timaeus222

I never get tired of the man who WillRock us all. What a sick ending!

This just says "classic" to me, but still brings modern production value! Despite McVaff losing an "e", he has in fact evolved ?

It's cool to hear something in a minor key like this, but in a happy context! Also some tasteful tension around 2:30 in the brass.

Tidy package makes sense! I like the bit of toying around with vocal samples, and a lot of things worked pitch-wise here, including the drums and said vocal samples.

Some cool distortion elements going on here! Might even call them edgy. ;-)

This is an album I just released which arranges music from my local church into acoustic, cinematic, and atmospheric genres! Hope you enjoy. :-) DistroKid Preview Page: https://distrokid.com/hyperfollow/timaeus2221/peace-be-with-you-2 Bandcamp: https://timaeusproductions.bandcamp.com/album/peace-be-with-you Spotify: https://open.spotify.com/album/24hNLXFwOPETkSyKU5BzjA YouTube: https://www.youtube.com/watch?v=a6cAJzwdvYg&list=OLAK5uy_n9WcCk0z04juElAwUuTn3zIf3SzSrHKxs&index=1 Amazon: https://www.amazon.com/dp/B0CZQ1CDMC/ iTunes/Apple Music: https://music.apple.com/us/album/peace-be-with-you/1739281704

That seems like a good thing to me. :-)

That does it, this is going in my Middle-Eastern playlist.

What a banger! Some killer, trippy production.

Man, I miss Dave already, but Larry did a great job on the writeup too! This is a ReMix I feel I can share with anyone and they would find something to like about it! So chill... ?

Nice and evocative! Surprised this hasn't gotten more comments.

Good stuff! Actually simultaneously reminiscent of the original and transformative. The 1:30 mark was pretty innovative and I liked the guitar noodling.

Closed the thread as per request of the OP.

Hello! I did have a lot of non-digital music experience, mainly playing piano and singing in choirs, but surprisingly I didn't have a great ear when it came to writing or listening to music, and I was a complete newbie in mixing/mastering. OCR definitely contributed a ton to developing that in only 2 years. You can find me in discord or twitter anytime! @JoshWiniberg

The way I do it is fairly simple. I have a MIDI keyboard in front of me, which I recommend to anyone trying to figure out notes. I hum to figure out the melody and play it back to check, then try to put it to memory and play it out on keyboard. Humming it is easiest and is what I would recommend to figure out what is going on. If there was harmony in what you listened to, I would track and hum the bass line, then that will give me a clearer picture of what the chords might be.

Hey Here's my take on this with a fresh listen, just so you have someone else on this as well. In a short summary: Robotic intensities and rhythm going on in the leads (important!) Add transitions to smooth out connecting sections (important!) EQ the pads midrange down a bit to make room for the leads to be heard after you lower their volume too, so that the overcompression is lessened. (not crucial but would be nice to fix) --- ARRANGEMENT / SEQUENCING As a general time, when you write parts for instruments that are seen in the real world, you'll want them to have velocities (playing intensities) that vary, so that they resemble human playing. Currently: The bells at 0:03 (probably the same ones at 0:33) are noticeably rigid because the intensities are the same all the way through The bell-like lead at 0:27, 1:13, etc is also the same way. It's especially noticeable at 1:13 because there's pretty much nothing hiding it. The plucky synth at 1:24, same thing with that one. Also, since it's a lead, it would help spatially, as a rule of thumb, to make it mono instead of stereo. It will give room for the bells and pads to breathe. So what you should do is imagine yourself playing the part on a piano, and vary the intensities (velocities) accordingly. Or, if you don't know how to play piano, then some rules of thumb to make it more human are that ascending and descending sequences tend to get louder, and every other note tends to be slightly quieter than the note to its immediate left. To give you something for ear training, here are 3 ways NOT to write the following piano snippet: https://app.box.com/s/pmwybgad4who5679p9xvuxdnnmqshas5 - Robotic rhythm and intensities https://app.box.com/s/lr9nxha1zbg5vfcxufqqvuiz9vjnliyu - Robotic rhythm only, with human intensities https://app.box.com/s/ndt9vz26mjhdul6sreqgkvf6eqlp2qfy - Robotic intensities only, with human rhythm This is the ideal result you want to get: https://app.box.com/s/jjapuupib9zfypwoew1ecr31nlq8siw4 - Fully humanized This feedback applies to other instruments in the remix as well, not just those bells, but those are what I picked for examples. One other note is to add transitions, or smooth any out, between major sections to smooth out the structure. An example is at 0:56, there could be a reverse cymbal with reverb to connect you to the lower-dynamic section after. Another example is 1:23, which you could argue has a transition, but it's clunky and I would suggest something smoother like a reverse noise fall or something of that sort, while keeping the descending bass line there. Yet another example is 2:09, which sounds like it should come close to the ending, hence a reverse cymbal there would more-clearly indicate it. PRODUCTION / MIXING At 2:09 and on, the leads can be more tame, to go with the bass drone. As it stands, they stick out, especially the trance synth at 2:12 which is... not calm. It would help if the pads have the midrange frequencies EQed down (maybe 2-3 dB), and that will give you the freedom to lower the volume of the lead sounds a bit. That will then decrease the overcompression that is going on right now. Other than those bits, I think the production, albeit fairly rough, is not that bad. There isn't much low midrange muddiness going on which is nice, and I can hear everything I need to hear. --- Hope that helps!

Bit of a tough listen at first because of the thinness of the PWM bass until 0:45. Then it's pretty sick bass work paired with the TB303-like kick.

Ayo, good to see this see the light of day! I had so much fun discovering Zebra2.5's new distortion module when I added to this. That came up around the 1:05 mark for example with the dancing FM bass.

This is the first time I've heard this. I hear sparks of his first moments of genius here. So many fun riffs.

Hey, this was a nice gem to hear. It sounds like something beyond 2010. Sometimes the cymbals get too loud/upfront, but for the most part this is surprisingly good.

This cover of Layla

A clever arrangement that ensures the 8-bit vibe doesn't necessarily mean basic.

Looked around, wasn't sure where that was. Feel free to DM!

I can return to doing this. Lemme know!

jnWake and Hakstok? Heck yeah. Long progressive tracks are rare nowadays, always love to see them. I didn't know @Ivan Hakštok played brass in the first place. Cool to hear "prog rock" that doesn't adorn electric guitar very much. This was quite the piece, and shows how much @jnWake has grown in the past 8 years!