timaeus222

The first thing I notice is that the intro bell is extremely resonant (which is a bad thing). I can't tell where exactly, but it may be near 16000Hz that you need to do a notch or band stop filter. This sounds like it's supposed to be some sort of dubstep, but the drums are not doing the job very well, no offense. The wobbles are washed in reverb from either themselves or the snare. The kick sequencing is an issue for another time, but the tone of it is allowing it to be buried when anything else loud comes in, like the exposed, dry lead at 0:30 and any bass at all. The snare has TONS of reverb, so that long reverb tail is muddying up the mix. The snare may also have had its dry signal turned down, which is not practical in this context, objectively speaking. The snare can't be that far away because Dubstep of this type should be very in-your-face, but not overwhelmingly loud. General and reasonably accessible issues: drum programming, drum compression, sidechaining, reverb wet/dry mix, and instrument volumes/EQ. These should be improved to make this remix more listenable. Other, future issues/inevitably encountered details: sound design, texture (fullness/emptiness, or sound combinations), drum sequencing, bass mixing, and arrangement creativity (Pt1, Pt2, Pt3, Pt4). I don't mean to discourage you from this though. Obviously you're new here, so it's just the beginning of the learning process for ya. Good luck.

WHOO! That bass leading section was awesome, I agree. <3 SUPER SOLID, SUPER BADASS.

*looks at the possible articulations from the NI website* Hm, no staccato listed. Oh well, maybe another method is possible. You could try imagining how a real bass player could play the notes, get in the groove, and note when the articulations may change. Shortening the notes in general should do something for you, but if the notes are all sustains, it could just sound like slow tremolo picking if the programmer didn't put automatic note-stops or adjustable note-stops at the release of a note. You may be able to take advantage of "tighter release samples" here, but that would have to be combined with sequencing shorter notes like you said for any staccato notes. Under the circumstance of mixing in a guitar, the picking is less clear when the mixing isn't touched yet, it appears more "washy", and that's why I suggested tighter sequencing. Tighter sequencing simply means staccato on fast notes and sustains on longer notes, i.e. realistic sequencing. Since staccato is just a sustain with a manual note-stop, you can look into assigning a keyswitch to use those particular release samples.

IMO, it tends to be harder to find a balance if you have too much of something and you bring it down, versus having too little and raising it up. I don't know what your EQ looks like, but I could hear too much bass frequencies (but its overall volume issue sounds like it could fix itself after the EQ adjustment), and I'd estimate cutting around 2~4dB. Since you use FL, hopefully that makes it easier to find the trouble spot, (I may find time to just find that spot later tonight, who knows). Generally speaking it should be a very bright EQ reading if you imagine an exaggerated overboost, and it's much wider than a resonance. In retrospect, the bass may just be "slightly" too much while the sequencing isn't tight enough, and touching that up might help with the low bass frequencies and add a little low mids and mids from the pluck. What bass is that?

oh no you didn't fake-sign it and sell it bro and make a fortune

I actually like a lot of these. I just wish the second to last one wasn't so blurry on the bottom half at that size. Personally I feel that one would have looked much better at about half its dimensions, or with the bottom half less blurry. The C4D brushes making up that tree was pretty cool though and IMO is the best part of all of these.

Yeah, why are the drums so hard-panned? I'm assuming you just want advice on mixing the guitars in general. Well, right now the bass is way too loud, and there's lots of low end mud near 300Hz. For your context, the guitars don't have to be that heavy I guess, but they should still be present. There's a pretty awesome synth/rock remix . The mixing could be a bit better there now that I look back at it, but it's good enough for what you're doing IMO.

Maybe it's a demo?

Pretty much this. I'm a perfectionist, but my belief is that as long as you just do something without thinking too much about it, your ideas will just naturally flow out well. For example, eventually, you'll go through your music retrospectively and say a whole bunch of comments like, "Wow, I actually did THIS? Why...?" and "OMG THIS IS TOO LOUD". At some point you'll just reach those conclusions, and once you notice that, you can consider yourself significantly improved from before. It's a nice and quick way to check.

No rush man. I started at 16 & 5 months and I considered myself good enough at 18 & 3 months. Now I'm almost 19 and still aiming for more improvement. You should keep doing whatever and you'll improve until you're satisfied, eventually. So seriously, age isn't important, and it doesn't mean the older you are, the more talented you are compared to someone younger. Oh well.

Pretty upbeat. Great drums, and overall quite solid.

It's a type of phaser effect available in Zebra2's FX tab in any of its "OSC" modules. In this case it creates the vocal-like "whoosh" in the opening drone in that Starcraft 2 song.

That isn't that broad of a question. It's specific enough for me to answer. If I have a hard time filling out the arrangement, I find an inspiring sound first, and base an intro on that. If it's inspiring enough, I can fill out the other instrumentation. Having a melody already: I occasionally try to find a temporary bass sound for a bassline if I'm not incredibly clear on what I want to do yet, and then build chords around that bassline since all basslines have implied chord progressions. That gives me a good if not decent direction for the intro or section I'm having trouble with finishing. Then that should make it easier to choose a better bass sound later. Having drums/rhythm already: This makes things easier. Just write a bassline that follows the groove, then try to see the implied chord progression if that helps you to find direction. I tend to write the melody around a groove if I can. Also, groove here doesn't necessarily mean four-on-the-floor. Having an inspiring sound only: I write out the melody with that and build an atmosphere based on the implications of that sound. For example, a spacey arp will make me want to add a touch of phaser, some radio transmission SFX, and maybe a (which, @Kristina, could be using an Exophase filter in Zebra, btw).

http://kngi.org/vampirevariations/m.html

True. However, we simply went with an agreement Capcom proposed, and that involved making this a commercial album. Oh well. Soundcloud is always an option.

Great job, guys. Fav tracks: pH's, DDRKirby's, and Jake's. Dark Ascension sounds like the game Flashback, lol. Or at least, the remix I did of that. The intro had the same style as Emery's track.

Singing the graduation song at my high school on my senior year, and hearing that perfect chordal balance on the very last chord. I literally cried the man tears.

Bumping for anyone else who wants to take a gander. Updated first post with a link for WAV files as well.

MAN. Those chords... dat bass... Combining two of Morse's best abilities. SO GOOD.

You want to eat the album with chopsticks?

Ah, okay. I may have also assumed since there was violin, it was Jeff. Oh well, I do remember Sixto had access to a violin back when he did that Tales album track.

ALRIGHT! I've been waiting for this to get on the site since like August 2012. xD

I personally felt like a good portion of the tracks had come off as a bit blasé (), but there were still some really good ones in there. I ended up reposting those on my soundcloud. I especially liked Sixto's and halc's tracks.