Emunator

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About Emunator

  • Rank
    Judge, Double the Trouble! Director
  • Birthday 02/11/1992

Profile Information

  • Gender Male
  • Location Mesa, AZ

Contact Methods

  • Website URL https://soundcloud.com/emunator
  • Skype EmunatorOCR

Artist Settings

  • Collaboration Status 3. Very Interested
  • Software - Digital Audio Workstation (DAW) FL Studio
  • Composition & Production Skills Arrangement & Orchestration
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List) Piano

Converted

  • Real Name Wes M.
  • Occupation Print Specialist
  • Twitter Username Emunator
  • Last.fm Username Emunator
  • PlayStation Network ID Emunator-

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  1. Remix:Overgrowth (Tallon 2/Chozo Ruins) Demo Hey everyone! Thought I'd share a remixI'm working on that's not currently finished. Feedback definitely welcomed here, especially on the mixing side of things. I'm trying my hand at swing rhythms this time. This is heavily influenced by artists like Bonobo and Emancipator. Not a ton to say - the structure is all over the place right now and I'm more focused on sound design/motifs/production at this point, but I feel like there's potential here! Sources:
  2. Original Decision Remixer Name:Faseeh Real Name: Faseehudeen Email address: Website:https://soundcloud.com/gottagofas User ID:30380 Game arranged: Sonic Colors (Wii) Name of arrangement: Misty Night Name of individual song: Planet Wisp - Act 1 Comments about the remix: Oh, this is a resubmission! The judges liked what I had before, but it was too short aaaand I found out four months after the judges decision had been made. Alas, this remix happened. Imagine the Planet Wisp is a beautiful place, and just imagine being there with dew on the leaves, mist surrounding you, sky all purple and you're lost in the serene beauty. I wanted to do something minimalist and something that'd keep true to the original source, while giving a different musical dimension. Oh and I've added some references from other Sonic sources, I hope you can figure those out! Hope you like this remix, as much as I enjoyed producing it. Thank you
  3. *NO* Mother 1, 3 & 2 'Home'

    My gut impression is that this would sound quite nice if it were actually performed live, or sequenced with a lot more nuance, but right now it sounds like I'm listening to a very nice arrangement that's been merely sketched out without much attention paid to humanization, expression or timing. The arrangement is nice and dynamic, and I have no doubt this would work well as an ensemble, but as a standalone piece, the leads are sequenced with total rigidity that don't do justice to your nice arrangement. NO
  4. Remixer Name: Nadeus Real name: Daniel Bukin Email: Website:https://soundcloud.com/danielbukin User ID: Nadeus Link to arrangement: Games arranged: Mother 1 (Earthbound Zero), Mother 3, Earthbound Name of arrangement: Home Name of individual songs arranged: Title Theme (Mother 3), Eight Melodies (Mother 1), Love Theme (Mother 3), Pollyanna (Earthbound) Game Info: Original music by Shogo Sakai, Hiroshi Kanazu, & Keiichi Suzuki. Consoles: SNES, Family Computer, Gameboy Advance Original Soundtrack Links: https://www.youtube.com/watch?v=EFbl3CqOzbI https://www.youtube.com/watch?v=85XM_Nl7_oo https://www.youtube.com/watch?v=idULzIIF950 https://www.youtube.com/watch?v=3RIJ4X6vmoo Other comments: I arranged this medley as part of a commission from the Appalachian Video Game Ensemble, a new student group back at my university that performs live video game music. When I was first told of what pieces they wanted arranged for this medley, I had to think very carefully as to how to make it appropriate for the ensemble. I ended up adding several other layers (i.e., countermelodies and added harmonies) into the voices on top of the existing music to give it a little bit more pizzaz, and also to coincide with some of the conventions found in wind ensemble music. I use Sibelius 8 when composing/arranging music in order for it to be able to be mixed into a audio recording, as well as printed out in sheet music in order to be performed live.
  5. This mix is next-level stuff from Joe. I've been trying to pick out some personalhighlights but honestly there are too many to narrow it down to just one - the didgeridoo, the complex ethnic drum patterns, the heavily-rhythmic flute performance, and the eerie reharmonization of the Omen theme at 3:20 are justa few notable moments.And that's not even touching on the voice acting and effects processing, which is fantastically integrated. The completedropout of alleffects at the"I will destroy it with my own hands" line gives me chills every time. I don't think I'm out of line in saying that this is one of Joe's best pieces to date. YES
  6. *NO* Donkey Kong Country 'Cast Away Banana'

