Necrox

Hi I'm trying to pay my bills and could use some paid jobs. I am very fast at transcribing music at high accuracy. Are their any paid jobs for remixes, or creating new songs, or transcribing music, which I am very good at?

I always imagined the dynamics would be "nuclear bomb" not "FFF"

I find that thinking about my creative endeavours often fills me with anxiety, to the point where I'm compelled to avoid them at all costs. Things like knowing I have no ideas, or being afraid to return to a half finished piece of music because I don't know how to improve it further.
I often read when looking for anxiety management tips that channeling your anxious thoughts into something creative can be a great outlet, but when it's your creative outlet that is causing the problem how do you learn to reprogram your mindset?
Any help is much appreciated. 

Will it let me use the slide function on more than just FL Plugins now?

Sub'd.

It's a grind, alright. 

https://storeus.sonarworks.com/products/reference-4-headphone-edition
This is the best investment you can put into a headphone setup. They have EQ profiles for common pro headphones (including the 880 250ohm premium) and you can load it systemwide (and as a vst on your DAW master) to apply the exactly counter EQ contour to make your headphones as even and rounded (flat, yes, but I stopped using that term because it implies the music would sound lifeless) as possible. Systemwide is super great because I can listen to reference songs on my computer from music players or in the browser, or like play games/movies, and still have the sound correction.
You can also simulate other headphones and stereo systems with their stored profiles, instead of just going flat. And if you personally don't LIKE the completely flat response, you can also apply minor treble and bass adjustments to suit your tastes.

It also has a linear phase option, with some additional latency, to ensure there is absolutely 0 change to the sound outside of the spectrum's range of loudness.

Once I did it for my DT 880's I've sworn never to go back. The difference is actually pretty dramatic; as soon as I toggle the calibration off, the life is sapped out of the mix, the sound of the headphones themselves is pretty tinny and boomy by comparison, and hearing the difference explained basically all of my common mixing mistakes that people point out to me. Weak low mids, excessive bass, harsh upper mids, which were all unknowing compensations for the 880's actual frequency response. Listening to my older stuff on this, it was pretty clear.

Here is the DT 880's average freq response:
 

 
As it says in the legend, the BLUE is the headphone's average response, the GREEN is the EQ it applies to counter it, and the PURPLE is the end result (mostly flat, with some bass rolloff that doesn't matter too much in practice, and is necessary because of physics and whatnot).
 

One major issue with Soundcloud is their mobile app. If you listened to your own music on the mobile app, the quality is horrible compared to the Soundcloud on your desktop or laptop. It fools you into believing that there is something wrong with the mastering. You will hear clicks and pops. Makes sharing your music over the aux at a party or friend's place humiliating. Especially if said friends are familiar with audio mastering. Youtube's mobile app does not suffer the same issue.

Subb'd. 

Got a drumline project and a Layers of Fear remix to work on... don't think I will make it this round. Maybe I'll do something quick and goofy

This was a rather fun little source. My sub is up.

Go for it! Underrated series, especially music-wise.

Go for it! Underrated series, especially music-wise.

Go for it! Underrated series, especially music-wise.

So I tried googling and youtubing some stuff and I couldn't figure out the exact instrument or sound that this song makes:
AND
The very first note in this:
 
If anyone could direct me or help me find this in FL studio 12, I would much appreciate it! I'm really new to this but i'm hell bent on making a remix or at least something that comes from this series because I see a pitiful amount of remixes for this spin off series T^T Why gods why!?

^Still better than mine, which is literally just my PC.

Death metal

To tie this to this thread, I remember starting GTA4 and something like 10 minutes into the game I was suppose to fist fight someone to move on to the next mission or progress the story.  The controls were so confusing and I was too lazy to learn them that it ended my gaming career.

Like John said, each kind of thing/possibility you can do will kind of have an unique emotional effect. You just need to gain the experience seeing all of them used in different music (or trying them yourself) to gain the ability to match an effect you want for your music to what kind of borrowed chord achieves that.
The end of this rabbit hole (specifically borrowed harmony) is gaining a mastery of being modally fluid; you can just mix and match different harmonies around a tonal center without any regard for sticking to a specific scale structure. Dorian, Lydian, Phrygian, etc. going from wherever to wherever. A path to achieving this mastery is what Gario was talking about, having a strong understanding of counterpoint. If the counterpoint works, the progression works, and that's a path to this fluidity. It's like unlocking a whole new spectrum of color.
Remember, being a learned composer is not about writing down rules for what to do in specific situations, it's about expanding your options for what to do in specific situations.
 
Here are some pretty common borrowed harmony sounds you might hear in soundtracks or pop music. Play the listed scale and then try the chord after having the scale in your head:
 
In minor, IV. So in C minor, play Cmin then Fmaj.
In major, iv. So in C major, play Cmaj then Fmin.
In minor, V. So in C minor, play Cmin then Gmaj. 
In major, III. So in C major, play Cmaj, then Emaj (then Amin to resolve, it's a secondary dominant).
 
These are just a few small examples. Like you said, the possibilities are endless.

Borrowed chords, like 1st, 2nd and 3rd degree mixture, right? JohnStacy's points are correct - if you substitute one chord for another that functions similarly you'll rarely go wrong. I'll expand on this topic a bit, though, since there are other interesting ways to move into mixture and borrowed chords (and even beyond that, sometimes).
Being a counterpoint junkie, I'll start there: if the counterpoint works, the chord progression works. Thus, if you transition into unique chords using solid voice leading the chord won't feel out of place. This is why there's a notable amount of Rennaisance music (Palestrina, Gesualdo) that has some pretty strange chordal patterns, and yet sound pretty natural in context - they never worked one music harmonically, only contrapuntally. If all else fails, good voice leading will smooth everything out.
There's another related point of view (Neo-Reimannian) that dictates that the fewer notes that are changed, the less jarring the transition will be. Thus, if you only change one note from one chord to the next, no matter how much mixture is involved it will not sound out of place. Change two notes and it's a middle ground between jarring and not jarring. It's a logical yet interesting manner to get some cool mixture involved - lots of Romantic composers used this method of generating some pretty unique mixture.
Those are a bit heavy on the theory, so one final rule of thumb: just use the chord in question, and if you don't like it, change it to something you DO like. You'd be surprised just how poignant an effect some of this can have if you just experiment with them; the 'hard and fast' rules on how to use them are a bit dated, anyway. It's nice to know that there are rules on the use of mixture, but really the only 'rule' you need to know is that there isn't really a restriction on their use.
Hope that helps!

Each time you borrow a chord, it's a specific sound and context that it works best.  Generally, when you use a borrowed chord it is to suit that context.
For example, using a tritone substitution to go from something like Dm7-G7-C could be substituted as Dm7-Db7-C.  You could apply that any time you had what would be a 5-1 movement, but it wouldn't sound right in many different places.
The same thing goes for things like a lowered 6 degree, like having an Ab chord in the key of C.  It sounds nice, but if you just throw it in there without wanting that particular sound, it will just sound weird.
Basically, know all the borrowed chords you can, know what they sound like to the point that you can recognize them without thinking when listening to things, then use them in places where you think that kind of sound would work well, and also where it can still make sense.

This theme begs for some Supersaws me thinks.

For real I'll make something this time... 

That was disgusting
 
This is MnP 69.
I believe I sent you the link to the week's theme?
 
Apparently in FB's on this day a friend said I had 69 friends 4 years ago...

Terrible joke mixes for April fools