timaeus222   Members

FLStudio is also finally adding time signature changing in-song with FLStudio 20 (the next version coming out this year), I believe.

In my experience, working with other people does indeed involve waiting, and sometimes that can get a bit frustrating. But there’s another side to it to, or at least for me: being able to work with other people does make it more enjoyable, social and educational. Depending on your individual needs and desires that may or may not be something that interests everybody, but I’ve learned bits and bobs from everybody I worked with, and that is totally worth it for me. But YMMV of course; just wanted to mention another side of it.

I came here for an argument. 
I thought that was the definition of an argument? An argument is a disagreement of of view points. You saying "I disagreed with his points" is pretty much you saying "I was arguing"  Also, you can say you were debating if you like. They're considered one and the same, altho Debating is generally considered a bit more formal and less aggressive I suppose but even so, You could argue (lol) that you were arguing
Ok time to stop with the tongue in cheek debatument: I prefer the Genesis/Mega Drive music. More funky. More groovy. Generally speaking. I can certainly appreciate the rock stylings of the Crush 40 stuff tho

Out of sheer curiosity: How old are you?
Because the stuff you're saying here sounds like things I'd have said when I was a teenage, metal supremacist. 
 
No you don't lol
City Escape is played at 130 BPM double-time. That is the equivalent of 8th notes at 260 BPM. If you don't believe me, put a metronome over it at 130 and then at 260. 
In this thread you have claimed:
• The song's are slow, which we can objectively prove most of them are not.
• You have claimed that the melodies are not memorable. But again, the songs are extremely popular. So they just might not be memorable to YOU
• Stated that Crush 40's songs are just slow strumming of chords...which again, is objectively false as evidenced by songs like Open Your Heart, Live and Learn, and just about all the others. 
So you don't know what you're talking about.
You just don't like the songs and rather than just accept that and move on, you're trying to "prove" that you're somehow right. You don't need to justify it; just say you don't like it.
 
 

City escape is about 260 bpm, I checked. Seriously, take the original file and put a metronome over it. Its much faster than the track you linked there so... 
I will agree that catchy doesn't inherently mean good. To take a song everyone seems to unanimously hate - Friday by Rebecca Black - that could be considered catchy I reckon. It certainly sticks in the brain and makes it rot. 
I'd like to point out something you said earlier: 
Seems to me you're pretty much stating pop punk, Crush 40 and well... a LOT of music is bad. Saying something is "down right horrible" usually means "bad" in my experience. As for you voicing your opinion, you seem to be going a bit beyond that - For example, I'm not sure what you mean by statistics. Who's statistics are you talking about? What is it based on? Subjective opinion? Who's opinion? Yours? Are you saying that you think most music is bad or have you read something and believe it? This is where I I question if it is your "opinion" because you seem to be talking about something beyond that. You're talking like you did some research and found out that in fact, these songs are objectively bad, and we're all wrong for liking it. Maybe i'm overthinking what you're saying but that is how you're coming across to me, reading your posts. 

Again, I listened to all of SA1's songs. I know what I'm talking about.

I think Will had some issues with you stating your opinions as objective facts, rather as subjective opinions. I'm not opposed to strong opinions myself, but I can see why some people would feel triggered to respond to your strongly worded opinions. C'est le ton qui fait la musique, and all that.
 
(c'est le ton qui fait la musique: it is the tone that makes the music; it's not what you say but how you say it (i.e.: how things are said makes their meaning credible))

