Rozovian

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About Rozovian

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

Profile Information

  • Gender Male
  • Location Finland

Contact Methods

  • Website URL http://rozovian.wordpress.com/
  • AIM Rozovian

Converted

  • 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) Logic
  • Software - Preferred Plugins/Libraries Pianoteq, Omnisphere, FM8
  • Composition & Production Skills Arrangement & Orchestration
    Synthesis & Sound Design
  1. There's this ffx thing we did in a hurry, though it's not official ocr stuff, and we didn't cover a particularly large portion of the tracklist. And there'd be competition for Besaid, no doubt. But I've got some other tracks in mind, myself. Once I've got my music setup in order again, I'd be interested in an FFX project. But I'm not gonna run it.
  2. Ice Climbers - Big Band remix

    There's probably a hundred different ideas on how instruments should be panned. I find this panning a bit too excessive, or at least unbalanced. I prefer that each panned element of the mix is counterbalanced with an element panned opposite. In EDM, you can have hihat left and a shaker loop right. In rock, you can have hihat left and a hissing, noisy amp right. That's the high range, and the same applies down the ranges down to the lows where human ears can't really discern direction much, and it just wastes headroom to make it stereo. As for this track, the right-panned brass doesn't seem counterbalanced with anything. It starts off with everything slightly left of center, until the right-panned brass comes in (before the rest of the brass comes in, as they're slightly left of center). Imitating the positioning of the band from the perspective of an audience member is a valid pan philosophy. In this case though, it seems this audience member is actually on stage. I suppose that'd just as valid, but a lot less common. In my experience, anyway. I don't listen to enough jazz to know, and rarely with my mixing/eval headphones anyway. Yes, this is on headphones. It's most likely a lot less of an issue on speakers. Still, I would recommend putting the drums center, and trying to counterbalance everything when possible. It might be too late for this, depending on how it's recorded. Fortunately, it's no dealbreaker. Just a nitpick that's worth three paragraphs of text. The arrangement is great. Lots of creative takes and variations on the source, easily recognizable, nice structure to it. It feels a little too loose, though, as if you needed a conductor, a louder drummer, or something. As for the mixing, it should probably be louder. Difficult to say when I'm listening through soundcloud. Dig up a couple of big band jazz things on ocr, for reference. #1847 The Shinra Shuffle and #1947 Big-Band Battlefield both sound louder than your track (again, soundcloud might be mesing with this). Just don't overdo it. Better too soft than too loud. The piano should be louder, more clear, more upfront, more prominent in some way. It's lost somewhere there in the background, yet you feature the pianist in your first post. That seems a bit contradictory. It sounds okay during the soft parts, eg around 2:00, but even there it could be a little louder. There's still technical adjustments left to do in the mix, but depending on the material you have recorded, you might not be able to correct everything pointed out to you about it. Find the point when it's no longer cost-effective, time- and effort-wise, to keep fiddling with this one, and then sub it. Cool stuff. Nice work, guys.
  3. Good news, bad news. The good news is that this is structurally much better than your previous remix. The bad news is that this still runs afoul of the rule about sampled audio from Square-Enix-owned material. As the Piano Collections were released by SE, I guess that's another NO, OVERRIDE. Sorry. There's some clashing notes in here, sometimes between the synth and the source piano, sometimes between the piano parts themselves (eg 0:55). I like the 808 tom melody. I can't quite grasp the time signature of the track. Most of it is a fairly straightforward 4/4, but the way the piano elements come in suggests something more like 12/4 at times. It's interesting, but it doesn't sound entirely deliberate. There's problems with repetition, as expected from something built primarily on the source audio cut up and looped. Stuff like the 2:27-2:58 part, maybe in part because of the odd harmonies and clashes and things, gets old fast. Like I said, much better than your previous mix. Keep trying. I suggest you try to make one that doesn't sample the source directly. While there's only a NO, OVERRIDE in the case of SE-affiliated material, and sampling can be done very well, I think you'd benefit from improving the other skills involved in remixing. btw, please list the source as it appears in the game, too. This track. This is what the judges will judge your track against. If a remix of a remix (all submission qualifications aside) doesn't keep the video game source material dominant, the remix is "too liberal" and doesn't get approved.
  4. Mr. Nobody - Roxas Theme Remix

