timaeus222

Livin' up to the Branscum family name, I see. Absolutely kickass.

I saw this back in April 2013 or so, and did actually play through 3 stages of GSH because of it. =D

Very playful swing-like arrangement!

I was kinda thrown off with the very wide drums, but other than that, definitely a great revisit to this source and an awesome ReMix!

Very high energy, and fun to listen to. The 4:01 lead reminds me of a lead directly from GSH's soundset.

I very much love the bass here. At times the instrumentation is actually reminiscent of the original GSH sounds.

Play it, Argle. But be careful, 'cause you'll get addicted faster than I did. ------------------------------- To further celebrate the release of this FANTASTIC album, I've uploaded a for my particular track! That said, on the behalf of DusK and Dj Mokram, we hope you enjoy this album! =D

Whoo! Happy Birthday! =D

Seemed pretty liberal at first until 0:54, but after looking at the source more closely, it seems like you broke down the source pretty heavily. You used the bass, then the backing arp, then the melody. I'd say it sounds too liberal until 0:36, as it's really difficult to make the connection from an indistinct bass in the source. Any sort of "implied chord progression" isn't quite enough to tie in as source, IMO. It's gotta be recognizable. Mixing seemed fine until 1:01. Now the bells somehow gained treble, maybe from some sort of de-low passing automation. It's too bright in a somewhat bad way, and it actually hurts. At 1:14, the bass is mostly subs, and so the notes aren't extremely distinct. As a result, the section is texturally sparse, without much midrange backing other than the harpsichord-like instrument, and without much low end (non-subs) bass. The fake lead guitar is then exposed as well. The choice of the 909 snare sticks out quite a bit. The other instrumentation asks for a more chill arrangement, so the snare is a little too powerful. Afterwards, the brass leads at 1:23 have a fakeness in their sequencing and because of the lack of realistic articulations. The bass just then has more low end non-subs power, but it was in the middle of a section, so I didn't see it coming. 1:53 sounds really awkward texturally IMO. A guitar, a harpsichord-like instrument, a really subs-heavy bass, and loud & dry hi hats in a section where the writing suggests a breakdown or chill outtro. Essentially, this all boils down to sound choice, spectrum emptiness, and sequencing realism.

BAM! https://soundcloud.com/timaeus222/rush-riders-timaeus222-umadeon Source Breakdown: 0:02.75 - 0:42.96 = MM7 Junk Man (0:00.00 - 0:12.18) 0:42.96 - 1:00.74 = MM3 Wily Stage 2 (0:01.60 - 0:14.40) 1:00.74 - 1:18.52 = MM3 Wily Stage 2 (0:14.40 - 0:40.00) 1:18.52 - 1:37.36 = MM7 Junk Man (0:12.18 - 0:22.44) 1:37.36 - 1:45.64 = MM7 Junk Man (0:22.44 - 0:32.67) 1:45.64 - 1:54.13 = MM2 Title Theme (0:05.33 - 0:09.98) 1:55.32 - 1:57.74 = MM2 Title Theme (0:29.29 - 0:30.62) 1:57.74 - 2:16.85 = MM7 Junk Man (0:42.91 - 0:58.28) 2:16.85 - 2:34.63 = MM3 Wily Stage 2 (0:01.60 - 0:14.40) 2:34.63 - 2:52.41 = MM3 Wily Stage 2 (0:14.40 - 0:40.00) 2:52.41 - 3:12.49 = MM7 Junk Man (0:12.18 - 0:22.44) 106.52/196.07 = 54.33% MM7 Junk Man 71.12/196.07 = 36.27% MM3 Wily Stage 2 10.91/196.07 = 5.56% MM2 Title Theme

Hope you guys dig heavy unforgiving entries.

WHOO! Chillin', gritty, and memorable.

Smooth atmospherics! I was kind of thrown off with the almost-retriggering violin and the flimsy cymbal, but that's alright. By now you would notice that kind of detail. AWESOME bass instrument, and great detail work with the background glitching.

Even though I don't do live bass, I could do good sequenced bass. I've got Spectrasonics Trilian on hand, which has some mean electric bass tones, and tops Shreddage Bass IMO. One of the basses sounds like the one in this, for example, from my ReMix of Brandon Strader's "My Choice".

Yeah, I totally get what kind of idea you were going for. It's really hard to do this kind of thing, and I have trouble with it too sometimes. I occasionally rewatch for advice and ideas on "effective harsh dissonance".Oh, and get better, Trism!

Oh, well I didn't know. This is my first OCR competition. Yeah, that's essentially what the filter I mentioned does, IIRC. Neat production work on this.

