timaeus222

Neblix for my vote.

Ambient is rare because it's soooooo low energy, and might be boring if it's too unchanging. But you did it well. In fact, it felt shorter to me than it actually is.

Okay, so like in black and white movies. That in and of itself is fine, yeah. But they should still feel less rigid, more humanized, and be a little louder, just speaking independently of the era. Something can sound old, but not fake or too quiet, at the same time.

Yeah. One time, I wanted to try writing a Tornado Man remix in the style of Dream Theater. Turned out to be in the style of Lindsey Stirling. But I Iiked it in the end.

Here are some circumstances that I've gone through: 1) I stopped working on a piece for a while, came back to it, and wasn't sure what I intended to do next at the time I had stopped. I familiarize myself with it again by listening to it and playing it back in my head. Then I try to improvise something by humming, just to see where I would take it if I was free to write something instantly, right away, without having to write it out. I basically audition ideas in my head until something clicks, and I hope to God that I'm at home at the time. This is what happens most of the time for me. 2) I'm writing something, and it turns out completely different from what I intended, but not in such a good way. I tend to know by gut feelings if something either just doesn't work, or might have potential later. If it has potential, I toss it aside in a WIP folder. If it doesn't, I put it in a Scrapped folder. I usually just come back later to the ones that have potential and it tends to be that I either start it over or keep going with it. Honestly, if it doesn't seem to work for me at that time, I'd save it for later, put it aside for the moment, and start over with a new project file. The biggest thing is to keep everything archived. You never know when something butt-old sparks a new interest in you. ;D This happens second most often for me. 3) If I just feel that someone else can elevate it by collaboration, then I'd ask them to play a live part or something. That's if I wanted to sequence something too hard, and if it just happens that that's what's getting me stuck. This happened only once so far, a few weeks ago where I was sequencing lead violin. I mean, Brandon Strader was happy with it, but I wasn't (the vibrato was too fake, the notes didn't feel natural, etc.), so I got Jeff Ball to play it, and it sounds so good now (I only really got stuck for two weeks from waiting for his schedule to clear up). I've never actually asked someone to entirely take over an old arrangement of mine before, though. This hardly ever happens for me... even when I really should go through with it when it does.

Is it just me, or is there some sort of phase inversion effect on the kick? Somehow it's really, really far forward. It's just weird to me, and it draws attention to itself. Also, the snare can be louder. Stylistically, the tone works fine, but it's too quiet. I agree that it would help a lot to put in drum variations and melodic variations (for the sake of progression, not just for its own sake). I like the short breakdown section at 1:20, but it needs a transition. How would anyone know it's coming if there isn't one? More transitions in other places would help too. Also, I think some considerable attention can be put into the breakdown section so that it provides a greater contrast with the main, supposedly higher energy sections. Fuller textures, maybe an ethereal padding, and maybe more reverbed elements overall in just that part would help. Overall, the balance is off on the piece as a whole. The instruments don't seem connected/glued, and the textures feel sparse. Basically, it feels too clean/uncompressed, disjointed/unconnected, and somewhat empty. It's fine if you want it to be partially high energy and partially not too heavy, because it can be done, but I don't think this is hitting that mark at the moment. I think this is a fairly reasonable standard to reference. It's pretty similar to what you have here.

Whenever you say something like, "if you do this, then this will happen", try instead saying, "if you try this, this might happen", because it's a guide that helps with, but doesn't guarantee the followthrough or the success.

Basically... Those strings are mechanical and a touch too distant. Nice effects and sounds. Needs clearer transitions and less mechanical 808 hi hat sequencing. The sound effects are a little cheesy, but since you don't depend way too much upon them, I guess it's kinda OK. Mostly the transitions and the hi hat velocities. Strings should be addressed anyways, but they're not a priority IMO.

Can you please not advertise your own remix on a thread belonging to another remixer? It's easy to figure out why.

The percussion seems pretty wide too. Much of the orchestra diagrams I've seen have percussion mainly in the middle.

Too bad Mystical Mist was already posted, before the bad title pun flood.

