timaeus222   Members

All my YES. I love that we can actually see the "Yes, let's collab" people who have visited recently, earlier in the sequence. The artist profile link though, that's money in the bank.

Even your first remix was still good arrangement-wise. xD

Can you post a screenshot of your Kontakt-mixer setup while something is playing and would be distorting?

It's crazy how much of a difference OCR has made! Before OCR After OCR It's honestly no comparison

Apparently zircon != Andrew Aversa. http://www.6degreesofvincegill.com/link?a=zircon&b=timaeus222

Did you try lowering the volume sliders in Kontakt, but raising the volume outside of Kontakt (e.g. the Volume Multiplier knob)?

The louder notes still seem fairly hard-toned; I'm guessing it's still from that velocity response (last I checked, you had it set to "Convex - 50" or something like that). Here's something you could try. It might be kind of a pain, but try holding Ctrl and left-click-drag to select all the notes with velocities of, say, 100~127, and lower them all at once using Alt+Mouse Wheel roll. If you don't have a mouse wheel, try Alt+X and set it so the new velocity magnitudes are a bit lower. Then compare back to the previous version to see if the "playing" sounds softer. Currently it sounds like the "pianist" is sporadically pressing down fairly hard on the keys when playing the louder notes, rather than having the dynamics come naturally from the flow of the other notes. As a result, it doesn't quite feel realistic to me.

It's the perceived acoustics of the room due to the recording equipment itself. I've never recorded through a "multi-effect pedal", but it sounds like that would do it. Ideally you should try to record the guitar direct-input and digitally process the recording in your DAW later. That way it's a more accurate representation of what you played. Recording the drums would be harder to get right, since you could either mic each drum kit component individually or the whole kit at once. Or, you could use a sample library like Steven Slate Drums or Groove Bias Drums with a sampler like Kontakt 5. I'd rather not get too much into it though because that's not what this topic is for.

@David "Cookie" I don't mean to be harsh, but the timings on the main elements individually and as a whole are too sloppy; although it's good that it's not mechanical/quantized/robotic, it's "too human". The soundscape is nice, but the performance could be tighter. @Furorezu As Shariq mentioned earlier, the recording is too low quality. I know you haven't added bass yet, but the recording's current state is too distant and lacking in presence. The recording can be described as having a similar frequency distribution to that of the intro to this (0:00 - 0:21), except yours doesn't change.

You don't need to keep posting to bump the topic.

I love it! It was pretty squashed, but it's probably from a buttload of hyped-up Master-track compression. It being too much for some people may also be a result of the long kick tail giving a longer release time for the sidechaining. However, I find this amount of compression to be pretty typical for glitch hop and other 'loaded' dubstep-ish genres so I'm good with it.

Spend years working on bass design and putting it to use. I'm not kidding. Being a tad more serious, you should check out zircon's livestreams on making glitch hop music. This one's pretty good. And I'm going to quote myself (again), because this is really important.

^ This could have been the blog post. Done. Seriously though, thank you for the thorough reviews! Much appreciated!

This album is truly epic, and I don't just throw around that word. From hard-hitting metal, to dub-circuses, to prog-metal and chimeral metalstep opuses... *mind blown* \m/

What is death? Stevens calls it the mother of beauty (explosions and destruction can be awe-inspiring... and sometimes even beautiful. Something Adam Savage might say). And for this mix... let it become literal!

Honestly, the most satisfying mindset IMO when it comes to writing what becomes an OC ReMix is to write for yourself, and then choose to submit something to OCR after-the-fact. I don't write to conform to OCR standards; the OCR standards helped elevate my own personal standards. I find that once you assume that you have to adhere to the OCR standards before-the-fact, it doesn't feel right. Now, I integrate the basic framework into how I write music: be interpretive, be creative, and flesh out the piece until it can't get any better for the amount of skill I have at that moment in time.

I'm feeling evil tonight!

I love the dubstep party that this brings. It pulls in pretty much every kind of dubstep wobble that Massive can create, and adds some more innovative ones that I never knew existed (like the glassy "warp"). Super fun.

This is one track that I didn't really believe in at first, but when I got to the introduction of the rhythm guitars halfway through, it just escalated from there past awesome and into the region of insanity. That guitar solo... I still think it's a sample library, but it really doesn't sound sequenced to me. Maybe Alan made great use of a MIDI guitar controller! Definitely the highlight of the track, and it just blows the listener out of the water.

You can pretty much always tell when it's SBeast's work because of his distinct "sound" and playing style. Great, high-energy work here!

Unless I'm missing something, I actually don't see that icon anymore either.

Well, tbh, not all dance music is repetitive to the extent that I find it excessive. Everything needs repetition so that it doesn't progress too much too quickly, and for that welcome familiarity you get when you hear a reprise. I find that the less repetition there is, the less memorable something becomes. So of course, I'm not inherently against repetition; I'm against excessive repetition.

OCR has influenced me to reduce my repetition, but also pushed me to make my arrangements as interesting as possible. I do have somewhat of a problem in that I occasionally have a hard time making my arrangements longer than 4 minutes, but other than that I'm very happy with my musical output. If I collab though, that tends to help alleviate that regardless. In terms of production, thanks to OCR, the difference is night and day. My arrangement intuition has basically become a more natural flow. Now I actually give my best effort with my production and arrangement, even if it's already "pretty good" (past OCR standards).

Dude, combustible lemons are the BOMB.

Are you serious right now? How in the world did I miss this?! That intro is so smoooooooth. The deep drone and the distant piano-like reversed/bowed pad is so cool. The metallic granular FX in the background (might sound like a shopping cart if you stretch your mind a bit) is also a really subtle but apt ear candy. Honestly, one of the best contemplative pieces I've ever heard. The soundscape is just spot-on.