    An OCReMix can't "include any sampled audio (...) from material owned by Square Enix or its subsidiaries" as per the submission standards. Your track seems to be the original, with a delay and some filtering, and some drums and things. If that's the case, then if you submitted this and it made it to the panel, you'd get a NO, OVERRIDE vote. If it wasn't an issue with the Square-specific audio usage, you'd still get a NO. There's abrupt transitions, issues with repetition, some weird structural decisions, the B part of the remix is difficult to trace to source, there's clipping or other unpleasant distortions on the drums, the elements aren't effectively separated and the whole mix is therefor muddy and not as clear as it should be. It's also interesting, as I can hear that you've worked with quite few techniques and done something creative with them and the source material. Because it's your "second mix ever", I'm surprised it's not terrible. My second mix ever was terrible. Most people's second mix ever probably is. It seems you're just using the sampled audio in different ways, plus some loops from somewhere, creatively. It takes about two years for people to get a mix approved and posted on this site, more or less, depending on experience, resources, knowledge, spare time, talent, and a lot of other things. You're off to a good start. Some of that time is spent just understanding what an OCReMix is, and what you need to improve in order to make one. In your case, I suggest you look into working with virtual instruments. I know your other post here mentioned synths, so I'm looking forward to hearing that.
  5. Quick reply, haven't listenedto the update: Having effects doesn't mean using effects right. You have a very exposed sound. Some genres and styles can do this, and chiptune-y stuff generally doesn't need a lot of effects. But tracks still need their own place in the mix. Start with the levels, then push tracks into their own frequency ranges and give them the sense of space (with reverb) that they need. That's the order I recommend doing it in. Dunno how much you've already done. What I call expression is the feeling that there's anemotion behind the sound. A static waveform, which many simple synth patches have, generally doesn't have a lot of emotion. While that's fine for fast melodies where the expression comes from other things, slower melodies end up sounding robotic when the simple sound designed is exposed. That's when you want small things changing in the sound. A good analogy is the violin, because a violinist will vary the vibrato and the strength of the stroke all the time, and sometimes lag behind the beat slightly, or do other things based on what they feel the melody needs. Timaeus covered some of the tools and techniques to use for this. The tracker scene is about using old tools (trackers) to make music. A lot of chiptunes are made in trackers, but there are non-chip-based trackers as well. A lot of old game music was made in trackers. It's got its own sound because the tools lent themselves to certain techniques. I like that sound. It's part of what got me into music. Minor sources don't need to be sourced if the main source is dominant. If you want to mention them, that's fine. The overall impression I got was a good middle, a weak beginning and end, writing-wise. The sound was raw and exposed, and had some track level balance problems. Dunno how thenew version sounds. Hopefully better.
  6. It's either my ears or your compressor, but I hear too much compression. The lead doesn't need to be _that_ loud. I really don't like the lead. It's either the level at which it's mixed, or the timbre, or the dynamics, or some combination of those, or something else. Something about it makes me quickly tired of it. I should like it. It's not a bad fake violin. Humanization is hugely important in a track like this, and that's another thing I don't like here. This doesn't sound sufficiently expressive, not human enough. The arrangement sounds fine to me. I can't speak for classically trained orchestration professionalsand whatnot, but I find this sufficiently arrangedand full of source. Maybe the final iteration of the A part could be emphasized, foreshadowed a bit more, or given a sound that gives it a sense of ending, whether a big or small ending. Maybe a different use of the supporting instruments, more arco, staccato, I don't know. Maybe. Also, the very end cuts off. Leave enough room for note releases and reverb tails. This all sounds pretty negative, but that's all the lead's fault. This is a pretty good track, it just needs to be more human, andless hard on the ears. Even better with improvements to the other issues I found. I hear nothing that says this arrangement isn't ocr-level, so well done there. Humanize and make some production tweaks, and you should have an ocr-ready mix. Nice work.
  7. For the record, unlike Gario, I don't like sound effects. This is a mess of sound effects. Surprisingly, I don't terribly mind them, once the track gets going. That's successful integration of sound effects into the track. The sound seems like a combination of sounds ripped from the game and simplistic synth design. It's not mixed well, both in terms of levels and frequency balance and placement. The sound design gets better as the track goes on. Sometimes I wonder if the ripped sounds were mapped to the right key, as parts like1:25 and2:13seems to clash badly, but I can't tell to what extent that's a writing problem or a instrument tuning/mapping problem (either can be solved in the writing).A chiptune-y aesthetic is fine, but it still has to be mixed better. I suggest you work on creating some expression in the leads especially. The arrangement pretty cool. The beginning, in part because of the mixing problems, sounds newby, and the ending drags on for quite long. That aside, it develops well, and has some really nice moments, many in the intense 3:00-4:00 area. There's bits of the arrangement that bring to mind the tracker scene, little snippets of melody that does very tracker-y things. The writing is full of references to the source, and I think I heard some other Sonic sources as well in there. Arrangement-wise, I'm a little concerned about the beginning and the long end, but the middle is done well. Still, I wouldn't be comfortable passing this if I was a judge, mostly for the mixing. There's things about the arrangement and sound design to complain about, sure, but it's the mixing that's the big problem here. Get your track levels in order, and use EQ and reverb to give each track its own space in the mix.
  8. I was thinking this could have been a collab, with Kamex being the collab project's account. I didn't want to make any assumptions, but I'm glad I could spot the influence, and apparently,so are you. If this is rejected, it'll probably be for arrangement, or for a myriad of small issues that just collectively annoys the judges too much for them to approve it. Even so, it'll be more useful feedback from a few more people. Great work regardless, I hope you're making progress on other music as well.
  9. This is marked for eval, and you haven't received one for the most recent version, either because the tag was only recently set, or because we evaluators didn't catch it. Are you still looking for an evaluation?
  10. Zelda Majora's Mask - Deku Palace Remix

