Would really appreciate if you took a listen.

https://polyphonyedm.bandcamp.com/

I have SoundCloud and Facebook (/PolyphonyEDM), but there are lossless free downloads through bandcamp. Cheers!

http://www.youtube.com/watch?v=ndZoP4yctqA

http://livelighter.org/wp-content/uploads/2011/02/happy-eating-pizza.jpg

Tweak Stabby's config, it's a bit too complicated for most players and scripting it yourself can be a bit frustrating/time-consuming if your not sure exactly what you're doing. Best of luck.

BloodSire on his love life.

YAAAAAOOOO

The cost was never an issue before. You could stop 4 rockets for under 100 metal already. The problem is still that you can just hold down left click down, instead of actually timing it because of its excessive firing speed.

competitive comedy

I've had a similar problem with water killing my frames (not that they're ever 100% good), using MaxFrames dx9 w/o an fps cap. I really wonder what this kind of thing is about..

This sounds really fun, and playing vanilla (ruleset 2) would really warm my heart. Very unique idea, "tf2 the way it was meant to be played" sounds incredibly intriguing.

Perhaps a steam group for the pugs would be helpful? You can post announcements on there for pugs in case people weren't aware you were streaming, etc.

This is a super solid setup, I didn't see you mention what headphones you use?

Haven't had a chance to play this but I look forward to that opportunity. I thought I would just say aesthetically, this map is incredible. Keep it up!

Not sure if you read my whole post, but I mentioned almost everything you did, and I apologize for giving you the assumption I was trying to convey that mastering was simple and was only compression/limiting, but like I said I didn't want to delve to deep into it, was just trying to give him pointers of things I didn't understand when I was where he was at.

And tbh sidechaining and other effects aren't incredibly difficult to pick up, and often are a key piece in one's mixdown.

Oops. My post duplicated, I'm editing it.

I'm gonna critique this based on two main facets. Technical/Mixing-wise and Creative/Songwriting-wise.

From a mixing standpoint, all these songs need a bit of work, but this is something you will learn over time and improve on as you continue to produce. All of their mixes are a bit muddy and their frequency spectrum isn't very well balanced between your three latest tunes I am listening to. When you're mixing music, think of it that each element or sound in a song needs to be altered to help contrast/compliment itself with others. It's like a bookshelf and you need to organize the books into it, rather than just throwing them in randomly. To do this, you can use several tools, mainly equalizers, and various forms of compression will do the majority of the work. For a very basic example, if you have a lead synthesizer or bass synth, and a sub bass playing at the same time, working as a cohesive unit, you'd want to add a lopass/hicut EQ filter to the sub bass, to roll off extra frequencies over 80-200hz, and a hipass/locut filter on the bass synthizer to rat out the frequencies that would mess with your sub bass at around the same point. And if you were to add more instruments and percussion, you'd try to find the spots in the frequency spectrum where its sound is abundantly present. You'd add a subtle bell boosting its frequency there, meanwhile on your other instruments you'd add a bell with negative gain to decrease that sounds presence in that frequency area. But don't take this to the overboard, I used to have like 10 or so bell curves on each instrument's EQ either boosting or subtracting gain very agressively, and it made my mix's flat and dry. Another HUGE thing when making music and mixing, is to trust your ears. Know when what you're changing helps the mix, rather than applying changes for the sake of them working in the past or based purely on advice. Also, you're ears will likely get better at hearing these sort of things the more you produce. I'm not really sure how it happens, but now and then I stumble on a song in my library or even listen to one of my old tunes, that at the time I thought was pretty darn good, but now I can totally hear how poorly mixed it is. You're likely already doing some of these things already as I've heard much worse tunes from new producers, much worse. Also! Play around with delays and reverbs, but use them sparingly. Play around with adding bits of these to the instruments it can help, but make sure to note not only how the reverb/delay/saturation/whatever sounds on the element alone, but how it sounds in conjunction with the rest of your mix. This is huge, and proper use of reverb and delay will help your mixes a ton, I can't imagine making music without them, but like I said, use them to polish, not to correct your original sound. As you've likely already heard by know, before you have any plug-ins on your channel strip and its just your raw audio or vst, make sure it sounds as good as it can to start before adding mixing tools vand other things. I probably should have posted screenshots, but hopefully you could get a few things from this. You may already know this, but avoid clipping. There is a threshold of digital audio that is "0db". If you're master output, exceeds 0 db, goes to 2 db, 10 db, .1 db, whatever, you'll hear clipping and distortion that will severely hurt your mix. So, try to watch your levels and you can use mixing tricks with eq's and compressors to help make sure your mixdown is sitting happily just under 0 db, peaking anywhere from -10 db to -.1 db, whatever you are comfortable with, as long as it doesn't clip. This is also a huge thing to know, if you didn't already.

Now, to look at your songs from a musical level, as songs themselves. I'm not sure how to put the main thing I would like to convey, as I don't know a simple solution if you can't hear it yet. Specifically on "Badlands" and "Tank Time", you're going out of key all over the place. Seeing as you can't just hear this yet, I'd advise looking up scales so you know a set of notes to use in a song. Generally, especially in Electronic Dance Music, you'll be following one key of specific notes in a song. Look up simple scales like C Major or F Minor, and try making a melody with only those notes, it will guide you a lot on making better sounding melodies. To be honest, you don't need to learn music theory to write songs with good melodies that follow a key and sound fine, but maybe if you can't hear it, music theory will help you along the way. I didn't learn any theory for my first few years of playing music, but could detect bad notes by listening. Can't really say much else about this one, but no matter how good your production is, a song written with no key intended won't sound good. I hear the starts of some interesting patterns and melodies but they're almost always hurt a measure or so later by using different notes than that which are in the chord progression. I feel like with a proper understanding of what's in key, you could quickly be writing some very interesting progressions and melodies.

Also, I'd like to clear up some misconceptions I see in the responses. In-depth knowledge of compression is not important! A great mixdown needs no compression to make it sound good, compression can be used sparingly to help alter the transients of each element and its pace as perceived by the ear, and compression is heavily used in modern day mastering, however you really don't need this to make clean good sounding tunes.

Seeing as I've mentioned mastering, I'll try not to get to into it, but one day you'll find yourself wondering why you can't get your music as loud as other artists your listening to without distorting like crazy and squashing the shit out of your dynamics. Once a song has been mixed properly (no peaking past 0 db), and is essentially "complete", it is mastered, which is the final polishing of it to make it more cohesive and professional. Most notably, perceived loudness is the biggest change from mastering, as you turn your dynamic, lively mix into a very flat constantly peaking just at 0 db waveform. It's rubbish in general, seeing as it wasn't always like this, but in our time most dance music is heavily compressed at the end to be as loud as the others. I wouldn't worry about mastering for a while, until your mixes are very good. Even amazing mastering won't make a poorly produced tune sound alright. Sooo, I wouldn't sweat this one for a while, and if it's really a pain in the ass once you get there, there's plenty of decent engineers you can pay to do this (a lot of big electronic artists don't master their own stuff).
http://en.wikipedia.org/wiki/Loudness_war <-- More about obnoxious compression over time e.e

http://www.roboticpeacock.com/wp-content/uploads/2013/05/OASIS-Supersonic-difference-between-waveforms-of-single-and-album.jpg

If you have any questions about what I meant, feel free to ask as I'm not always best at putting things into words. Also, something I should have emphasized more, keep producing! Have fun with it and you will get better over time.

A download would be great, it can't really be judged too well until its played on.