timaeus222

Isn't it more confusing that way? Couldn't you look at the artist's accepted OC ReMixes if there are any, and go off of what you think of them production-wise? Or, you could see if you agree with them; popular agreement doesn't really indicate who is most accurate (there's that one phrase, "the ignorant masses"). Make your own judgments too.

You know you could just PM a mod, right?

If anything, I believe that they would be flattered. (I would, anyway, if it were to happen to me.)

Yeah, I love Guitar Rig as well. Although it is a guitar amp sim (and I do use it for guitars), I often use the Transient Master component in there for my drums.

What did you find most useful in Komplete? (I say that because it's pretty large/broad)

I agree with the crits, but ultimately I love how this turned out. It's interesting that this is kind of an organic/electronic glitch hop track rather than purely electronic, and I find that it distinguishes it well from other tracks of a similar genre. It's also a bit surprising that the bass in the glitch hop sections was the source sometimes, but it felt natural to me, rather than feeling forced. I thought the most creative part was 2:03 - 2:21, where you had a swung interpretation with some intermediate/neighboring notes.

Great execution! I like the almost-Complextro feel of this. Good job on keeping the dynamics varied as well. Dat ring modulation at 3:16. I did hear a new bass at 1:43 in the new version (it fits). At 3:36, I actually like the older version---the newer version could have had a less piercing lead there. So maybe submitting the wrong track was a good thing!

Yep, that is definitely a duduk! Really cool take on this theme. It's kind of tragedic and lamenting, indeed.

Yes. It's a simple tremolo. But y'know, the real thing would be less machine-gun.

Or maybe he's Mr. Popo.

The thing is, you have to spend more time than an hour to really have a decent idea of whether or not the track has potential. I would suggest that you give yourself at least 1-2 weeks, if not more, on the same track before you judge that it "won't be good" and suddenly decide to stash it away somewhere. You didn't even post it here for other people to give you input! (By the way, I think "Land of Pools and Masks" has the most potential out of all your tracks to be some sort of town theme. It reminds me of this: https://soundcloud.com/isworks/puddle-jumping-dressed-by)

Try finding a track you want to imitate for inspiration, and, oh, let's say, try remixing this? https://www.youtube.com/watch?v=L9GXV5ueRBY (something with a decently memorable melody that maybe you can adapt to multiple genre possibilities) or maybe this? https://www.youtube.com/watch?v=Kbl0s7tJDHA (something that has some interesting chords)

I second Serum. Been using it too, lately, and I definitely find it really intuitive (and also replaced Massive for me. ). Ever used Zebra? I find that to be extremely versatile, and the synthesis interface displays in a well-organized manner IMO. I have two audio demos here if they interest you. http://tproductions.comeze.com/demos/Z2CombFilterDemo.mp3 http://tproductions.comeze.com/demos/Z2FMMotionDemo.mp3 And a video example: I've been using Zebra for over 3 years now, and I plan to keep using it.

Hm, the intro kinda lacks the ambitious sort of soundscape I would expect you to go for. For example, at 0:24, I would expect a drone to fill the bottom and keep things full for the moment, until 0:48. 1:13 is where the arrangement really starts to represent your usual caliber. Even then though, beef up that snare. The ride is kinda covering it up on my side. In general I feel like the low end could definitely use a more impactful production value. Specifically, I found 1:13 - 1:55 to have some low end, but the bass synth lacks presence/detail. The arrangement lives up to your past ReMixes for sure, but yeah, overall... The production can use more impact on the low end (aka more intense bass mixing) and another run through filling the soundscape in a few somewhat empty spots. Oh yeah, and that ride. Would you be willing to collab on this? =D

Hah, yeah, I hear it. Glad you heard past the tempo difference!

Woohoo, you're still here!

