• Content count

  • Joined

  • Last visited

  • Days Won


1 Follower

About Gario

  • Rank
  • Birthday 06/17/1985

Profile Information

  • Location
    Vagabond in the Southern California region

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
  • Instrumental & Vocal Skills (Other)

Contact Methods

  • Skype
  • AIM


  • Real Name
    Greg Nourse
  • Occupation
    Math teacher / Music Theorist / Construction Superviser / Electrical Engineer

Recent Profile Visitors

9,892 profile views
  1. Just giving a heads up, for something to be ripe for a mod review the track should be considered finished, with all the trimmings completed. If you're missing backing vocals then this is a WIP, not a finished mod review track. Just a heads up and a slap on the wrist on that front. That being said, I think this sounds great so far. You've got some nice vocal chops, and your performances are tight as hell. Paired up with some good production values that makes this quite a solid listen, overall. The sources that I'm familiar with in this are well integrated. I'm not at all familiar with Mario Odyssey's OST, so perhaps a link to the primary source would help me compare what you've arranged, but from all that I recognize I think this would be a great track to submit once it's finished.
  2. You've got some lovely commentary on here, but I'll add my two cents and cap this off with an official mod review. EVAL You've gotten quite a bit of energy put into this track - the instrumentation sounds far better than the source while losing nothing in the original source's energy and intent. Of course, when handling the track in a way that's similar to the source you run the risk of being TOO close to the source for OCR's purposes, which unfortunately would be the case here. The notes, the style, the instrumentation, etc., is all very close to the source material, to the point of sounding like a sound upgrade rather than a re-arrangement of the material. Nothing wrong with that, of course, but it wouldn't be something OCR could post. On a related note, the arrangement does a direct loop with no difference between the loops (other than the automated highpass location). It's a bit of a side effect of following a source too closely, but it's still an issue in it's own right worth addressing: if the repeat is nothing more than filler for length then it's not worth having in a stand alone track. In this case it's a method of achieving an almost three minute runtime rather than a meaningful expansion of the track. Give the listener something new to grab hold of if you use such repetition in the future - some new textures, variation in the theme, a variation in the drums, etc.. As far as the production values go, this isn't bad - the overall loudness of the track is about where it should be, and save for the moments where the highpass overtakes the track there's little notable overcompression or limiting artifacts. Those automated highpasses, though, really cause production problems (clipping/limiting artifacts), and they make little musical sense to boot. Techniques like automating the highpass should be used with some purpose in mind, not simply in the middle of an otherwise straightforward arrangement just for the sake of having an automated highpass. It really tars an otherwise enjoyable track. It's not bad, but it would be stopped right at the gate due to how conservative the arrangement it. Furthermore, the strange use of automated highpass would cause it some problems, as well. While not a bad arrangement, it's not something OCR would be looking for.
  3. Ah, MkVaff, one of the true OG's of OCR lore; he's pretty much up there with Disco Dan and IAmEvil as far as prestige goes. I'm glad we were able to post this track - it's an entertaining as hell arrangement of an under-represented soundtrack - and I'm excited to hear what you got in store for us in the future.
  4. I was very curious how one could make FF7's battle music into an elevator style song, and this did not at all disappoint. The switch to major was a smooth move, and the bouncy, overly active accompaniment really gives this that elevator music feel. That poppy organ was probably my favorite instrument in there. As far as places where you could expand, improvements, etc., I suggest building in a bit of an introduction. It sounds like it just pops into existence; with a small bit of introductory material it it'd prepare the listener a bit better for what you've got, here. It might also help generate some ideas you can use later in the track, too, as an added bonus. Obviously my opinion more than anything, but if you're looknig for ideas that's a thought. The mix is a bit busy in this. The production is otherwise great, but if someone isn't familiar with the FF7 battle theme the overall track would be difficult to follow since every instrument is mixed more or less in the same place in the mix. Bringing out the instruments that are playing a theme the listener can grasp helps make the track sound more focused and goal oriented. Granted, this IS elevator music, so this meandering aesthetic might actually work to your advantage in this case, but it's an idea of an alternative direction to take the track. Great little spur-of-the-moment track you've got here, though - I got a real kick out of it.
  5. Wow, I think this acoustic-only version is a really rich, self-contained arrangement in it's own right. The additional elements of the arrangement compliment the core, most certainly, but you've really got a great base to work with here. I'mma gonna hold on to this other version for my own listening purposes, too, since there really is a different tone to it than the posted ReMix. Not better, not worse, just... different. It's definitely difficult to hear some of the more subtle guitar textures in the posted version than it is in this unplugged version, which in some ways is a shame. Oh yeah, I like the remix, too - the overall atmosphere is almost heavenly, as the sound design compliments the lightness of the guitar work under it. The sounds are relatively basic, relying on what seem like preset pads and such, but I'd be damned if I said they weren't effective for the overall arrangement. Great stuff, here.