Interesting soundscape. A touch washed out at times, but otherwise, this does stand out well against the other CT remixes.

Excellent uplifting feel to this. Bring on the smiles.

Sole Signal with guitars from Fishy? Hell yeah. Put on your game face. Super glitch breakdown in the drums. The jazz in one part of it was a little weird, but other than that, this is pretty WAHPAH! Also, I could see myself writing a remix kind of like this. Makes me wish I could have collaborated with these two.

Wow, somehow it turned out how I expected: got matched up with Treasure Knight =p

This is pretty excellent! I'm sure it would pass on OCR.

I usually end up at 2:40~3:30 anyways, so personally I think that's fine too.

The only problem I see with this is that the attention is split between the whole set of posted ReMixes, rather than one or two, and that might decrease the number of people who comment. People might get overwhelmed.

Allllrighty, I've addressed these points, which I did agree with. Probably a result of wanting the arps to be heard, at first, but I ended up automating the mids down on the pads a touch to help that. A short list of final changes for educational purposes: - slight increase in reverbiness of the snare and the sine wave to increase the overall spatiousness and cohesiveness - slight levels fix of certain leads to expose some more of the nuances, and bass frequencies of bass and kick and make it more full - very minor automation of a pad's midrange to make the arp a touch clearer due to the leads being louder - adjusted overall loudness a little to compensate for a few things getting louder so that the uppermost treble doesn't get squashed too much I'm almost happy with this, so I'll sub this when I get the chance! In the meantime, I may lower the sub bass a little to bring back the dubstep nuances, and louden the snare a little bit.

DAMN, this is smooth! The bass is sooooo rich. Really cool granular and reverse effects. Amazing detail, too. Loving the occasional cello and bass pizzicato. I actually think this is better than the Blue Coin mix, so I'm glad you did this in addition to it!

Hm... I haven't heard this yet, so let's see... So, you're using the default snare, yes? Along with another one from FL's pack? Maybe default kick, too? I don't think they really fit, and honestly, I can't tell what genre you're in. What is this supposed to be? Metal? If so, yeah, I think you need a different kick and snare. Something more acoustic, rather than dance-oriented. Also, the guitar should be double-tracked as per the convention, which means one instance panned 100% left, the other instance slightly different and panned 100% right, then slightly offset in its alignment with the left instance. It'll give a wider stereo field and give the bass room to breathe (which consequently means you need a different sample because it'll be more exposed). I hear the overcompression, and it's pretty substantial, and still there. The bass notes are clashing occasionally (0:00, 0:06, etc.), and the bass sounds like an FL default plugin (or a Sytrus patch). Boo Bass? It's just too exposed in this context to sound realistic (or hide the fakeness of it). At 0:51, it's clearest that the midrange is overboosted. Hard to tell what, but I'm guessing it's the bass instrument. It's not supposed to be an instrument that you hear much of in the midrange; more so the low-mids and bass frequencies. Something I keep telling people is to boost much less often than you cut frequencies in the bass area. Boosting bass will usually create more muddiness. The organ is also fake-sounding (FL Keys?), but I wouldn't hold it against you because organs are actually pretty hard to get to sound realistic with samples. Lastly, the sound effects could be panned more creatively to give a greater sense of a big or wide stereo field. So, the arrangement of this is actually quite good, so this definitely has potential. Good solos. This feels a little repetitive when every instrument works together to create a wall of sound, such as at 1:12, 1:23, etc., because it sounds rigid in those spots. If even the drums do something different there, maybe something more subdivided, it'll help. The kick, snare, organ, and bass samples, sequencing, and processing are really diminishing what is otherwise quite a fun arrangement.

Actually, the site changed design substantially a few months ago, and there's still more to come!

I'm all for this.

Hah, yeah, single french horn player. =P

About your examples... Example 1 - Feels narrow, as if all the instrumentalists were sitting bunched together. There's a little trebly background noise. Example 2 - Same Example 3 - There's some more dimension to this than in 1. More explicitly, the piano kind of seems farther away than the trumpets, for example. It's better than 1, but still somewhat narrow. Just so that someone has listened to and addressed those examples.