    Aaaand we're a month late for this. Just PM some of us evaluators if we're being slow, ok? I'll just base this on my last eval and see what still applies. Sound design still needs work. The FM synth isn't a problem. The delay on it is a little annoying. There's that weird tuned shaker-like sound that's not lining up with the other melody. I recommend you just scrap it. it's not a bad sound, but when it doesn't line up, it doesn't work. it plays the same melody as one of the other instruments, so you're not losing anything important. Drums feel more like a part of this now, so that's an improvement. There's a lot of different beats used here. Good news, bad news: it feels like variation for the sake of variation rather than what the track needs at the time; you've now got lots of beats to work with, and can pick the ones that fit the dynamics of the tracks, whether it's banging cymbals or something lighter, whatever the track needs at the time. Fake guitar still needs more performance/humanization/sound design work. Consider where the notes overlap where they shouldn't, and where they don't, where they should. The lead works ok in this context, the backing guitars don't. They're managing to be both too loud and distinct, and muddy and muffled. Are they playing octaves? Power chords? Consider what a real guitar player would play if they weren't playing lead. Still feels like something is missing at 0:25 when the bass isn't there. Your transitions have improved. There's still work to be done to make the arrangement make sense, but they're a lot more fluid than before. Yeah, the arrangement still doesn't quite make sense. Here's how I'd break it down: 0:00-0:18 pre-intro whatever 0:18-0:23 intro proper (yes, there's overlap, and that's fine) 0:18-0:37 first source melody, we call this the A part 0:37-0:53 repeat and end of the A part 0:53-1:31 the B part(s), which is a collection if disparate little bit stacked in sequence 1:31-1:50 the transition into the break, which works quite well 1:51-2:07 the break proper, also works quite well 2:07-2:22 the break, again, but with drums, which then randomly stop 2:25 ending and fade, works well Based on that, I find that the problematic parts of the arrangement are in the second repeat of the A part, the entire B part, and the part between the break proper and the ending. There are some melody lines that I find awkward, even in the good parts, and there are parts of the problematic bits that can be reworked into something great. Here's how I'd solve the arrangement problems: The repeat of the A part wouldn't be that different from the first time through, and would transition into _a_ B part. The B part would be replaced, possibly with something new, but probably with something based on a part that's already there. I'd probably repeat the A part after the break, but do it differently. An easy way to do this is to just change key, but changing scales, making it "bigger" by using different instruments or just getting more out of the ones you used before; something. That's my solution, but it's not the only one, and it might not be right for your vision of the track. Maybe the pre-ending bit should be a "smaller" repeat of the A part? Maybe it should be something completely new? Whatever works, I guess. The problems of structure and production remain. But it's a lot better. How are you adjusting to working in a DAW now?
  11. First, I noticed we were late to respond to your last eval (then mod review) request, too. You know you can just PM some of us when we're being slow, right? You're promised an eval by using the eval tag, so if you're not getting one, we're the one at fault. That goes for everyone here. More info in the eval thread. The source sounds like Hiroki Kikuta's work on the Mana games, so I already like it. And I know it's been remixed before, with pretty niceresults. Good choice of source. There's something about the chiptuneyleadchoice and elements of its writing that's typical of a lot of remixers. To me, it mostly brings to mind TGH's originals andBGC's chiptune album, both of which I've enjoyed a lot. TGH remixed this source too, through to a different sound. The combo of those elements and the big, hard-hitting drums isn't something I've heard too much of, and it's a nice, dramatic combo. I've got no complaints about the sound design, and there are plenty of very cool sounds in here. Source is there, handled creatively enough for ocr, although there's parts that I feel are unnecessarily changed, going into soloing where the source would have sufficed, and felt a bit forced because of it. Arrangement bookends, which is nice. It sometimes feels like the arrangement is a sequence of cool ideas put together without much thought to the overall structure, though each of them works well on their own, and the transitions aren't jarring or anything. There's not much need for humanization in a track like this, but the guitar-like sound starting around1:54feels like it's supposed to be more human than that. It's a small part of the remix overall, but its more natural sound makes it stand out. Not in a bad way at all, quite the opposite, but also in a way that highlights it... and its mechanical sequencing. Humanizing that bit would do a lot for the track overall. My default take on compression is that if I notice it, then it's too much. In electronic genres, I'm a little more tolerant, but I find it a bit excessive here. But only some of the time. It's as if you had two sets of similar drums, one side-chained to the compressor and the other not. It could be an effect of the lead's envelope, where the effect of a lead line ending together with a big drum makes the drum seem like it's compressing more than it actually is. The dynamics of the supersaws behind it all being heavily affected by it adds to this effect.I don't think it's at a point where the track would be rejected for it. The frequency balance could probably stand to be a little brighter, to have a little more highs. This is something you should mix to taste, with some well-mixed reference tracks for comparison. The clock effect at the end is a nice touch.I think it should continue for a little longer, either fade with the epiano or end some other way, because it currently just stops, which sounds... wrong. It can always be better, but I wouldn't mind having this in my ocr playlists. I think it's good enough for ocr.Nice work.
  12. Workshop Discussion

