I have to agree that the track gets lost in the arrangement after the first minute of source representation. The bass from the source is there most of the time, albeit sometimes slightly transformed. Another big issue is the static nature of the track. I've noticed we get a lot of funk/disco submissions that feel very static in nature, that may be because these genres tend to produce songs like that, but for ocr we need more than just a static drumline with not many structural changes in the composition. It feels more like a jamming session for the guitarrist, which I personally enjoyed, but it's not really what we're looking for.
As a final note I noticed the bass had an unnatural clicking sound to it on every note for some reason.
Essentially. I play piano, so if I were to do something with that, say a chord progression or rhythm, or anything really. I'd play through it once, but then the second time I might change the voicings or switch up the rhythm just to make it less "the same as before." Just keeps the listener engaged, really. Looping stuff isn't inherantly bad, if there's something that needs to keep a certain rhythm or feeling/emotion. What I see, though, sometimes is just people looping something to get "more" song.
Purely kickass stuff! This is certainly one of the best examples of symphonic rock done right. Although, you shouldn't expect anything less brutal than this from these two gentlemen. Kudos to you, guys