timaeus222   Members

This track is great, but suffers from almost-there-but-not-quite-good-enough sample quality. The EP is pretty good, but if you listen to 0:11 a few times, it doesn't have an extremely rich FM quality on the lower notes. Try listening to this Diggi Dis mockup I did. The strings pad is nice, but it lacks movement. Maybe you could give it a light tremolo or route an envelope to the filter. Anything subtle to make it less static, and maybe a very mild low pass to leave room for the EP tines. 0:35 - where did that phaser come from? I didn't hear it before. 0:39 bass could use a richer tone, and it would be interesting to see what you can achieve with some layering. You might get some inspiration from this. The 808 percussion seems to stick out a bit too much to me. 1:19 synth brass at first doesn't seem to fit the mood you were going for, and sticks out as well. Almost gives an old-school 90s vibe. If you gave the brass here at 1:19 as much attention to detail as you gave the brass at 1:45, it would work much better. The pauses near 2:12 were interesting, but it would be an effective choice to add something that trails off after the pause has come, as well as reverb with a longer decay (you can always automate a decay length knob if you need to bring it back down later). Take a listen to , for example. There's a resonant arp there that trails off, and makes sure the person knows the song isn't over.Nice solos later on, but 3:40 seems to be pretty simple compared to the add2 and sus4 chords you had before. Sounds like octaves to me until 3:50. Last chord at 4:17 sounded ever so slightly stiff, which makes it slightly less of an expected ending. Keep working on it, and I think it'll be a pretty enjoyable ReMix.

Heyheyhey, I didn't say anything about this yet? What? The bass is amazing in this ReMix. The ever-so-slight muddiness doesn't phase me at all. There's just too much epicness in the perfect sound selection to balance it all out.

From my schedule, looks like I'm gonna have to be in the third block.

Yeah, if only I had the money too. I'd aim for VSL or LASS any day.

Alright. Well, I saw the DXF patches every once in a while, but I never knew what "DXF" stood for. Then again I never really read manuals. I just figure stuff out and look in manuals for content that I know exists but don't know how to access. I'm no orchestral expert like I say sometimes, so I wouldn't know to look for something that is outside my realm of knowledge. I used the Trl KS patches in particular, so I figured if it's labeled "Trl" for trill, it's gotta be meant for trilling. I figure dynamic volume changes are just nitpicks. That's why I said what I said. Libraries that are easy to understand and use are very well-made, and as expensive as EWQL is, I would have expected it to be easier than that to use. It would have been nice to have a more user-friendly interface for Kontakt, instead of just the "default random instrument loaded" interface. I use articulations so that it sounds good, not necessarily real every time. Generally, whenever what I do sounds good, it sounds convincing anyway. It sounded satisfying to my ears, so I went with it. 2:22 had lead violins and violas, to clarify. Sometimes I do think violas sound brassy, but I did for sure use articulations that aren't so strong in the attack. Maybe the high velocities were loudening it and making it sound like brass, I dunno.

NECROMANCY OMGOMGOMG There's no rule against it, I figured I'd reuse this topic because it's related. I've had a headphone amp for awhile. Do headphone amps' frequency adjustment knobs change the frequencies of the output or input? I'm asking since if it changes for the input, my mixing isn't off, and if it changes for the output, then my mixing may be off (unless somehow I set the knobs to give me the perfect frequency accommodation for my headphones, which I highly doubt). If this sounds awkward, it made sense in my head.

A little resonant in the low mids, but not bad for bathroom acoustics. xD

Well, I wouldn't say the trill is fake. I used the articulation, so if you think it's fake, then that comment would apply to EWQL's programming. I don't play any strings instruments, so of course I wouldn't know. Plus, I did say this was my first orchestral song. It's definitely fully orchestral though, as it does use a full orchestra for a large part of it, which is my definition of "fully" anything. I did use many articulations on the trumpet at 1:39. It's just quiet for the sake of dynamics, so it's somewhat hard to notice. 2:08 staccato brass was definitely using the actual articulations, and I certainly didn't use the default articulation the whole time. Not really sure why you talked about soprano sustains at 2:22, since I didn't use any leading brass there, nor are any string patches I have actually notably called "Soprano violin". Thanks for the comments anyways.

