timaeus222

The most important part of this is knowing how your partner prefers to work, since knowing your roles helps you decide your boundaries. Does your partner like to interpret/write new melodies from scratch or use MIDIs? Does your partner mind who mixes the track in the end, or who maintains a central project file? Who wants to do what part of making the track (sound design, arrangement, mixing, mastering, etc)? Just make sure not to offend your partner, and try to realize a compromise in your combined vision. I agree, I would also use either Skype or dropbox. I find Skype easiest (and I know you have a Skype, so yeah!). I tend to try to find someone who uses the same DAW. Otherwise, sharing WAV files is fine too. When I worked with Sir Jordanius on a mix for the BadAss Boss Themes: Vol. 3 album, I ended up doing the main mixing and mastering, and he sent me over 80 WAV files (he did about half of the arrangement and the solos and such. I did the layering, dubstep, etc).

I've heard more overcompressed than this. Yes, the drums are pushed down, but I can tell that they're there, and I would say that this doesn't detract from my overall enjoyment of how this was intended to be. (If everything under the limiter was maybe 1~2 dB louder though, that would probably tip it over.) I agree with Emu that the synth stuff here pales in comparison to your mad guitar skills; the pads at 2:12 - 2:33 could have had an exponential volume envelope to pull the listener in as a reverse cymbal would. Otherwise, this is classic DusK jamming away and leaving us in the dust.

I can tell Kaufman was probably head-bobbing while writing this. This is groove-laden for sure. I agree; this would be very engaging live.

Phew, loud! He must have been in a bass mood when writing this. Pretty cool wah lead! Early Kaufman seems to be invested in introducing OCR to funk, because this is downright upfront and explicit funk if I've ever heard it. He ain't afraid to get in-your-face with the funk.

Wow, despite the lackluster sample quality, the attention to detail on the performance is exceptional! The piano near 2:36 is actually convincing. Even the fake guitar is pretty cool. My only complaint is the medley feel, like the tempo and drastic mood change at 2:43. Despite that, this would be a strong contender for passing, even today.

I'm super satisfied with this album as well. Great choices of games, and I love the diversity of styles. Hope you guys like it as well!

I personally think this is one of Sbeast's more impressive ReMixes. I find myself almost as into it, if not just as much, as Sbeast might have been while he was working on this. A great way to start out the album---energetic but not overly aggressive.

This is my favorite track on the album. It elevates the original melody in such a way that its repetition becomes not only anticipated, but welcome. Even though the way the electric lead guitar crackles by the mic may sound unintentional, I think it actually works.

This is a good base to build off of for sure. I think all the synth leads shouldn't be sidechained/pumping, though, and they could be less piercing in the upper treble. I like sidechaining as much as the next guy, but I just don't like it on leads. Also, the beginning up until 1:27 made me think that it wasn't intentional that it wasn't already full blast. For instance, 0:17 sounded like the drop already. Maybe make the beginning sound more intentional by using lighter drums until the drop (low pass them? Gate them? Both? Lighter drum samples in general?). In other words, I think you should put more work into the dynamics evoked by the drums to increase the dynamic range. When we get to the actual drop, some of the actual aggressive components don't seem cohesive with the bass. The bass at 1:34 - 1:35 is really narrow and almost sounds like it was recorded with a low-fidelity microphone. Same with the guitar at 1:36 - 1:37. I also think the sidechained detuned synth padding can be low-passed a bit to make it less harsh in the upper treble. The interpretation of the original is pretty evidently there, but maybe it's too liberal. For example, the chord at 1:40 and the one right after it sound the same, when the original Ice Cap resolved a tension by moving a note in the chord upwards (0:04 - 0:05). Little things like that can make Ice Cap more identifiable. While it's good to incorporate your own writing, try to balance it with the original so the original is still present enough. Overall, on production, try working more on the drums to create a more nuanced dynamic range, refining the elements accompanying the glitch hop basses to be similar in fidelity, reducing the harshness in the EQ of the sidechained pad, and experimenting with new synth lead sounds. On arrangement, try making it closer to the original in your improvisations.