Pretty good foundation, actually. Pacing sounds good. Mixing is mostly there. Interpretation is pretty solid. Drums could use more variation to add to the flow of the arrangement. You're definitely on the right track. At 0:46 and 2:46, the violin could use more treble to brighten it up and a bit less low-mids to allow the background strings to come through a bit better. Right now it's too dull/muffled. The lead at 1:02 can really be more expressive; it just sounds like a basic saw wave. Give it some vibrato or filter motion, or some sort of motion to add interest. At 1:25 - 1:44, the piano really isn't that realistic, so maybe replace that with a light arp synth? At 2:04 - 2:46, it's the same deal as at 1:02---could have more expression! It's too plain! You could also add more to the impact at 3:06. Maybe a snare roll up to a downwards white-noise filter sweep or similar? Lastly, the outtro piano could use some delay or something to hide the fakeness; it's actually pretty easy to tell that it's sequenced. Offset/humanize the rhythm slightly so that it's not so quantized. Overall, the major issues for me: - Violin mixing at 0:46 and 2:46 - More drum variation rather than just glitching every now and then. Core pattern is too autopilot IMO - Mechanical piano needs humanized timing, and ping-pong delay would help (I could see a replacement sound at 1:25 - 1:44 working, but not super necessary) - Leads at 1:02 and 2:04 are too simple---needs more expression Other minor stuff but would be great to do: - Longer impact at 3:06, basically, plus a transition up to that would be good - Another transition layer at 1:44 perhaps? Not too necessary but would help - Background strings could use higher low-cut on the reverb to minimize muddiness with the bass - Bass seems pretty simple in tone, especially noticeable at 0:42

I totally read that as Millennium Puzzle problem.

I'm not saying that if I provide one, that it is necessary. It's there if someone needs it so that they know what to listen for. An interpretation isn't always immediately recognizable. There are some [to be unnamed] remixers here who may have a hard time translating someone else's interpretation of a source tune into a different key, tempo, and mood at the same time (all three of which I have done, which is why I provided that breakdown, for those who want it).

It's how Shariq feels too, but it doesn't mean you shouldn't do it. Sure, music isn't meant to be analyzed for source usage, but it is really helpful if it happens to be convoluted usage. Not everyone writes straightforward remixes, and the more interpretive tracks shouldn't be discredited if they're valid interpretations.

I figure it out after I finish writing the track, but I do it to show people what my intentions were with using each source. If I'm not even substantially arranging VGM in a VGM remixing competition, then would I really have written a VGM remix? Or would I have written an original track with VGM influences? (rhetorical)

Just a heads-up; part of my track will contain a dark interpretation of a light melody. Hopefully you guys don't discredit source usage for not being note-for-note. If it reminds you of the source, give it a chance. Both sources are in a different key than my track, and faster than my track, so also keep that in mind. As for source usage, almost all of the track contains the sources. The repeated motifs that I put upfront in the soundscape are either the Cyber Peacock or Gauntlet melodies (except for 1:20 - 1:27 in the track). Usually I have the harp/piano or a lead instrument playing the source. Rough Source Breakdown: 0:11 - 0:33 = Cyber Peacock (0:16 - 0:27) 0:34 - 0:55 = Sigma Fortress 2 (0:15 - 0:29) 0:58 - 1:01, 1:04 - 1:07 = Sigma Fortress 2 (0:46 - 0:48) 1:08 - 1:20 = Cyber Peacock (0:16 - 0:27) layered with Sigma Fortress 2 (0:46 - 0:48) [darker mood] 1:27 - 1:34 = Cyber Peacock (0:16 - 0:27) [darker mood] 1:45 - 2:08 = Cyber Peacock (0:16 - 0:27) 2:08 - 2:31 = Sigma Fortress 2 (0:15 - 0:29) 2:31 - 2:50 = Cyber Peacock (0:16 - 0:27) [darker mood] 11 + 21 + 3 + 3 + 12 + 7 + 23 + 23 + 19 = 122/172 secs = ~71%

Not going to be my longest arrangement, as I only had the first few days of the week to work on the major parts, but this is also a new-ish style to attempt for me.

http://www.cnet.com/videos/pokemon-go-nintendo-first-augmented-reality-mobile-game-tomorrow-daily-240/

I would highly recommend the BHK Rough Connections ($50 each) and Bladerunner Dread Drum & Bass ($39) sample packs. That's what I use, anyway. I used some of those in here: http://ocremix.org/remix/OCR03060 and: https://app.box.com/s/d7wsat6dt4dlx8ul9yjzqij3xdh3vkd9 Some basics about Drum & Bass: - 150~180 BPM - A detailed bass should act as the foundation for the soundscape and work with the drums to create a beat-driven, usually high-energy track, but not always (the drums could be non-aggressive but still fast) - Keep the drum patterns relatively varied, but still maintain a generally consistent drive Some examples of my favorite Drum & Bass: http://zirconstudios.bandcamp.com/track/the-end - cyberpunk / Drum & Bass https://soundcloud.com/zircon-1/rise-of-pharaoh-remix-of-lara-croft-and-the-temple-of-osiris - World Music / Drum & Bass https://zirconstudios.bandcamp.com/track/drum-and-bossa - Bossa Nova / Drum & Bass