AngelCityOutlaw

Good to see someone else representing the metal pak for addictive drums 2! I'm also jealous of that strat and the accent.
I think this sounds great as is, but why not double-track the rhythm guitars? 
Regardless - awesome playing! 

Try saying "Touhou" five times while facing a mirror.

You may want to update your post and title a bit since I was confused as to what "mid guitar input devices" meant at first.
Anyway, regarding your question at the bottom - no. I actually am a guitarist foremost, but in my opinion, keyboards are the superior controllers for MIDI. It feels a lot more natural to strike keys to trigger sounds than to play what is usually a phony guitar, and it's easier to enter modwheel data in real-time and toggle keyswitches on the fly. With step-record input, you don't even have to be a great pianist to get the idea down and most sample libraries are designed around keyboard input.

You may want to update your post and title a bit since I was confused as to what "mid guitar input devices" meant at first.
Anyway, regarding your question at the bottom - no. I actually am a guitarist foremost, but in my opinion, keyboards are the superior controllers for MIDI. It feels a lot more natural to strike keys to trigger sounds than to play what is usually a phony guitar, and it's easier to enter modwheel data in real-time and toggle keyswitches on the fly. With step-record input, you don't even have to be a great pianist to get the idea down and most sample libraries are designed around keyboard input.

Part of me wants to say, "Congrats, sir" and the other part wants to say
"Fuck yeah, that's rad, man!" but they mean the same thing, basically.

Can you please put in the effort to think critically and practice as a musician by yourself? This is a help forum, it's not "Twitch Plays Remixer", where we tell you every single thing about what buttons to press in your DAW to try and get you to make music. This thread is now 5 pages long of you asking a string of random questions.

I think it's a good medley and your playing is solid.
I'd say that the mix could use work, though. Your rhythm guitars sound louder than everything else. The drums are a bit quiet and while I can hear the leads fine, I feel they should have more width to them and a slight volume increase as well. Maybe pan those 3rd harmonies and add a good stereo delay to the single-tracked leads.
That's all I have to complain about.

There really are no secrets to making "good" dubstep.  You just need to buy the right vst that was specifically made for the genre.  I would recommend this one from Slate Digital. 
 
 

Thanks to feedback from @Daniel Caton (thanks) & OCR staff, we've made some substantial improvements to the workshop skills pages, e.g.:
http://ocremix.org/workshop/skill/studio-one http://ocremix.org/workshop/skill/vocals-female http://ocremix.org/workshop/skill/french-horn Changes are as follows:
Switched to bootstrap tables Switched to font-awesome icons "join date" is now "joined" and is just the year "last visited" is now "visited" "real name" moved under user name user name larger "real name" column replaced with "skills / tools" column, including DAW & instrumental Secondary sort added on visited (sorts by collab status first, then visited date, DESC) Made additional instrument links clickable Made DAW links clickable icons The last four items are bold since I think they represent the biggest improvement - now, when looking at members who have specified one skill, you can see the other skills they have specified as well, and you can click on those skills to jump around a bit. Plus fancypants DAW icons. And the sorting based on last visited (most recent first) gives you a good idea of who's more likely to be around/available.
Feedback appreciated, although this was kind of a "burst" of energy for these specific pages, knowing full well I might not get back to updating them for awhile given more pressing concerns
GET COLLABORATIN' Y'ALL!!

Yes, if you attempt to score anything how you would write a track that meets OCR standards, it would seldom work.
There's only a simple principal behind this, it's nothing very nuanced or complicated. It's that in media, music is meant to augment something that is the focal point. For songs you release on an album, for songs you release on OCR, etc. it's not augmenting or filling the gaps of anything; it is the main point of itself, and so it is okay for it to do whatever it wants without ruining or derailing something it's supposed to support.
In scoring, something as simple as a chord change can re-contextualize a scene, and can make a director very angry if you seem like you don't understand why. It's not about your vision, it's about his; granted, it's not as if this is a rule, and sometimes directors choose to heed a composer's ideas.

I'm a lifelong fan of this franchise, but I've gotta say....it's gonna take a lot to get me to buy another SF game at this point.
I wish I could say I'm excited, but honestly the game needs to evolve as do all of the major fighting games. It needs to be more than just a fighting game - it's been more or less the exact same for 20 years. I poured hundreds of hours into SFIV since it came out and from what little gameplay this trailer shows, and the series so far, there is little doubt it will be hardly any different from SFIV and that is not enough anymore for Capcom to get my money.
I know I'm not alone at all in this thinking. Hell, Maximilian even made a similar statement in a recent video on his YouTube channel.
So I hope it turns out great, but currently sitting at a "meh" for me.

Sounds awesome as usual! 
 

