timaeus222   Members

wat. lolnotdisjointedatall.

The problem is laziness, seems like. If you take the time to learn something, even if it takes you a year, it's going to work out if you're dedicated and not lazy, or if you have lots of time on your hands. Sound Synthesis, for example, takes loads of time to learn, so it's not your fault until you quit or pause for a significantly long time. If you're good at synthesis, it gets to be pretty fun and satisfying to make a cool sound, and that should motivate you to do more. Honestly, it took me about a year to really learn the ins and outs of Zebra2 and know how to make much of what I hear, but now I can often recreate or generalize how to recreate what I hear, which is quite useful.

Pretty much. You get better by knowing where to look for what you don't know and practicing what you do know.

Unfortunately that generalization IS accurately describing the "real" way to recreate sounds. Practice synthesis, find tutorials that tell you generics, infer, and practice the actual recreation. Fortunately I am indeed working on a very in-depth generic-approach synthesis tutorial for a boatload of various sounds to be put on OCR's tutorials page someday.

Oh, another one I could think of is PrototypeRaptor's Sonic Adventure ReMix. SO GOOD.

zircon's DnB songs. http://zirconstudios.bandcamp.com/ Look at Mass Media Constant or Fittest OST for DnB, though his other albums are amazing in other ways.

Sounds like you want a pulse wave bass? Or a synth plucky bass in general? No specific synth really "does the trick", but you can learn how to make it on a synth. Just take the time to experiment with your synth and learn about envelopes and waveforms. I still recommend Trilian. Zebra2 is great too, and it's half as expensive.

Each source can be associated with the boss of that specific stage, so it's not for sure a no or a yes.

Are these sources good for this? They're stage themes, but the boss battles happen while the stage theme plays. Absolute Zero/Worldlink Center Rock 'n Roller/Underground Vault

C'mon guys, support Stevo and OCR! D:

Happy birthday man!

I have some form of a WIP right now, but I'll keep it unsent for now. I dunno if I'll finish it in time for this year.

This is a bit harder to hear for some people, but is a bit lossy (on purpose) before 0:22, and then when 0:22 comes, HOLY SHIT IT'S AWESOME. The production is 2013-quality.

I was gonna say the production sounds a bit lossy... then HOLY SHIT @ 0:22. Blew me away. xD

This is somewhat related to "what is the first 'good' song you wrote?", but not exactly like it. The first time I liked my own music because of production quality rather than because I wrote it was when I collaborated with Chimpazilla on a Yoshi ReMix. That, however, wasn't the turning point for a shift towards thinking that I had finally gotten "good" at production (that was the biggest arrangement progress for me, actually). The turning point for my largest improvement in production quality was when I had acquired around half a year's worth of independent sound design experience. I was, crudely put, dinking around on Zebra2 for half a year before I really understood what I was doing on it. When I understood (after tons of experimenting and NOT reading the manual for some reason ) what each knob really did and what I should expect when I turn specific knobs and touch stuff on the synth, that's when I could tell my music was finally "good", or not "bad". I could finally start evaluating production based on sound design, and not just mixing, EQ, etc. Essentially, sound design was the major step into improving my own objective sound quality. What was the reason/cause for the turning point of your own music composition, production, or playing skills from "meh" to "hey, this is actually pretty good"? OR If you don't consider yourself "good" in your own opinion, what have you tried to improve your abilities?

Well, it seems like the OP knew what I was referring to. avaris was talking about cutting the low end of the reverb signal, i.e. cutting the low end of the reverb wet mix (not the sound's dry signal). Raising the low cut in the reverb plugin does the exact same thing if there is such a knob on your particular reverb plugin, and there has been on every reverb plugin I've encountered at least. So then Argle, you're one exception amongst others.

Funny thing is, I think my arrangement quality curve was a shallow U, and my best was my first entry followed by my last, then my second, then my third. xD I did improve my bass mixing throughout though, IMO.

OH, you submitted it before we came? lol.

Nah, I'm just saying that the primary "orders of magnitude" that separate the production quality of one song to another are what production quality crits are referring to. i.e. 2013 production quality is better than 2006 production quality when looking at the exact same person. I say 2006 because one time, Liontamer said 2007 was his baseline standard for production quality. Tightness/snappiness isn't really what I always "like" per se, it's what I feel might bring this particular remix to "the next level" (though I don't really want to call it a "level"). For example, zircon's Across the Ocean (which I've linked ad nauseum I suppose) doesn't have super snappy snares, but I'm not saying "Ugh, this snare needs to be less clappy and more noise gated" because it fits as it is, IMO. For this remix in particular, in this particular context (i.e. dubstep), the snare timbre that I'd personally say is optimal out of experience is tight/snappy, but I'm emphasizing that objective part of my non-biased opinion the most. In other words, I'm not biased towards making it "better" so that I'll like it necessarily (though I would), but actually better in the sense of being closer to comparable standards that I have heard in regards to well-made dubstep. Currently, my non-biased opinion is that the snare quality is slightly lower than the comparable standard and that snappiness would bring it closer, but if it were already close to that comparable standard, then yes, it would be biased opinion.

Just a small note, avaris is talking about raising the low cut of the reverb plugin, not literally EQing out the low end on an EQ plugin. You want to have as little low end muddiness as possible, not remove the low frequencies altogether. If you did, that would make the instrument much less powerful. However, if you raise the low cut too much, the sense of space is lessened. Try to get a good balance.

YEAH! Awesome blend of chinese melodic content with modern trance and half-time dubsteppish moments (and JAPANESE TAIKOS, GEEZ MAN WHAT WERE YOU THINKING ). Not much nits I can pick here.

I was gonna say, this sounded 90s. Then I looked up the game and it was a '95 game. Great job capturing the era of the original, and I love the distorted reso-pulse bass and 3o3/other arps. Kinda reminds me of Jazz Jackrabbit's soundtrack.

Production quality is opinion, yes, but I also think it's specifically opinion that is non-biased as possible. I feel like production nitpicks are the biased opinions that are held back.

Yeah, the music box seems fine to me too except for very very minor resonance, but it's not a big deal to me at least. The only things I would be concerned about would be the sub bass being merely a sustained sine wave (i.e. static), the source possibly getting lost behind the wubs (I can feel it harmonically but not hear it extremely well), and the drums not being super tight adding to a list of nitpicks (possibly including the tightness of the staccato strings) that might or might not lead to a NO(resub). So yeah, sub it and we'll see what happens.