timaeus222

It's constructive if it's objectively helpful, and it was. You just seem to be a bit close-minded, and your last post does exhibit some immaturity. You said, and I quote for extra emphasis, "obviously your just upset that you added too much reverb on one of your crappy mix. Dont even try to "troll" me on here now. you seem upset that you cant comment on my soundcloud anymore so you had to waste time in your life to log on overclock fourms just to "respond"." I'm not upset at all. You deleted my comment on soundcloud, so I left another one here on OCR, one that you can't delete and just forget about because you're mad. It's an objective observation that is rather important to look into. What you posted on soundcloud was indeed trolling. You said stuff such as "Your mix is crap. FAIL." and "Too much mud. FAIL." a total of 5 times, when in fact, the first example here was out of your own retaliation, and the second one was in a mocking wording in reference to how I said this mix was muddy due to low end ambience. It's clear you were mad, but you obviously didn't need to be. I have no issue with "not being able to comment on your soundcloud anymore". Your attitude doesn't make me want to.

It's funny that you picked Gario for that statement. I would have said "pull a zircon and do it in 8 hours!". =D

I'm sorry to say I can't agree to that, because I truly am being non-biased in my constructive criticisms. Regardless of what genre this is, I don't dislike it merely because it is this genre. I don't mind the style in the least. It's the muddy sub bass, the high resonance in the sub bass, and the hindered clarity in the mix because of that. If I can't hear a song's notes clearly, it doesn't allow me to truly enjoy it. The music that made it in the industry with muddiness in the low end puzzles me sometimes, but in the end it wasn't about the music. It was about how the artist networked well. Some people can't hear or tolerate the high pitches. It's normal, but everyone is different. Your threshold seems to be higher. I'm sure you're aware of that one high pitched ringtone. It's like that. This time, it's not a slip in EQ, but an overlook on the extra thin harmonics that appear. I understand how and why you did the LFO-rate-changing wobbles and such, but the audio frequency at which the resonances appear is grating, and there is nothing subjective about that. If it hurts my ears, it hurts my ears. Don't worry, I can handle being mature. It's not an issue you have to worry about. We can have a good discussion any day, and all that will happen is that we learn more.

1. If you look at some of the things I said, most things I said are simply what I observe, and I'm a very observant person. The resonance, for example, is there, but not super obvious. 2. I do have a good amount of experience in the topic of reverb, and I wouldn't mind giving you a hand on that. 3. I've produced music that I can objectively say is actually good. I've pinpointed the moment things turned around for me to be February 2013, and I haven't changed my mind about that date. This is the remix that made me say so. 4. You can trust me when I say the people of OCR are sincere and honest, as well as straightforward and precise when necessary. 99.99% of the time, we say helpful or constructive things in the WIP forum. 5. I keep my comments objective about 80% of the time, and I usually edit out purely subjective comments. I don't love retro music to the ends of the earth, nor do I dislike it. It's fun, but it's not my favorite type of music. I generally like ambient, dubstep, chiptune, big beat, chillout, classical, funk, jazz, and a whole bunch of other stuff. Retro can sound cool, but again, it's not my favorite. However, I do still like it a lot, and really bring music in general to the next level. I'm actually not particularly biased towards or against any genres of music in any spiteful way. I try to find something good about everything I listen to, and I did in your case too. I didn't enjoy this a lot in the objective way, which hindered my enjoying this in the subjective way. There were indeed parts that I didn't like, but there were certainly parts I did like. It's fine if you like what you do, but it's not a guarantee that others will like it, whether it's the notes you chose or the current state of the mixing. The atmosphere that I complimented definitely had potential, and perhaps one of the only things holding it back were the low cut on the reverb and time you can take, for the fun of it, to craft and polish the timbre of the pad even more and make it more evolving. I slightly turned away from this because of the muddiness in the low end, but it wasn't a huge deal. The delay on the snare was 90% objective because it isn't often I hear delay on a snare; it's uncommon because it's not entirely practical. Yes, there's delay in real life in the form of echoes and room ambience, but that amount was too much. It made it hard to hear the other possibly interesting material in the remix. Other than that, the sub bass really was obscuring the melody for me, and it made it difficult for me to listen to this remix in general. Anything with loads of sub bass to this level is hard to listen to, whether it's well-written musically or not. I mean it when I say there's mud that hinders the clarity of the mix. Clarity is very important. Mud wasn't an issue for the people you mentioned, perhaps because they honestly couldn't hear it, or they are confused as to how to describe it. In a completely non-offensive way, some people are musically experienced, and some have yet to reach that point. Try not to take that as arrogant, because I'm not trying to be.