Honestly I would not even bother with Shreddage.
Somebody stop me if I'm wrong here, but it seems like @Winning900 wants to do mostly rock and metal or at least electric guitar based music? If you go to your local guitar center right now, you can buy a decent guitar for 300-500 bucks that will last you a lifetime if you take good care of it. Couple that with a Line 6 POD or even software amp sims and you're good to go. You don't have to put in years upon years of practice to learn the basics of playing in a metal and rock style either. 
If you don't want to do that, again, just collab with a guitar player - there used to be this joke a drummer I know always told "I'm going to get some slurpees, want me to pick up some guitar players too?"
That money you want to spend on VSTs is not only better used in a time when you have superior composition and mixing skills, it's best spent on instruments that are difficult to obtain like orchestral libraries or backing instruments like drums and bass guitars which are actually more important in getting a good, heavy rock sound than the guitars are.

I really don't buy that this is an accident and even if it was, I have doubts the composer wouldn't catch themselves.
"When Worlds Collide" is among the most popular nu-metal/industrial rock tunes from the 90s. It still pops up in movies, games, commercials, radio etc. all the time. I mean, the vocal style, melody, rhythm and even the backing power chords in that FFXIV track sound almost completely the same. I'm normally not one to agree with most of these kinds of claims, but I'd bet that if Powerman5000 wanted to, they could probably convince a court without much effort that it's a rip-off.
While it's true that there's only so much you can do and patterns happen in genres, part of being a composer is being familiar with a wide variety of music and being able to tell if your piece is a little too close for comfort to something you're inspired by. I recently scrapped one of my tracks because I realized that it sounded like something I'd heard before, but I couldn't remember exactly what. When I shared it, people pointed out how very similar it was to "Rapid Fire" by Blue Stahli, which is a track I actually knew how to play. Then, I face-palmed hard, laughed, and got rid of it. I get the feeling this composer may have skipped that final step.

Let's do this.
This is my transcription of the two verses.

The actual tempo of Worlds Collide is 144 and Sephirot is 140 but I didn't bother with the sheet music. As you can see, the two riffs are essentially the same. The sephirot theme lacks the E note and augments the tonic's eighth note rhythm into complete quarter notes. It is basically the exact same riff and it's already in the same key too. The vocal style and lyrics are extremely similar, same 4 on the floor kick pattern and the synths and bass are both effected in similar ways. 
Here are the two verses together. I couldn't decide if I wanted to have them panned or left alone, so I did both in the same render.
https://app.box.com/s/gd9c1k119kaqrdlduwytf3pxjknu6qbk
If it were just the simple guitars, I wouldn't be so sold, but I believe that Soken knowingly copied the verses of a platinum-selling song. Same key, same riff, same vocal approach, same drums, etc. Let me guess, Robert Cop was a mistake too?
 

Do it. You have a history of making great Sonic remixes for some reason.

Hell yeah!

Hell yeah!

Hell yeah!

Ditto the Neblix & Garpocalypse posts.
I think that the digital and information age, with regards to music, is both a blessing and a curse. A wealth of information and tutorials are readily available to us, but so too is bad information and if you're not very experienced with something, bad advice with artistic word-choice can sound like really good advice. I can honestly say, this is what held me back with mixing for so long until recently. I think my more recent mixes are turning out way better than before and exactly as I imagine them. The key really was not thinking about EQs and all of that stuff so much, it was in making the best arrangement and composition decisions I can. 
The reason for this is because when you see "mixing tutorials" or read in a magazine some sort of interview or tips, they never talk about this kind of thing. It's assumed for them and it doesn't make a good article or video. They're always talking about cutting/boosting frequencies, compressing this or that and that one, super-duper secret plugin that just adds "something" (nothing) to the mix! If they just told you "make sure your arrangement and composition are really good and you won't have to do too much else", they wouldn't have a whole lot to talk about. It makes it sound like any collection of sounds, arranged any way you want, will sound good if you just use the right settings. Sadly, it just doesn't work like that as I've come to learn the hard way.
To the starry-eyed beginner or a listener, great music seems to happen as if by magic and the keys beneath your fingers or the software on your computer are the tomes that cast the spell. It'd be terribly boring and break the illusion if they told you about all the theory they know, ear-training they've done, studying music by long-dead guys with funny white wigs and made that mix sound better by just changing the voicing of that Cm7 chord. 