Okay, gonna give reviews! ProtoNitroGENerator - Tempos were inconsistent and the arrangement felt disjointed. Still, I can't blame you for trying. Good effort, and good luck for future material. Dancin' Through Club Wily - Nice dynamic reso saws. Pretty good funk-ish bass. I liked the lead, aside from how it gets rather resonant in the mids whenever it reaches low cutoffs. Drums could come through more. Texturally, it comes off as a bit sparse sometimes, and there are times when the rhythmic choice on the percussion was a bit confusing. The bass was probably the highest quality sound from that song, IMO. Nice and thick. Ascent - Good effort! The orchestra comes off rather fake, but doing something like this with fake samples is going to be tough to be convincing anyways. Even if it's only a minute. Entangled - This is actually really good. Loved the vocal processing and the dubstep wobbles. Who knew you could do dubstep? Reminds me of the ending of Blast Beatdown. ;D At 0:59... is that the exophase filter from Zebra? Random guessing! At 1:25, the lead is a bit too sustained to have a resonant timbre like that and not hurt. The DnB section drums didn't seem to work tonally. And... that's about it! Follow Your Dreams - The bass is too loud, but the tone is good. A bit too much reverb in the background instruments, and your vocals have some distortion artifacts as well as remaining sibilance. The rest was pretty OK in my book. The Ohm Operatives - The instrument choice isn't quite gelling, IMO, and the mixing is quiet. I liked the glitching you did in the background. It has a little bit of a metallic chiptune feel. Some sounds were cool, but the mixing made them feel narrow and lo-fi (not because of any sort of bitcrushing or lo-fi processing). Guile of the Nile - The bass notes were good, but I think the bass tone could lean less towards a sine-like bass and more towards an electric bass for this kind of song. 1:05 lead was nice. I kinda wish it had more expressiveness. The glitching felt welcome. Good work on the E. Piano chords. Smooth Moduhater - Mixing is pretty quiet. The bass instrument and possibly the kick are actually too loud, perhaps in the sub bass, and the hard-panning lead was a bit confusing. There's a hollow feel to the mix due to little midrange presence. Nice rapping, though the execution sounded kind of flat (i.e. not that much variation in the intonation). I loved the lyrics, and the inflections were clear. Spirit of the Wind - The sine wave was pretty piercing on the higher notes and could have used some keyfollow/keytracking on a LP filter. Good snare, and though it could have a little more low mids, it was able to come through. I personally don't think it fit the somewhat chill atmosphere though, and it does stick out a bit IMO. I'm not sure I really heard any obvious lead other than some bells, a piano, and a sine wave, which all tend to be rather thin and trebly at those higher octaves. It feels like you really went out of your comfort zone tbh, and it was a good effort on your part. Reverb was good, and background instrument choice was good. Prayer for IDOLA ~ Kobayashi's Final Descent - For some reason the bass felt offkey versus the square arp. The track feels texturally awkward to me, at least until 0:52 where things get more structured. The square lead at 1:15~1:56 felt dissonant in the non-jazzy way. Tbh, I don't hear a super clear direction in this, but there's definitely variety in this, and it was a good attempt at complex dissonance. Speed Run - Nice drums. I do feel like the 909 snare gets used a lot when power is the goal. Generally I find it useful for snare rolls, but I don't actually use it for a main, power snare if I don't have any other layers on it. Good piano. The snare works better in the 1:47 context with that noise gating. The backing and lead though, both use saw waves, so the clarity is a bit hurt. If you want textural distinction, it tends to work out well if you use different waveforms for each different synth. Square waves come through with a powerful bass fundamental, and saw waves tend to work well as piercing, cutting timbres, generally. Interesting glitch section. I personally felt like it was somewhat random in the effect choices, but for the most part it was good. Great improvement from your entries in the past.

So damn pumpin' and kickass.

Yeah, I was pretty thrown off by the intro. That aside, nice retro/funk feel. Moog lead was pretty cool. I agree that the snare doesn't fit. It could have used more of a floatiness rather than tight glued compression, and a faster decay. Overall, pretty smooth work!

Yeah, I'm gonna miss this one. I had O-Chem II Lab until 5 PST and was doing homework til 7 PST.

I'm not entirely sure what you're referring to other than maybe a noise waveform for an oscillator, which is just white noise typically (pink noise also exists). An LFO can have a slope for its oscillation pattern. You're not guaranteed to have all of these, but you might have sine, triangle, square, reverse square (horizontally flipped), fin, reverse fin, and possibly randomized "glide" or "hold" which look like an irregular sawtooth and square wave respectively. Though LFO2 can be assigned to OSC1 if you want, etc., depending on your synth, it might be the case on some synths that there is a rigid structure where LFO1 is only for OSC1 and so on.

Yeah, I've done something that I think is exactly like that on the Gunstar Heroes album. Basically you have a randomized LFO linked to pitch, and another (separate) randomized mild LFO on any filter knobs to make the timbre a bit more dynamic. If you go on my website and go to "Audio Reels", it's the demo on the very bottom.

I highly recommend Resonance, Shreddage, and Groove Bias in particular.

Oh, and to be clear, the tempo drop at 2:55 was fine to me because it was done on a sustained chord, which is less obvious than, say, if very subdivided material was incorporated during that tempo shift or before it.

You may not feel that way because it's your own song, and it makes sense to you. It's jarring for me in particular, and by Kristina's wording, her too. Now you're aware.