but FM is so diverse that there's more than just a few bass timbres you can make with it (I made like 12 different FM basses following very similar steps at one point, and they all sounded distinctly different), so choosing one that fits well in context or fits your needs at the time may or may not be easy depending on how picky you are. Another way to put it is that it's almost like a puzzle game with over 1000 pieces that almost all fit into one spot. Sometimes it's hard to see that the same way I do because not everyone thinks similarly to me, and I get that it can be the case, but that's just how I see it.

Odd, it sounds like it to me, at least on the toms.