    Haha Larry, just to clarify,my "over-mixedsource" comment was a purely off-side remark that has nothing to do with my opinions on the track or my judgmentI paneled this because of the issues I'm about to go into. So, yeah. VERY creative arrangement, perhaps one of the strangest approaches I've ever heard to Aquatic Ambiance. I really love the thought that went into this, and although the genres that inspire you don't necessarily come through in this arrangement, it's cool that you're pulling inspiration from some lesser-explored realms of music. Arrangement-wise, I'd callthis an easy pass. I wouldn't mind hearing a bit more variation to the hand-drumming rhythms in the intro if you can, and the last few minutes of the track felt somewhat extraneous,but for the most part that side of things checked out and I wouldn't necessarily solicit any changes there. Kris definitely has a good handle on the production issues, and for me, I think they add up to warrant a resubmission. All of the samples sound lower-than-average quality, but the sequencing and humanization is what really brings this down. I disagree with Larry that those realism issues are well-mitigated here... the panflute and trumpet particularly stuck out to me as needing some TLC on the ADSR envelopes so that the notes fade more naturally. I think the pan flute is the biggest offender. The glockenspiel sample is piercing and has almost no expression, and the same can be said for the piano. The bass is also dominating the track quite a bit and Kris offered some fantastic advice on mixing that in better with the rest of the track. I really want to sign off on this becauseI do tend to give the benefit of the doubt on production issues when the arrangement is this creative, but I think this could really benefit from a second pass on the sequencing/humanization along with some mixing tweaks to help get it up to the bar. I won't be disappointed if this passes and I'm sure I'll find myself listening to it from time to time regardless, but I don't think it's ready to be posted yet. Good luck either way! NO (please resubmit!!)
  7. I've had to sit on this for a long time before I was even able to pass objective judgment on it. Ross' approach here is, as always, very abstract and holds little regard for the desiresof your averagecasual listener, or fans of strictly-conservative remixes... which I thinkis pretty rad!The world needs a bit more weirdness like this. The re-harmonization of the Whiterun theme is very clever andsurprisingly, really catchy -I've foundthis stuck in my head at random times throughout the last week.The arrangement leans heavily on the same core melody for most of the duration, but the overall dynamic curve never sits in the same place for long. The way the beat subtly progresses towards a 4-on-the-floor rhythm, or how the lead grows more heavily distortedover time are just a couple examples of how this piece develops without needing to introduce new melodic content. It's definitely not for everyone, but I'm definitely on board. Welcome back Ross! YES
  8. *NO* Kid Icarus 'Angels of Disco'