Oddly enough, it came out pretty much exactly how I intended, minus the apparent octave (I couldn't figure out why playing lower notes didn't do anything new); it was supposed to sound like a "YAH" bass, which it did; it's probably just a bit exaggerated from what you had heard in other contexts, but the vowel-like characteristic is there. Just for perspective, here's the same "YAH" 'bass' with the resonance automated. It shifts from a very thin pulse wave to the "YAH", then back to a thin pulse wave. It's a very weird transformation that I really didn't expect. As before, I cut down the treble with a shelving EQ so your ears are protected. The generic wobble is caused by modulation in cutoff, actually, but in this special case, with FM synthesis, the frequency can be modulated to create a different vowel-like sound. The bitcrushing combined with FM synthesis creates that first sound. The FM depth modulation basically visually compresses the sound. i.e. it modifies the frequency, hence "Frequency Modulation". That creates the vowel modulation aspect. The waveshaping adds a bit of distortion to the sound, and gets it a bit closer to an oscillator sync timbre, in a sense, if you play it in the right octave. Then the bitcrushing (decimation in particular) visually makes the waveform sharper (and grittier tone-wise), and makes that "YAH" sound more apparent. In fact, without the bitcrushing, it sounds like this, which is much more plain. Lots of synth work is mainly experimentation, from what I've tried and seen. I haven't found any videos covering "middle ground", but I've found to be a great resource to take in and re-apply to your own synth. If I understand correctly, Howard Scarr is the one who is doing these tutorials (not Urs Heckmann)---and he does label where he's at and what he's intending to do, so that might help some more.

I started when I was 16. Of course, my music kinda sucked until I had about 1 year and 10 months of experience. By then I had archived a bunch of my old terrible songs, and from that point on I put loads of attention to detail on my future songs and remixes, and I'm pretty happy with where I'm at right now. I didn't really compose outside of DAW work, but I did have 8+ years of piano experience prior to composing, which helped, and I'm 18 now.

I hate to disappoint you, but the mere fact that you say it's "The True Remix" and that you "began [your] journey to justify this [source] after working endlessly on your I-told-you-so-project" doesn't automatically make it the best remix for this song. Just something to think about. Some honest thoughts: 1:04 has a weird thin resonance from the sub bass that is ear-piercing. Perhaps it's near 16000Hz or so. Additionally, it would help if you high passed the sub bass at around 25Hz. You don't really need anything below that anyways, so it'll help save headroom, not to mention the sub-30Hz frequencies are really grating in excessive sustained usage. 2:08 had interesting drum timbres, but I personally think the snare could do without the entirely audible delay. I could imagine it without the delay, and it would still be at the same level of objective quality. It would also accent some of the LFOs and glitching you did a bit later. Nice atmosphere at 2:42. Be careful on the low end there. It seems like there's some low end ambience from a reverb on the low pads. The fading at 3:32 doesn't really contribute to the overall arrangement flow, however. 4:00 sounds like the end, and then an entirely new part fades in, and it doesn't connect. Overall, I'm not really hearing much source very clearly (or the melody) because the sub bass is cluttering things up quite a bit. Keep working on it, as it's got room for improvement.

Too much low end ambience on the kick. Muds things up too much. Not kidding, not trolling, and entirely true. Ask anyone. Don't even try to troll me with false statements on Soundcloud. It doesn't work.

The kick seems to sound a little like , which isn't what I would have expected to hear as the kick in a chiptune remix. Try to get it to sound like this. Or, you could just use that if you want. The snare is a little quiet, maybe by about 0.8~1.6dB.At 0:42, the lead on the left seems to be accompanied by mainly right-speaker material. Intuitively, it would make more sense to have that lead in the center, and to spread the backup widely, whether you do it with Stereo Shaping or pan instruments left and right in a balanced way. That lead is also a bit too loud, by about 1.6~2.4dB. If it's not entirely apparent, try turning the volume of the lead down to 0, and then turning it up slowly until it sounds just right. Drum rhythms are sounding better, and the synth modulations are helping a lot.

Alright, sounds better in the low end now. The first key change was a bit abrupt but not unwelcome. The arrangement does repeat a lot, though, and it seems like you just did three key changes, which don't really add more to the arrangement. Still though, the instrumentation was pretty Russian, which is good considering your influences.

There's some low end ambience from the hand drum reverb which muds up the mix.

What are you talking about? I didn't say anything about a melody. I didn't even use the word melody.

I just figured something out today... You don't need bitcrushing to make a dubstep "YAH" bass. https://app.box.com/s/53n5b94z8prn4i85gm12 - The expected way https://app.box.com/s/y0ubu6aw4jq3c4w9sklk - The apparently more common way (and the reason why these sound so resonant so often)

Maybe he should go see Myers for a quick discussion.

what the hell did you do

Listen to this. Listen to it. Now.

I like the quality of their ethnic sounds too. I just took a look at their Shahrazad, and it sounds pretty well done.

It does sound much better. Just polish it up some more in the sound design department.

Cosmic says his is coming along swimmingly.

Fer sure. It's not just WOMP WOMP CHOMP CHOMP YAH YAH WUB WUB. =D

Dun worry Jive, like any other duuude out there.

Hey hey. Offtopic is our thing, brah. On a related topic, .

If you can hear every instrument clearly note-for-note, or at least the harmonies, then it's not too much. There's just a little bit too much low end ambience on the really low end strings. Try raising the Low Cut on it just for that instrument.

I understand; I was just saying that the way you said it had skewed the meaning of Chris's statement too far in the objective direction. In a sense, it's kind of like an oversimplification.

What I had gotten from the analogy is: the book report is the listening session. the story is the song. the pages bound with glue is the song encoded well. the words written in ink is the song in rendered audio form. What I've been analogizing before in my life in the past was: book report = listening session. story = song. well-chosen wording = well-chosen instruments. cool fonts = cool plugin effects. essay structure = song arrangement sentence length variety = melodies and variations on those melodies interesting words = ear candy Side note: I should really write a short essay on that at one point, just to get my idea down.