timaeus222

YEAH! http://ocremix.org/remix/OCR03277

Wow, I like the creative usage of the clean guitar mutes as a dynamic contrast with the distorted mutes. The frequency of distorted pinch squeals used, and the frequent use of toms also really make this sound nothing like other guitar music. It distinguishes you pretty well, and that's tough to do for rock/metal ReMixes. Nice work!

For what it's worth, I think this produces a frantic feel, and kind of sounds like an acoustic Drum & Bass track sometimes, if that makes sense. I think the snare also adds to the frantic feel. The mixing is kinda stuffy, but not a huge deal. Holy bass, Batman!

Pretty solid, rocking ReMix. Did you change key at 2:10? Somehow that worked. Cool transition at 2:27 - 2:37 as well; that was my favorite part. The ending note could have been held for maybe 2 or 3 more seconds, but that's a minor nitpick.

I haven't heard a happy guitar song with non-heavy guitars in a while, and it does remind me of the Hot Freaks mix (especially 0:32 - 0:45 with the two notes that bridge across two measures). It's nice to hear a cleaner guitar-laden track every once in a while.

Apparently it's really well hidden then!

This is nice and upbeat for sure. I like the chord resolve you keep using. It was a good way to showcase a catchier portion of the original. It's kind of pop-like in structure due to that.

The rhythm here is pretty interesting. It's still 4/4, but having the melody starting ahead of the first beat and making it further syncopated really adds to the unique character of the mix. The pun on color mixing is pretty funny too. Harmonically this also differentiates itself from other variations on this theme. This really does sound as if you were writing a variation on the original for an OST initially, and then decided to make a ReMix out of it.

Sounds kind of like standby music. I liked that delayed metal percussion in the background. The change to 12/8 at 1:57 was pretty unexpected but welcome. It helped keep the pacing from getting too plodding. The glitching in the background at 3:20 was pretty cool before we got back into 3:33. I see what Palpable is saying with the "extra measure". Going from 10/8 to 12/8 back to 10/8 is quite unique. Quirky track for sure, but more people should take a listen. Don't miss this!

I do love the guitar tones. Personally I thought the rhythm guitar wasn't too loud; just that some of the drums were too quiet. I'd agree with Brandon on his advice. Standard DusK.

Kinda sounds like rave music. Except, it's the kind that I'd actually want to hear at a rave. This brings the hype, and is one of Will's best mixes. Personally I like Bleets of Lightning the most, but this is still among his bests.

Pretty sparse soundscape. Granted, this was 2002, but I would have liked at least some filter motion on the staccato chordal synth. I think the breakdown starting at 2:11 - 3:48 was the better part of the overall track. It took its sweet time building back up, and it worked fairly well.

While BD can stand for Beatdrop, it can also stand for Bass Drum, which... ah, never mind. Nice driving beat. Though straightforward, you still managed to make the overall package attractive. I liked the glitching at 2:11 - 2:24 the most.

This really showcases the diversity of an orchestra. 2:52 - 2:54 was a little weird, but that was minor. Overall this kind of has a flying-ship journey-like feel to it. The multiple tempo changes were pretty smooth as well.

Nice big beat take on the source. Pretty overcompressed, but I know you've gotten much better these days overall. That fakey guitar though. 0.o Not bad, not great. I do look forward to your future stuff!

Manage to pull off a high-energy trance take without plodding pacing. That's an achievement in itself!

I think Dave nailed it with the "old school formal ballad" description. It definitely feels like one of those old-school prom songs with a live band instead of a DJ.

The overall sound is a little too "clean", so to speak; the drums don't really punch through that much, though it's *enough*, and the guitars are pretty tame. That said, the arrangement is dissonant in a good way, which is pretty hard to pull off.

Natu bad! The cinematic percussion could have used more gusto (for example, 3:28 - 3:55 had some weirdly mechanical snare, I think), but what's there works. I thought the "flute" (erhu?) contributed the most to giving this a tense battle mood. Not your best work, but still pretty cool.

I like the bold arrangement! A bit bass heavy for me, and 1:58 - 2:15 was pretty underwhelming IMO. The glitching of the chimp vox was pretty sweet, Skrypnyk. fxsnowy also did a great job on the original vision too though. Manages to wrastle out what's good about the sounds available. Dat reese!

I think the biggest problem that this could have is the pacing, and I think you know that. You do have lots of subtle details though that ultimately I'm okay with the pacing for the most part. Some suggestions/observations: - What if you added a slight filter envelope on the choir-like pad you start using in the beginning? - Is there any way you can make the bells near 1:27 more tonal? Or are they just something textural for the background? - The repeated bass pattern repeats a lot. That's really what I'm most concerned about. But you do have some variation on the bass in the second half which helped (for instance, near 5:10). - How about a space-like sweep at 3:24 if you have one? One example I can think of is the one used for this track at 0:21. I heard some sort of sweep there, but I think it could be more obvious. The later instances of that sweep you have now, though, I would keep, though maybe you can thicken the tone up a bit with some slight distortion? - 3:59 can have a transition, so some sort of long reverse can work (like a cymbal, noise sweep, etc), and whatever else you may think fits if you add that reverse. That's all though. It's improving!

If you have an ad blocker, I think that would do it. I see ads whenever I look at those panes.

If you're having trouble with "having to" leave certain sounds drier just to not lose clarity, then you should consider muting certain parts to see if they actually contribute to the overall soundscape. If you omit a certain instrument part, and you don't hear a significant difference, then it might as well not be there, because if you can't say that it contributes to a fuller soundscape, then it just adds extra clutter. Sometimes it's hard for an outsider to identify such things, so this would be something you'd have to check yourself.

Nice and uplifting! The shift at 3:38 was super sudden, though, geez. 0.0 Anyways, I kinda expected a full band treatment of this given the OCU artist label, but this is still pretty great!