Ok lets examine these claims.
How are the melodies boring? From my perspective, they're pretty catchy imo, they certainly stick in my head. The guitar work, if you analyse it is a lot more than just guitar chords like you suggested, there are lots of cool little melodies thrown in there. Its a lot more creative than a lot of backing guitar work imo, and the solos are pretty neat too. Not sure why you're comparing them to megadeth either, megadeth are thrash, and Dave Mustine is known for having some of the most crazy and intricrite lead and rhythm playing of all time, he's a complete monster, and don't get me started on their bassist Dave Ellefson, who does some completely insane stuff. Its like looking at a painting and going "its not as detailed as Leonardo Da Vinci's work, therefore, it must be worthless"
So... tempo.... The majority of the sonic songs i've heard are around the 160-200 mark? Thats pretty fast honestly. What is your definition of slow exactly? For me, Hotel California is slow. Sweet Home Alabama is slow. Sonic heroes main theme and escape to the city are pretty damn speedy, and open your heart and live and learn are upbeat romps. I'd hardly call sonic music slow, in fact when I think of modern day sonic music, I automatically think of pretty fast, frantic pop rock so I STRONGLY disagree with you there. 
Also, you're talking about the quality of music when it is a completely subjective thing. Simple does not mean boring. It might mean boring to YOU but some people like that. Some people find megadeth too fast, too aggressive, with hard to follow arrangements and weird change ups that don't make a lot of sense to them. Some people find that really refreshing. Led Zeppelin are one of the greatest bands of all time - I consider their music boring sometimes. They can make some amazingly intricate and amazing compositions... then some of their songs have 1 bar long riffs that repeat endlessly, but sometimes thats the point - its about mood, its about feel, its not about musical complexity - thats why 4 on the floor beats are so popular  in clubs, because it is easy to dance and groove to it. I think thats why Led Zeppelin are so special, they had something for everyone while keeping to a very cohesive and identifiable sound.
I don't want to sound patronising but you need to stop thinking about music as good vs bad and try to understand why someone else might enjoy it. Just because you personally don't like something doesn't make it completely worthless, or "bad". 

A joke? You mean I started all these Ice Cap remixes for nothing?! 

Yes. I actually came to the site specifically to see if another &Knuckles album had been published. Kind of bummed there wasn't one like it, but this was really funny too.

I love jazz-fusion, and so I've listened to this track 10 times in a few days. Every little thing is so well-done here, man... I just don't know what to say! It's too good. The section at 1:47 just totally blew my mind  Also, gotta love the piano at 3:08 - that's a very nice way to end the song, haha.

I got a huge feeling of old-school Sci-Fi vibes from the intro right before it breaks into more of an action piece. Plenty of creepiness to go around at around 1:28, with the chimes and strings at work, which works so well to bridge together the more vicious wubs and the drop. Good ending as well, never a bad choice to end with an evil laugh. Definitely one of my favorite tracks off Vampire Variations 3.

Wow this one totally got me! Kudos to whomever thought of this

I literally was about to post this topic "(OC Remix Home Page Error) Red Russian Language". Then I decided "Well, hmm, it might be helpful if people knew what it said."
And that's when the glory of the best joke of 2018 fully hit me xD.
 
Kudos *golf claps*.
"Сначала мы взяли ваши выборы, теперь мы пришли за вашими ремиксы видео игр."
 
"First we took your election, now we came for your remixes of video games."   
 

Really smart partwriting. Engaging every step of the way.

I find it very impressive that you are able to pull off a mix of two emotionally charged tracks while throwing in the dubstep and glitch! It's intense yet touching. The parts sound pretty balanced to me, and it is engaging all the way through. I'd download it.

Damn, those are some short sources, especially that main source - it sounds more like a texture than it does an actual theme. This arrangement takes these ideas as far as they can go, utilizing the gameplay theme as a texture under quite a bit of lead work (based on other tracks in the game) and soloing.
Going through the sources, this thing isn't a remix of any particular source - it's just a remix of the entire game's soundtrack, using the gameplay music as the glue keeping it all together. For a game with such a limited soundtrack, this is probably the best approach one could take, and it's done oh-so well here.
Performances and production is on point, and so is the arrangement. To be honest I was close to just DP'ing the whole thing, but it's such a strange source and interesting implimentation that I figured it could have a pass through the panel, just in case I'm overlooking anything.
Great to have you on OCR - hope to hear plenty more from you on here.
YES

Hey guys, it's been a long time, but here's an atmospheric Final Fantasy mashup of FF4's Prelude and FF6's Terra with dubstep and light glitch elements! This has been submitted to OCR on March 18, 2018. [EDIT: To show the timeline, this just got approved August 31, 2018 for a direct-post, so about 5 months in this case.]
This was inspired by Stephen Anderson (stephen-anderson on soundcloud); it primarily uses bell and pad textures from Spectrasonics' Omnisphere 2; a Chapman Stick from Trilian; 4Front's TruePianos; and various FM sounds from my Zebra2 soundbank "FM Variations". Glitching was via Illformed's Glitch 2, and some of the remaining stuff was from LA Scoring Strings, Rhapsody Orchestral Percussion, and Serum. The solo violin was Embertone's Friedlander, highly recommend it!