Ditto the Neblix & Garpocalypse posts.
I think that the digital and information age, with regards to music, is both a blessing and a curse. A wealth of information and tutorials are readily available to us, but so too is bad information and if you're not very experienced with something, bad advice with artistic word-choice can sound like really good advice. I can honestly say, this is what held me back with mixing for so long until recently. I think my more recent mixes are turning out way better than before and exactly as I imagine them. The key really was not thinking about EQs and all of that stuff so much, it was in making the best arrangement and composition decisions I can. 
The reason for this is because when you see "mixing tutorials" or read in a magazine some sort of interview or tips, they never talk about this kind of thing. It's assumed for them and it doesn't make a good article or video. They're always talking about cutting/boosting frequencies, compressing this or that and that one, super-duper secret plugin that just adds "something" (nothing) to the mix! If they just told you "make sure your arrangement and composition are really good and you won't have to do too much else", they wouldn't have a whole lot to talk about. It makes it sound like any collection of sounds, arranged any way you want, will sound good if you just use the right settings. Sadly, it just doesn't work like that as I've come to learn the hard way.
To the starry-eyed beginner or a listener, great music seems to happen as if by magic and the keys beneath your fingers or the software on your computer are the tomes that cast the spell. It'd be terribly boring and break the illusion if they told you about all the theory they know, ear-training they've done, studying music by long-dead guys with funny white wigs and made that mix sound better by just changing the voicing of that Cm7 chord. 

Ditto the Neblix & Garpocalypse posts.
I think that the digital and information age, with regards to music, is both a blessing and a curse. A wealth of information and tutorials are readily available to us, but so too is bad information and if you're not very experienced with something, bad advice with artistic word-choice can sound like really good advice. I can honestly say, this is what held me back with mixing for so long until recently. I think my more recent mixes are turning out way better than before and exactly as I imagine them. The key really was not thinking about EQs and all of that stuff so much, it was in making the best arrangement and composition decisions I can. 
The reason for this is because when you see "mixing tutorials" or read in a magazine some sort of interview or tips, they never talk about this kind of thing. It's assumed for them and it doesn't make a good article or video. They're always talking about cutting/boosting frequencies, compressing this or that and that one, super-duper secret plugin that just adds "something" (nothing) to the mix! If they just told you "make sure your arrangement and composition are really good and you won't have to do too much else", they wouldn't have a whole lot to talk about. It makes it sound like any collection of sounds, arranged any way you want, will sound good if you just use the right settings. Sadly, it just doesn't work like that as I've come to learn the hard way.
To the starry-eyed beginner or a listener, great music seems to happen as if by magic and the keys beneath your fingers or the software on your computer are the tomes that cast the spell. It'd be terribly boring and break the illusion if they told you about all the theory they know, ear-training they've done, studying music by long-dead guys with funny white wigs and made that mix sound better by just changing the voicing of that Cm7 chord. 

Ditto the Neblix & Garpocalypse posts.
I think that the digital and information age, with regards to music, is both a blessing and a curse. A wealth of information and tutorials are readily available to us, but so too is bad information and if you're not very experienced with something, bad advice with artistic word-choice can sound like really good advice. I can honestly say, this is what held me back with mixing for so long until recently. I think my more recent mixes are turning out way better than before and exactly as I imagine them. The key really was not thinking about EQs and all of that stuff so much, it was in making the best arrangement and composition decisions I can. 
The reason for this is because when you see "mixing tutorials" or read in a magazine some sort of interview or tips, they never talk about this kind of thing. It's assumed for them and it doesn't make a good article or video. They're always talking about cutting/boosting frequencies, compressing this or that and that one, super-duper secret plugin that just adds "something" (nothing) to the mix! If they just told you "make sure your arrangement and composition are really good and you won't have to do too much else", they wouldn't have a whole lot to talk about. It makes it sound like any collection of sounds, arranged any way you want, will sound good if you just use the right settings. Sadly, it just doesn't work like that as I've come to learn the hard way.
To the starry-eyed beginner or a listener, great music seems to happen as if by magic and the keys beneath your fingers or the software on your computer are the tomes that cast the spell. It'd be terribly boring and break the illusion if they told you about all the theory they know, ear-training they've done, studying music by long-dead guys with funny white wigs and made that mix sound better by just changing the voicing of that Cm7 chord. 

I can tell you from experience, you are chasing a methodology that doesn't work.
If you can not employ good composition, the mix will not sound good. An unbalanced and/or empty composition is an unbalanced and/or empty production. Trying to mix a poor composition is an ineffective way to learn how to mix. You can not just put effects on things and expect them to fill the gaps the composition left open. If you omit bass, you are omitting the rhythmic harmonic foundation of the composition. You're also leaving an entire flank of the frequency spectrum empty.
Furthermore, an ideally recorded performance doesn't actually need any mixing, just some touching up and enhancements to taste. The recording quality of your parts is very, very messy. As others have noted, there are a lot of room reflections and there's no clarity. You don't have to have other people play your parts, but you do need to record the parts properly. Minimize reflections, and place the mics where the tone of the instrument is maximized. You can look up tips for each instrument online.
If you want to just improve your mixing without worrying about composition, you should use pre-existing recordings. You can download unmixed, multi-track sessions (zip with wave files) from here. There are many genres to choose from.