    We've adjustedto the forum upgrade from a while back, we have new, fewer stickies, and a new evaluator.I'm bumping this to ask a few questions for you all: What works well on the remix forum? What doesn't? What would you like to see changed?
  13. Seiken Densetsu 3 - evals after new year's

    It was promised for this year, at a panel, so we'll at least make sure that happens. It's taken way too long, and that's mostly my fault. Ambition, perfectionism, and an aversion to deadlines... not a good combination if you want to get things done. Next album I make is going to be three tracks long and have at most two remixers. No trailers or previews or anything, and the website will be in HTML 2.0. With ASCII art. Space Invaders. Coming "soon".
  14. Besaid Island Remix - Denzel Parks

    No problem. Protip: read the how-to threads at the top of the forum. They're there for a reason. You removed the eval tag from your other two mixes, and I only got to one of them in time, so that'll be enough from me for now.When you have a remix that you think is ready for ocr, mark it for eval and I or another evaluator will be there (hopefully within a few days) to give it our critique. Again, welcome to the site.
  15. The choice of style is a good one. It's nice and chill. With one exception, the sound design is pretty good. At 1:35, you introduce a synth that clashes with the rest of them. It's also the exception to the good sound design. Good sound design doesn't mean the track is mixed well. I find the drums stand out a bit too much, while the other elements become secondary background things. In most tracks, drums are not a lead instrument. I don't think they're supposed to be one here, either. Most of the tracks don't feel integrated into the track. Some specific work with track EQ, and some subtle compression on the whole thing should help glue the elements together. There's the sound of some talking, something voice-like in the background, that I find annoying. Were it there once or twice, I might not care or even notice, but it keeps appearing throughout the track. This falls under pet peeves and artist's discretion, so it's not something I expect the panel to reject it for. I suggest you consider why you have it there, what purpose it serves. The arrangement is fairly simple, and I don't get a sense of the track actually going anywhere. You've got a good enough groove going that the track doesn't fall apart because of this, but it's still something worth looking into. I still find it too repetitive. The source is simplified and repeated, with some variation to the dynamics via the appearance and disappearance of other tracks. I don't think that's interesting enough to carry the track. Since you're drawing on the epiano aesthetic, you could let it have a few small melodies during the groove parts. Nothing distracting, since this aesthetic works as a fairly minimalistic thing, but something to break up the repetition more. All of the instrumentation could do more, whether it's obvious things, or just some human touches here or there. The mechanical, inhuman sound of the instrumentation doesn't help. The bass stands out as especially robotic. The 6/4 time signature seems to cause some confusion, and some poor transitions such as 1:33, and the ending which just... ends. I like it. It's got a cool sound. It'll take some work to get it ocr-ready, but the hard part - the core idea - is there. It's also a source, a game, that hasn't been touched much. Good luck and have fun remixing.