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About Rozovian

  • Rank
    Workshop Evaluator, Songs of Light and Darkness Director
  • Birthday 10/25/1985

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  • Biography
    Dude with beard. Makes music sometimes. Short on pronouns.
  • Real Name
    Ad G

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Software - Preferred Plugins/Libraries
    Pianoteq, Omnisphere, FM8
  • Composition & Production Skills
    Arrangement & Orchestration
    Synthesis & Sound Design
  1. This has been sitting on at least one of my chill playlists for quite a while, and I only now consciously noticed how much it sounds like something from Deus Ex. Really cool mood. It's also got a sweet groove, nice choice of percussion and sound design in general, chill without being mellow. Cool stuff.
  2. It doesn't fit ocr's standards on arrangement. It's a medley of conservative takes on the source. Medleys are accepted when they do something more with the sources than merely stack them in sequence. Regardless, an ocr-appropriate remix also needs to do something more with the arrangement of each source than just change the sound, which is essentially what's done here. The mix is also really heavy on the lows. It sounds better with my subwoofer off, which it shouldn't. So no, this wouldn't get approved. My advice: use this track for mixing practice. Also play around with the individual sources in case you come up with something more ocr-appropriate to do with them. Consider the rhythm of each part, the order of segments, the dynamics of the parts and overall, the chord sequences... The Doom soundtrack has a lot of cool sources to work with. I've been digging into it myself after listening closely to the 2016 Doom soundtrack, which references the previous Doom games, so that too can be an inspiration.
  3. 3. completed Extreme G2 (2 New Remixes)

    Please read the nice little stickies at the top of this subforum. You're breaking the "one thread per reamix, one remix per thread" thing, and you don't seem to know what the "ready for review" prefix is for. No big deal, but please correct this yourself so I don't have to.
  4. Unfortunately I don't remember the procedure. Shouldn't be that hard to install just the plugin on your laptop, and then move the samples to a folder on the external and load them from there. If other solutions fail, using symbolic links should work. Starting Omnisphere without the drive connected, or with the library folders moved, gets you no library of sounds when you open Omnisphere. That's it.
  5. It depends on the plugin. I originally put Omnisphere's sample library on an external drive using a symbolic link from the default install location somewhere in the system library. I think they nowadays let you install or move the samples wherever. Kontakt and Sampletank can both load samples from wherever you put them. Putting the plugin itself on an external drive seems unnecessary, since it's nowhere as big as the samples it uses. But with a symbolic link you could probably do that too, provided the drive in plugged in when you start your computer/DAW. Note: This is on mac. Can't say if the same can be done on Windows.
  6. I like it. I'm on laptop speakers so I can't give any useful feedback, but I wanted to tell you that nothing about the style precludes it from becoming an OCReMix track.
  7. The timing of the instrumentation and the performance in the intro don't seem quite lined up. You're occasionally not hitting the notes quite right in pitch either, 1:40 being a prime example of this. Consider re-recording some of the lines, or pitch correcting them artificially. I like the vocals. You've got a nice voice and I can't hear anything wrong with how it's recorded. You might want to pair the intensity of the instrumentation and the vocal performance better. 2:25 you hit the vocals with a performance much more intense than the instrumentation. The instruments are sweet and soft, which is not how your vocals sound. But hey, cool stuff, keep working on it.
  8. Interesting sound choices. Would be cool to hear this with a vocalist. I wouldn't fade in the bass. That seems like an odd choice. Maybe use a weaker bass and bring in the proper bass eg at 0:17. Alternatively, you can start it off with the bass groove properly loud. You already signal the start of the track proper with the break pre 0:17, so I can imagine either suggestion working.
  9. I like the instrumentation. This sounds like driving music. Cool stuff.
  10. 3. completed Quien es zelda

    Haha, this is wonderful. I think you should make a whole track out of it. It's okay to make short tracks too. The shortest tracks on ocr are around 2 minutes long. edit: actually, they're less than a minute long, but I don't think that's enough for a decent arrangement of anything but the shortest sources these days. The shortest track with a track number higher than 1000 is Protodome's Luvdisc track at 1:45. Still less than 2 minutes.
  11. 3. completed Metroid Kraid's Lair (Remix)