I think Cosmic Sounds is using a host that requires logging in to view the picture. Here's the link I found while searching through the site code: https://08eqdq.dm1.livefilestore.com/y2p8GUAtdT2ykdXixzcd9HpbTuIKiY28rChAHKqq9AVO8IJHSDV0i9AKOMArQ_bq7LfLxte_J9oiAmGMeoJ462F4m3-LUhZ0ziR2IVRCPGPiyg/cosmicsounds.png?psid=1

I think the sustain on the intro pads is slightly too low, so it's sort of pulsing in and out. There's a distinct lack of bass at 0:16 and on. 0:38 needs something to connect the two sections. Maybe a cymbal or something. I can hear a decent amount of bass from the double bass you have at 0:38, but it doesn't come very often. There isn't really a leadin to 1:00. That's about it, really. Not too much to inspect at the moment.

Some more things: For some reason at 0:05 the waves sound really high passed. If they are, I'd suggest you not start high passing until 0:18 since it isn't necessary until then. The synth lead sounds about 1~3dB too loud, and the wurlitzer is about 0.4~1.2dB too loud. The 1:01 lead volume is fine as it is. 1:15 reverse cymbal doesn't line up with the cymbal, and for some reason the reverse cymbal is panned left, while the cymbal is panned center. 2:12 has the same issue. I feel like the shift into 1:24 comes too quickly. It would be smoother with either a reverse added or gradual percussive layering (in terms of both strength and volume). 1:52 lower lead feels buried. The arp-y lead is about 0.6~1.2dB too loud. 2:34 sounds like an ending without a connecting transitional sound. 3:51 piano sounds too quiet and dry, and the rest of the track feels like it drags on to the end with just the wave and helicopter sfx. Getting there.

I can hear a little pumping compression from the sub bass in the beginning. You might want to lower the volume of that a little, maybe by 0.6~1.2dB. It's also pushing back the kick and snare mostly, and other instruments too. You should lower the volume of both of those, until they peak at about -0.2dB (while the song is playing with all instruments on) so that you get the headroom for all the instruments to play comfortably.

Well, it sounds pretty congested from what I can hear. The kick is a little buried, and the mix is too loud overall. You're losing loads of transient information. 1:19 is really mechanical with the kicks. Almost sounds like this, only less heavy. Cymbal sounds panned center, when it should be panned right most of the time. Either that or you're using two different cymbals at once at 1:19. Took until 2:15 to get a lead in there, only to have it leave 19 seconds later. Kind of odd to me. Other than that it's pretty good.

The piano at 0:39 is mechanical in terms of velocity response, and a dissonance in the EP isn't working well with the synth brassy lead at 0:59, 1:04, 1:09, 1:14, 2:18, 2:23, 2:28, and 2:33. I think there, the top EP note should be a half step down. 1:19 staccato strings are a little on the weak side. The attack is a little too quick, which makes it sound kind of fake, especially when paired with that synth arp in the background. Maybe you can try increasing the velocity a bit on the strings, or shifting the pattern left a marginal amount to line up the beginning of the actual sound with a bar (after the transient ends). 1:21 guitar isn't completely convincing on the velocities, either, so try adjusting the timings a bit for humanization and the velocities some more. 1:44 piano is mechanical as well but in velocities, not velocity response. Last thing is that 2:38 ends with a bad chord that clashes with the predicted chordal feel of the last note, leftover from the bells/EP earlier. Nice atmosphere overall, and it'd be a great sub if it gets on OCR.

Just a few things I noticed: 2:30~2:37 shamisen sounds a little mechanical now that it's exposed, so try putting less emphasis on every other note for a more natural phrasing. It'd be interesting if you can boost at the 35~45Hz range some more on the bass drone at 2:37 (maybe +0.4~0.8dB) for richer bass presence. Afterwards it would help to lower the master gain by about 0.2~0.6dB to compensate for the part near 3:10. Sounding great so far! You're probably ready for Mod Review.