    This sums up my opinion better than I was able to express myself when I first listened to this track. I actually think this is pretty close - if you could clean up the timing near the intro and massage your arrangement into a more deliberate flow, I think you'd have a winner here. As it stands though, I think Larry/Kris helped solidify my gut impression here. NO (resubmit!)
  9. I need some help discerning how Grahf's theme was used here, but other than that... dayummm. This sounds like one of Joe's best mixes to date - the voice acting is well-integrated, the drum rhythms are bonkers, and the way he handled the Omentheme at the end and all of the vocal effects suddenly cut out... shit. Next-level stuff there. Should be an easy call once we can figure out the source usage. ~ Emu This remix is for the album BADASS 3. REMIXER INFO Remixer Name: XPRTNovice Real Name: Joseph Zieja Email: Website: http://josephzieja.com Twitter: @JoeZieja REMIX INFO Games Arranged: Xenogears Name of Arrangement: The Power Name of Individual Songs Arranged: "Grahf"https://www.youtube.com/watch?v=3N49Jy7SjdY "Omen"https://www.youtube.com/watch?v=EYUGCGLG9jM Remixer Comments: Grahf had some of the best lines in Xenogears, and, being a voice actor, I guess, I wanted to integrate some of them into a really epic cinematic sort of remix. Grahf was so evil on so many levels, and his role in the plot of the game is just amazing. I used a lot of Middle Eastern elements, and it just sort of unfolded in this big way with creepy elements. Also, screaming "MY FIST IS THE DIVINE BREATH" in your basement when your mother in law is visiting creates interesting results.
  10. Contact Information Your ReMixer name Rom Tom Your real name Tom Zanay Your email address Your website Your userid 17900 Submission Information Name of game(s) arranged Donkey Kong Country Name of arrangement Cast Away Banana Name of individual song(s) arranged Aquatic Ambiance Additional information about game including composer, system, etc. (if it has not yet been added to the site) David Wise, Eveline Novakovic, Robin Beanland Link to the original soundtrack (if it is not one of the sound archives already available on the site) https://www.youtube.com/watch?v=CKAc3nYEatw Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Greetings Judges, Djpretzel, and awesome OCR Fans. I'm excited to present, yes, yet anotherAquatic Ambiance remix from DKC! I was a wee young lad when I happened upon OCRemix in 2003, and if you were to ask me at that time who my favorite musician was, I would have responded with "the ones on OCRemix".It would be another 4 years before I figured out about the existence of and tried my hands at the DAW FL Studio. I joined the forum in 2007, and produced a fewremixes forthe WIP forum.There really is no better place to learn music production outside a music school, andIremained fairly active for about 2 or 3 years, until about 2010. I did try submitting a song once before in 2009ish, though I'm glad it went unnoticed.Itneeded work like ahouse needs bricks. Indeed, I had always wanted toenter the OCR ranks as a fellow remixer, and I used thesubmissionguidelines as a constant reminderforhowgood music should be made. But alas, I have returned, like Donkey Kong did to the Wii. It was at the beginning of 2015 that I spontaneouslymade half of this song in onesitting. I hadn't touched it from that point on until about a month ago, and have been touching it up since. And then I thought, it just might be that time, to try again at submitting an OC Remix. There is something simply magical about this tune. What inspired this tune was hearing all the other great versions of this song on OCR, and I intend to join the Aquatic Ambiance Lounge, so to speak. I am inspired by an odd variety of music, including power metal, black metal, 80s rock, dub (without the step), dub (with the step) and an assortment of acoustic-electronic mashups. No, I did not employ all of the above genres for this tune, but would classify it asa taste of dub with mostly electronic-acoustic elements. The song's concept plays with the idea that a lone banana is somehow let loose into the ocean, as the Kongs start up a drum circle next to the shoreline. Join this banana on a journey into the depths.
  11. My ReMixer name: Yargami. Userid: 28292. E-mail: Game arranged: Megaman Legends. ReMix title: Another Flawless Operation. Original song: We're the Bonnes! I was working on a project one day when I realized that I had accidentally turned my bass line into the Bonnes' theme. After fooling around with the idea for a bit, I decided I would keep working on it. It took me about two months to complete, although I was not working on it steadily the entire time. The title comes from a scene in the Gesselschaft that plays if you leave the game on the title screen for too long. The original quote, spoken by Tiesel Bonne, is "I want another flawless operation, just like the last one!" This was made in SONAR X3 using the following plugins: Dimension Pro, Rapture, East West/Quantum Leap Symphonic Orchestra, Studio Instruments Drum Kit, and z3ta+.
  12. *NO* Kingdom Hearts 'Memories of Kairi'

