timaeus222

Yeah, but I don't always do that. Also, it's definitely possible to upload an OC ReMix to youtube at maximum audio quality and practical loudness without audio artifacts (). Maybe it's not that way right now to discourage people from ripping off the video and just downloading the MP3 instead? (I didn't think it was uploaded at 128kbps, but for a long while I've heard a distinct difference in loudness between the video and the MP3, at least.)

Mesmerizing and enthralling. Gotta love it!

It used to be that clicking the lyrics tab on a ReMix with lyrics available doesn't stop the video preview and bring it back to the beginning, but keeps it playing. Can I request that it be the case again, so that we don't have to open a new browser tab to view the lyrics and hear the video at the same time?

Why isn't OCR called Overtly Collective ReMix?

I actually kinda liked the formant lead, though I thought a more open or more dynamically changing vowel would have sounded cooler. Maybe even a vocoder lead would have been sweet. That aside, I like this retro atmosphere, and there was some nice development throughout. The highlight for me was at 3:02 - 3:33.

The interpretation is strong with this one.

Shreddage II can be used in Kontakt Player 5.3. That's uh, one. Juggernaut: Kontakt Player 5.1 --- two. Archtop: Hollowbody Guitar - Kontakt Player 5.3 --- three. So ISW has three out of all the libraries in the world, at least.

Happy Chimpariffic Birthday! You've got a present comin' up!

Small thing, but I think the noise wave snare messies up the high end, and could be replaced with more of an industrial/acoustic snare to establish a grungier mood.

You first drew my interest at 1:16. Everything before that felt a little "too slow-burning". In general it was good at setting up the mood, but I felt like the melodic bells needed more ambience to create a more expansive, suspenseful atmosphere to draw me in. When things got going, it sounded industrial and glitchy. Sometimes I felt like the sequencing wasn't rigid by itself, but as a whole. EX: 2:25-2:32. That lead was also a bit too loud in comparison to everything else. When the soundscape gets more complex, some things are buried, like the kick, the bass at 2:42, etc. I loved that portion with the glitched brass at 3:11. If you get more of that kind of sound in there, you've got yourself some complextro. This has potential, but I really think this is an idea underdeveloped in production, waiting to be awesome.

There's a way to do that without fading the kick. You could just do a ping pong delay cymbal along with a snare roll and a kick to emphasize the start of the next measure, and then have a silent kick sidechained to the bass to keep that going as you already have now (send to the bass but not the master, and it'll just keep the bass pulsing). Kinda like .

This needs to be a thing. Now. Btw, did SmooveDude actually collab or is that a video clip edited in? xD

I use this track as my loudness reference, which is at ~-4.5dB RMS. I don't really go any higher than this, because, well, my max for my own tracks so far as been around -6~-5dB RMS. If you listen to this and you think it's quiet, then try turning your volume up on your computer until you feel it's good. Any louder and you're going into Soundcloud Dubstep region

I subbed a 5 second clip of me emulating Wall-E's voice with ring modulation. I'm sooooo happy it got accepted! <3

I submitted two incomplete files in a row! They MUST be accepted, because JUDGANATOR said they were gud! (Btw, are the files actually placed somewhere? o.o)

Probably 'cause of the parallel fifths and the guitar from Joe with the mideast intervals/scales/pitch bends.

Hakštok! Happy happy birthday!

Hm... Even though I've played that song before and I like the demo... it doesn't really demonstrate the dynamic range, as it's mostly quiet. Aside from that, the tone is quite nice.

Sounds amazing! Really impressive ambient/ethnic material, and great for relaxation!

Somehow I got them for 51% off, I think. I just jumped at that deal last December, and I've never felt more happy with audio. That said, Grado SR-60i is really good for just ~$80. I used those to write " " on the Apex 2014 album, so that's what is possible with those headphones at their limit (I mean really, if you listen to that track, there's so much going on!). Definitely some crisp treble without being too shrill or piercing, some pretty nice and clear bass (maybe not strong, but clear. What can you expect from headphones in bass, anyways, by themselves?), and distinguishable mids. Effective stereo field. Overall, while I love the Beyers more, it's not much more of a step up other than the clearer stereo field, better low-lows, high-highs, and low-mids (and it being overall quite flat). Still entirely worth buying either or both, but if either, I'd recommend saving up for the Beyers. Very well worth it.Btw, I still have the Grados, they're still very intact, and I've used them for a year and two months so far. I've had the Beyers for four months and they're still rarin' to go.

I'm not sure about that mechanical piano playing that arpeggio. No one plays that quickly with almost the same velocities. A synth arp could make that robotic sequencing less of an issue. Nice bass tone. The bass sounds fake, though, when it's more exposed. Snare could have more snap in the denser sections. Guitar sounds good.

Yeah, I'm not much of a fan of that pitch envelope kick. It doesn't really suggest power, and while it can work, I don't think it works in this context. Having more snap and tightness would ground it more for when it's used later on, but I think it can be replaced with a more fitting sample. The pad at 0:46 - 1:05 has this weird resonance over in the left speaker that should be reduced. Kinda hurts. This also often gets muddy in the bass, sometimes with the lower pads. 3:12, 4:19, etc. I agree with everyone else in that the pacing needs more development. A lot of the same textures throughout, and the dynamics end up flat. Not bad, but for a rhythm-centric track, more needs to change more often, or the track could be shorter.

This has to be played at a bar. Someone make that happen.

Dude, the swagger in this is awesome. Those distorted FM-like sonar pings added a neat touch to the grunginess of this too.

Alright then. It's contextual anyways. Regardless, this is turning out very promising.