    Excellent intro. I can hear the Kraid reference in there. The sound choices are largely excellent as well, though I'm a little disappointed at the simplicity of the 2:12 melody synth. I agree about the listener fatigue issues LoA brought up. You might want to have the break sooner in the track, drop out more of the rhythm elements and make use of the break for drama. I know I've played around with breaks in my mixes, especially my older ones (Braincooler might be the best example with its almost 1 minute long single bass note). See what might inspire you.
  12. @Gario, in his own words in a remix thread in the workshop: How horrible. It got me wondering what methods and procedures the judges use when judging. Do you use the resub tag, when, when not, why, why not? When do you say conditional and when do you say resub? What are your dealbreakers? What if there are random fart noises in the middle of an otherwise excellent track? Larry has his stopwatching and 50% standard for assessing source content. What else do you guys have? Similar to our meet the evaluators, can we have a meet the judges thread?
  13. Not an eval. I'll leave that to @Gario or @Wiesty. Just posting to drop you a suggestion: use reference tracks. Well mixed tracks in a similar style, from ocr or elsewhere. Figure out if yours is similar enough in frequency balance, loudness, proximity/distance, stereo balance, and everything else that matters. Also, it still sounds rather 80s. That's not a bad thing.
  14. Why is this so familiar... oh! This one! One of my recent favorites. And apparently that's the only Sonic Colors source remixed on the site. eval: Voice thing is super annoying. Personal pet peeve. Do what that feedback what you will. Mixing needs work. It's obvious from the first kick and snare appearance, but the other elements need work as well. Your kick is very exposed, and it stands out from the mix. The snare lacks impact because it's high-passed, and can't stand on its own. It's okay when it coincides with the kick, but on its own it's too weak. Getting those elements strong enough on their own is difficult. I had to abandon an idea for one my own current mixes because I couldn't get it right. Hopefully you'll have an easier time figuring it out. The hihat rhythms are rather loud, and there are times when they don't fit the pacing of the other elements. Like at 0:34. The hihat rhythm suggested something high-tempo. That's not what happened. But the hihats are still pretending that's what's going on. From 1:01 it's better, but I'd still look into alternative rhythms for them here. While on the subject of drum writing, the drum fill you use it not very good, and when you repeat it rather often it just makes it worse. Sound design is otherwise fairly good, the choice of sounds works well. It's eclectic, but that's not a problem. It draws from the source in that regard, and I like some of the instrument choices you've made here that set it apart from the source. That somewhat chiptune-y lead, for example. A bit excessive and inconsistent use of reverb and other effects. 1:29 marks a huge difference in sound. I get the change in dynamics, but the whole sound changes to something much drier than before. It's rather jarring. You might want to use a different set of drums for those parts, too. The arrangement seems to be a 1:1 copy of the source. Too conservative for ocr. There's some changes to the dynamics and sound which always happens when you adapt a source to your own instrumentation, and some differences in drum rhythms and obviously instrumentation, but I don't think that's enough. Study some posted remixes of sources you know well, and pick them apart, figure out what they did to make them different. Some will be largely unchanged in arrangement but get a completely different mood going, others will mix in original solos or play the original on an original groove, others still will disintegrate the original and put the pieces together in a completely different way. There are many ways to make the arrangement your own. And if you want to make it an OCReMix, that's what you have to do. The end cuts off abruptly. It shouldn't. It's a great practice track for mixing and sound design, and the end result is fairly pleasant to listen to. Nice work. There are issues, though, and the one that is the main obstacle to getting this posted on ocr is that the arrangement is essentially unchanged from the original. As a cover or source remake, it's fine. But that's not what ocr posts.
  15. eval: "I tried to sample the beat" - Yeah no. You can't sample anything from Square-Enix for something to be posted on ocr. We've got a deal with SE that, as I understand it, prohibits us from posting remixes with audio assets straight from their games. You'd have to recreate those elements yourself if you want this on ocr. There's some weird harmonies happening here. Either you've misheard which key the original is in and the clashes stem from your elements clashing with the sampled elements, or you need to read up on harmony and key and stuff. Listen more closely to find the elements that sound out of place, harmonically. I'm hearing clashes at 0:50, 1:02, and 2:29, and the parts that repeat those things. Learn to recognize and avoid this. The structure is really difficult to hear. I have no idea where in the arrangement I am at a given point. Two tricks I've found that helps with this is signalling and punctuating. Signalling is when you use something to indicate that a part is nearing its end, and the most obvious example is a long reverse cymbal in electronic music. Punctuation is when you end a part and start a new one with a big hit, such as a regular big cymbal, like a crash. There's a lot of ways to signal and punctuate. Even in my own meandering and messy arrangements, the parts are made distinct through signalling and punctuation. I'll reserve comment on source usage until after you've removed/replaced the directly sampled elements. This would get a NO, OVERRIDE currently. Sorry dude. Cool source. The arrangement might still work, provided it's cleaned up and more clear to the listener.