    Holy crap... theVIBES!Your prog. house pluck patchesare very well crafted, and the chords are well-written to match. The arrangement and fusion of two sources is very natural, and I actually found myself getting chills when Dearly Beloved finally came. I can't stress this enough - this approach is a very strong foundation and, in spite of the feedback I'm about to go into, I did really enjoy this. I can definitely see some other judges going YES on this but there's a few production-side issues that I think need a bit more work. First, the level of reverb and delay here is VERY heavy, and I think it goes just a bit past the point of being a stylistic choice and starts to feel like a production flaw because it contributes a lot of mud to the track. I would suggest easing up on your reverb and shortening your delay tails just a bit to clean this up (but not so much that you lose the spacey prog-house feel.) The beats themselves are pretty gridlocked and repetitive, it would be nice to hear some minor variations so that not everything is hitting on a quarter-note and introduce more rhythmic variety. The melodic instruments are playing some really dynamic rhythms but the beats feel incredibly static, even for a progressive house track. I'm also noticing a lack of bass frequencies in your kick, and sub frequencies in the track overall,which strikes me as odd. I would love to hear a deeper kick with a bit more low-end oomph. Right now, the track feels very mid-heavy. Not a huge dealbreaker in and of itself, but I'd love some minor EQ tweaks to help give the track more of a balanced feel and help anchor it better. Somewhat of a personal preference, but the piano sample sounded tinny to my ears. Thatlow-quality sample sticks out like a weak linkamidst a series of very high-quality synth sounds, possibly because the delay effect is so prominent. None of these issues on their own warrant a rejection in my book, but between all of them I think this is just a little bit shy of reaching its potential. I tried to list them out in prioritized order based on what bothered me the most.I may be a little harsher on this because it's a genre I'm more familiar with and I'm so fond of the concept here.I won't be upset if this ends up passing in its current form, but I digress... what does everyone else think? NO (borderline/resubmit!)
  13. Hello again OC Remix, it seems like just yesterday that I was huddled around a windows XP computer listening to tracks from the site. This track will be the second Arth4da mix on your site, and hopefully there will be many more to come. I'll try to keep this email as coherent as possible, as this remix has stolen most of my sleep along with every waking moment since I started it 3 days ago Which brings us to the mix. Lately I've been making the house genere my home (heh), and this track is no different, resonating "progressive house" to the core. Genre business aside, I haven't felt this sentimental working on a track in quite some time. I did my very best to stay as true to the original arrangements of the songs (Kairi II, and Dearly Beloved) while also letting them ebb and flow into each other around the prog house arrangement. I'm especially proud of this arrangement and mix, right down to the Kairi quotes that I ripped from the game and placed into the atmosphere. But at this point, I feel almost overwhelmed talking about everything that went into this mix, I'd rather let it speak for itself With love, Arth4da
  14. This is loud and over-compressed to high hell (it's hovering around -4DB RMS by my count)but there's some really excellent sound design going on here. Arrangement seems to check out but damnnnnn... production needs some advice from those who can articulate it best. ~ Emu ----Contact Info juliantheexplorer Julian Plonski https://soundcloud.com/juliantheexplorer 32750 ---Sub Info Jurassic Park (snes) Trapasaurus Mountain https://www.youtube.com/watch?v=g1EGNaPTACc(original) This remix is a representation of the chaotic experience of this game. Your tired, scared, short of supplies but still find the desire to run. The main pan flute hook is how I began the remix and as I built on top of it, I found myself challenging myself to keep up with it's high paced vibe, which ironically reminded me of the game it self.
  15. Even with the provided breakdown, the source usage is escaping me here. Someone who's more familiar with Mega Man should have an easier time verifying the breakdown. Guitar is noticeably fake but pretty well sequenced regardless - I like what I'm hearing~ Emu Link Remixer name: Nostalvania Name of Game: Mega Man 3 Name of arrangement : Don't Look Back Name of individual song: Dr. Wily stage 3-4 Source:https://youtu.be/iNM7ydpIysE ReMix:https://app.box.com/s/2sd0o2gvvc3unts3q7n6nmoegnu5wxrq Hey OCR! Here is a Jazz ReMix of the Dr. Wily stages 3 and 4 from Mega Man 3. This is an improved version of an arrangement which i made for the Dwelling of Duels competition in July 2015. The theme was Mega Man 2 vs. Mega Man 3 (MM 3 won btw). The arrangement is in 5/4 and 3/4 alternating. It also changes back and forth between even eights and swing feeling. Source breakdown 00:00 - 00:12 Intro, melody of B (sort of, fragmented) 00:12 - 00:39 Melody of A 00:40 - 00:46 Interlude, short piano solo 00:47 - 01:14 A 01:14 - 01:25 Interlude, short guitar solo 01:25 - 01:42 Melody B (I had to change some of the notes in order to match the new chord progressions) 01:42 - 02:57 Guitar solo 02:20 - 02:28 Melody (A) in piano comping 02:33 - 02:42 Melody (A) in piano comping 02:58 - 03:14 B 03:15 - 03:21 Interlude (Groove) 03:21 - 03:38 A 03:21 - 03:25 Melody 03:27 - 03:31 Melody 03:34 - 03:38 Melody 03:38 - 03:47 Ending