The first 10 seconds of the opening definitely wasn't promising, as the plucked string "performance" sounded clunky, but the rest of the track was fine.
Samey vibrato and string humanization issues were definitely noteworthy to call out, and those criticized aspects should be improved, but it wasn't below the bar for me. I didn't have the issue the others were having about parts fighting to be heard in the same space, and the interplay between the parts from 1:50-3:08 was fine to me; there wasn't any point where I felt the song got directionless or that I didn't immediately or quickly latch onto what the dominant instrumental line was.
I would have liked to have heard more melodic interpretation, but the genre adaptation and additive part-writing were enough to carry the overall interpretation factor. It's solid to me, and while I wouldn't mind some touch-ups after the fact, the track's executed well enough to me.

YES

The track was 5:11-long, so I needed to make out at least 155.5 seconds of overt source usage for the VGM usage to dominate the arrangement.
:10-:28, :33-2:06.75, 2:39-2:46, 3:48.5-4:05, 4:08-4:55 = 182.25 seconds or 58.6% overt source usage
Yeah, in listening to this I agreed with Gario on the bassline matching up with the opening bassline in the source at the very start, the only difference being that the bass notes drop occasionally (removing part of the source's constant pattern), so it's not the complete phrase. But it was directly referencing explicit writing from the source, so I counted most of the bass work in my timestamping.
I disagreed with Gario on the synth design being strong. I did like most of the sounds here, but I thought the saw-style synth at 1:26 & 3:48 was vanilla, and the synths string timing from 4:15-4:41 sounded very stilted & exposed rather than stylized. I was put off by that, particularly the string synth, because alum's sound design usually feels fully cohesive. That said, most of the sound design was super cool.
On the mixing side, I thought the lead synths at 1:26-1:53 were too loud/sizzling alongside the cymbals; this also seemed too hot there as well from 3:04-3:41 & 3:48-4:41 particularly when you had loud synth lines (e.g. 3:36-3:41). Maybe it's just me feeling like this was too loud at times, but I'm surprised none of the other Js ever brought it up.
Re: MindWanderer criticizing the 3:03's rock section, I can see how he was put off by it being so different, but the transitions in and out of it were substantive, so it's not like there was a jumpy & sudden change in style, it was just a very distinct break. I can live with that, and the overall approach still felt unified.
I'd appreciate another pass at the mixing (my biggest issue), and tweaking some of the instrumentation I wasn't digging, but those aren't enough to pull this down to NO when the arrangement is solid. As much as I'd like the mixing to not sound so loud and almost abrasive during the densest sections, I can live with this as is.
Really catchy source tune choice by the excellent Jared Emerson-Johnson, and from a Fables game adaptation I didn't even know existed until now. Much like WayForward and Capcom, Telltale always works with the coolest outside IPs. A nice welcome back to (and from) aluminum!
YES (borderline)

@mothershipl I never have a problem with someone posting my music on their Youtube or Soundcloud, as long as proper credit is given, so by all means!
@Uffe von Lauterbach Thanks!
@Gario I could have sworn Sir_Nutz did a psytrance remix on this site...

Pretty much just Jarski/PsyNES that posts psytrance that I know of (I do miss him on OCR and the WIP boards - hope we pass some more of his stuff soon!). He used to post all sorts of Psytrance on the WIP boards back in the day, and even opened that whole genre up for me.
I wish you the best on the panel, too. 

Good luck! We don't get a lot of psytrance, last I recall, so it'll be nice to have some more!

Not exactly offtopic; so I moved it to Community. @bLiNd has been a significant part of our community. Let's help him get back on his feet!

I think you'll be fine if you submit this, tbh. I could hear some complaints on the panel come up about some random mixing elements or another, or someone else might say the drums are a hair static, but I doubt it'll be turned away as long as a decent time stamp is sent with it (still not an easy track to parse the source from, lol).
Looking forward to it!