Tada? xD https://app.box.com/s/8gtdgtmcn16zz392wqq7fwsyldqskc4y

No problem! I just attempted to do it by ear. (don't worry, didn't take 3 hours) https://app.box.com/s/8gtdgtmcn16zz392wqq7fwsyldqskc4y

"Continued", as in "from the moment they started up until the current day". Can't go past that in either direction without making assumptions, so it's one of those "safe" words that is limited to the scope of one's observation of the other. But it's worth mentioning that referencing that quote by itself omits the qualification I make that one, more often than not, performs an action repeatedly because one truly believes in doing it for itself. Again, that is a view that limits one's perspective to what is observed, and forgets that there is in fact a voluntary or involuntary quality assignable to all actions. Even though it is true that others can only observe through their lens how you act, it doesn't mean that that unqualified observation is an accurate, sufficient lens that gives you the entire perspective for you to describe someone else without making assumptions. It doesn't fully account for how the person innately is. That's what I've been saying.

From the OCR album guidelines: d. Potential Mixpost candidates Based on the size of the core album (i.e. not including bonus tracks), pick roughly 10%-20% of the album tracks to be potential mixposts for a mixflood related to the album. List the desired mixpost order. All tracks considered for mixpost must either be already approved through the normal ReMix submissions process OR be eligible to be posted on the site based on normal submissions standards. This also means no songs based on non-VGM sources. djpretzel has the final discretion on a mixflood. You may not get the entire list as one flood, as it is also based on how the evaluators feel about the songs and and djpretzel's availability. Your album may potentially not qualify for any mixflood at all. If this occurs, staff will tell you as soon as the issue arises. I submitted mine a few weeks back. (and typo in red)

Welcome to the club!

Maybe the vibraphone could have used a touch of treble reflections to help it mesh in a little better into the soundscape. Really classy chord progressions and performance. 1:35 - 1:44 in the piano was a highlight.

Actually, the way you explained your interpretation of the case is how I understood it. Apparently I wasn't using clear enough wording. That aside: Let me clarify some more. Performing an observable action in public once to a specific witness doesn't reveal to said witness how many times you've done it in previous days, so it's plausible that the witness would characterize you by your action. However, I saw "doing sexist things" as "doing sexist things [repeatedly]". When you do something repeatedly, and it is something that can be attributed to a type of character, like a sexist, racist, etc., then someone is more and more likely to choose to characterize you as such. One assumption I'm making is that that action also tends to be done for itself, i.e. for its own sake. When you've done it once or twice and then suddenly realized, "wait a minute, I shouldn't do this anymore," then how could you be characterized as someone who does that action [for its own sake]? It's somewhat of an analogy with Kierkegaard's Pure of Heart. The point is, do you really think that doing something that you then realize is wrong after-the-fact, and then you stop doing it from then on, all of a sudden defines who you are, i.e. permanently characterizes you? Isn't someone who "used to do something" not the same as someone who "does something [repeatedly]"? This refers to if you *have been sexist before*, that it does not necessarily mean that you *will do it again and again*. Yes, if you have done something sexist, the action itself is sexist automatically. But if you have done sexist things [before], I truly believe that you're not necessarily sexist until it is clarified that you have continued to do sexist things.

I think the combination of ambient bells, motion pads, and delayed plucks helped a lot.

You can trick the forums by adding a link to the link. i.e. [url=http://youtube.com/watch?v=######]http://youtube.com/watch?v=######[/url]

Nice and driving beat, though little variation in the drum patterns (rather autopilot), and the hi hat in the right speaker was rather painful. Good uplifting vibe though. Nice oldie. Not your best but also not your worst.

Yeah, the snare is pretty acoustic and odd in this context. The drum programming is pretty repetitive here IMO, with little variation in velocity or rhythm. Lots of copy+paste. Not really much meat to the material that was pasted. Two or three synth sounds used throughout. Not your best, but you did keep the spirit of the original.

The high-passed trance high-LFO-rate lead at the beginning is a little irritating. :/ That aside, 0:42 and on was much more bearable. The right-panned kick was rather odd. Second half retreads the same ground from the first half. Not one of JDHarding's best remixes, but I liked the reverb in the piano. It's a'ight.

Straightforward rock, but the performance is pretty enjoyable. It reminds me of Wave Race 64, somewhat. Uplifting, and nostalgic in a way, even though I haven't played this game. Nice forward momentum in the beat. And OH man, the literal fade-out and fade-in to the next tracks in the medley!

Ah, Brandon Strader finished a remix of this theme for the Satoru Iwata tribute album. This shows virt's skills even back in 2001. The brass sequencing ain't too bad. The soundscape is noticeably thin, especially the distorted electric guitars, but compositionally this really shines among the tracks of its time, and even holds up pretty well today. Don't miss this one!

Hah, that speech synthesizer intro and those vocal samples. I think this mix is supposed to be spooky. The rock/house treatment is OK, but this didn't really hold up too well over the years. Nice guitar performances, though the tones feel thin. It's an alright mix.