I think some of the brass articulations could be tighter: 0:11, 0:15, 0:26. 2:00 strings are pretty mechanical and just too slow. 2:07 is a little off-tempo (late). 2:15 and on feels like the same dynamics the whole time, but it's supposed to lead into the ending, so the volume shouldn't stay static like that. It made the ending unexpected. Sounds like you have the right sounds, but it needs some more touch ups on the articulations, dynamics, and reverb.

I seriously have to mention this. RAFFLECOPTER. That is awesome. Also excited about the possibility of winning Juggernaut. =D

0:01 bitcrushed bass should really be less resonant. Adds too much treble. 0:22 drop isn't quite there yet. Kick has a little too much mids (~1500Hz), too little click (~4000Hz), and not enough glue (compression). Snare is too quiet and needs about 0.4~0.8dB more treble as well. 0:33 cymbal is totally buried. 0:23 syncopated synth doing the melody is too resonant, and something in the mids is somewhat overpowering the upper mids as a result. Until 0:45, it makes the remix too bright overall. 0:45 doesn't feel as light as you might have been hoping, as the Reese-like bass is still pretty heavy in the bass frequencies. Not sure if you wanted that part to be somewhat of a breakdown or floaty transition. 0:55 tapestop was pretty unexpected. Maybe it would work better if its endstop (like "endstopped line") came a little bit earlier and was sustained for a few milliseconds, and you came out of the tapestop immediately (no steep "single curve" slope). Not a lot of issues here, just a few overly resonant synths and some work needed on the drum programming. Good start.

Oh yeah, those are pretty close in tone. Sometimes I mix those up.

Until 0:33, the kotos and shamisen are pretty dry, at least to me (I'm pretty picky with reverb on anything), and afterwards you'd need maybe a 0.4~0.8dB boost. Could use a little leadin at 0:32 as well. Just some sort of reverse or Far East rimshot would do. Have you tried swapping the panning positions of the koto and shakuhachi? For some reason I like my more upfront instruments on the right, and the shakuhachi sounds a bit more upfront than the koto. 1:29 would be a good time to bring in a little more bass than you currently have with some sort of low bass drone, like the one at 1:56. Or, maybe it's just because I've been listening to a lot of Stephen Anderson. 5:37 bass gets a bit messy, so check that. Overall the arrangement uses the same segment, rhythm, and instruments in the source quite a bit (1:30~2:50, for example) as duet-esque leads. It could stand for some shortening without losing much progressive feel.

Yet another awesome arrangement. Great job! =DDD

Thanks! I had a lot of fun doing this.

This was a request from LuigiBlood/KiiroBomber, and he wanted me to do a film score style remix, so this is my take on it. First fully orchestral song I've ever written, but I'm feeling pretty good about it. Mini-story: Conrad B. Hart figures out where the aliens are hiding, and he's been captured in a dungeon in Paradise Club. He finds his gun and escapes the dungeon (0:58). He then goes on a search to find the aliens (1:17). Eventually he finds a teleporter that leads him to the planet Morphs (1:36). Conrad finds a prisoner and attempts to free him, but a Morph kills the prisoner before he can save him. Conrad manages to get the prisoner's weapon and diary, and sets out to destroy what's called the "Master Brain" (1:56). The battle ensues against the aliens (2:14). Conrad then escapes Morphs via a spacecraft, looking back as it explodes (2:38). He writes a message in the spacecraft's journal (3:17). Quick look back at Morphs as it explodes (3:36). Inspired by Stephen Anderson. Took 6 days in total, 25 hours project time. ReMix: https://soundcloud.com/timaeus222/inside-enemy-territory Source:

(In FL Studio.) I know how to do them, but they're way harder to make work smoothly than tempo speedups, IMO. Something I've tried, which worked circumstantially, was a retrigger slowdown glitch effect that lines up perfectly to the spot the tempo levels out, but as I just said, it was a circumstantial choice. Any other good ways, aside from a really gradual one?

A few iffy transitions, but strong mixpost. Great job!