  6. Haa, I can't believe I never commented on this one after all of these years. Nine years later, why not; it's great to look at something I held as one of my favorite tracks of the day, and it's interesting to think of how it would be evaluated today in comparison to back in early 2008. Firstly, looking at it today with fresh ears and a relatively new appreciation for the whole judging process, I think this is still a solid ReMix and would probably still pass. The arrangement has a good sense of how to build into an arrangement, layering instruments and textures slowly over the course of a minute and a half. It's static, but it manages to stave off that issue by making distinct enough changes in the build-up to keep the textures fresh - a good lesson on how to be both repetitive and yet keep things fresh. The instrumentation is good... for the time. Today I'm sure this would've gotten some flak for the plain instruments and rather horrible sounding fake guitar (I would've counted it against him in a submission, at least). That's less a statement against the track and more a statement on where music making is today - so many tools out there to create amazing instruments that the instrumentation back then really does sound dated. Even still, I think the handling of the instruments in this solidly hybrid style would've made it a safe submission today. Larry's contribution to this track is gold, I don't care what kind of controversy it may have caused back in the day - those haters were just wrong. In all seriousness, though, it's really built into the track in such a way that you can't go without it. It creates a much needed pause in the energy level of the track, and it's used as a vehicle to introduce new subtle textures that would've been much less noticed had they been introduced otherwise. The vocoding is clean as hell, too, and the lyrics are amazing and rather profound. This track would've been boring and uninteresting without that section, and likely wouldn't hold up nine years later. Not going to lie, Larry be willing I'd love to have something like this in one of my remixes one day. The production is passable, but it seems to get hot in the second half of the track (after the vocoded part). I do hear some limiting artifacts popping up in sections like that fake guitar and such. The mix is good, though, and the majority of the production is clean, so I doubt that would've sank the entire track, but it's not perfect. Would it pass today? Probably, though it's impossible to say a definite "YES" on it, strangely enough. I love this track thoroughly even today, but I don't think it'd be an easy or certain pass if it were submit today. The tools people have nowadays make it easier to produce clean, solid arrangements - the fact that in comparison to many submissions today this has a few underpar instruments and production choices shows just how far the community has gotten in nearly a decade. Speaking of the past, I love the write-up, here. Reading things like "Jimmy's been busy working at GC [Guitar Center] lately, catchin' some mad deals and learning the ropes; seems like that's working well." is really hilarious in hindsight considering where our boy Jimmy has been since (composing music for games like Mass Effect 2 and having decent success otherwise selling his brand). It's subtle, but there's a lot of site growth that can be infered by quotes from OCR like this one. Good track, definitely one of my favorites from yesteryear (yesterdecade?), and a decent place to see just how much not only OCR, but amateur arrangements have grown over this time. Good stuff all around.
  7. I do like this, even past my academic curiosity: it's clean, it's clear and it's super interesting. I'll argue the issues that Mind Wanderer bring up in the arrangement are not 'problems', per se; it sounds like something Varese would put on a tape, or something Crumb would make with the different tuning style. I'd rather not fault the artist for something that's not only clearly intentional, but even getting the sound pretty spot on. There aren't any production issues to speak of that I can tell, so if the arrangement had enough source I'd say this was an easy pass. That being said, the concern that there's not enough source in this is perfectly valid. Here's where I can find the source, given a pretty liberal interpretation of the term: 1:12 - 1:28 - VERY liberal interpretation of a background texture turned into an elongated chord 1:54 - 1:58 2:02 - 2:06 2:28 - 2:31 2:40 - 2:43 ~30s / 197s ~15% Source ... Yeah, I think it was a mistake for me to post this up, considering the severe lack of source - it's such a strange source to begin with I thought it might've been a lack of familiarity that I was missing, but it's really just not to be found. The fact that it's 38% silence and single held notes should've clue'd me in on this, however - with that much quiet the track would've needed to be almost 100% source with what was left. Sorry, this one's a pretty clear NO due solely to source usage, but I do hope you try something in this style again with more clear references to the source since it's a really cool piece. NO OVERRIDE
  8. By chance I came across this thread while makin' the panel thread (did a search for the previous decision, found this thread), so I took the liberty of changing your tag. Hope you don't mind~! On the version you submit, I have to say the mixing and mastering was WAY better than the older version, which speaks well for your chances on there. I won't speak for the other judges, but I personally thought it's a really cool submission that now has the production to back up the arrangement. Good luck on the panel, by the way.
  9. Oh, this sampler? Cool; might be able to do better with it than I thought. Looking at that page, it looks like you can tweak every item/sample that comes out of it using the filter modifier. "REL" looks like the release modifer, toning it down (not all the way - that makes it flat and awful sounding) will let you adjust how long the choir is allowed to hold after you change chords.
  10. Well, glad you're getting some music off the ground nonetheless, even with free samples. If it helps, often samplers have a knob on them called "Release" that you can adjust to decrease how long the sample remains after you let the note go. Tweaking that may help make the music less "wet" - give it a shot. You'd be surprised what you can do even with free tools, sometimes.
  11. Oh, I just listened to this source a few days ago and thought it was a pretty cool homage to prior games. Almost an unrelated aside, but it's pretty fresh in my head at least. By the way, the genre is... Polka, I believe? It's very folksy, for sure - definitely not what I imagined when you called it "dance", lol. EVAL The idea is hilariously fun, and the execution is quite good. The overall textures are great, but the arrangement stands on that texture for long stretches of time. You likely be able to get away with something like that on the panel nonetheless due to the brevity of it all, but the relatively unchanging nature of the texture will likely impact the vote. The lead violin/viola part sounds strange in how it handles the vibrato. I hear some great humanization in the attack and levels, but it sounds like it wobbles the whole time. Vibrato is generally used at the tail end of long notes, not for the entire performance, so loosen up on that a bit. Speaking of humanization, the accordion is very well done. The swells at 0:59 - 1:19 in the accordion, however, sound unnatural to me. Perhaps I'm at fault, though - anyone have an example of an accordion making sudden swells like that? It sounds unidiomatic, which might affect the judgment on the panel. Overall it's a really solid idea, but it IS pretty short. I'm not going to lie, while it's not a hard limitation there is a suggestion to write tracks that are at least two minutes for the sake of submission, just to give the music some time to develop the ideas fully. While I won't reject it in the inbox for that reason, the length alone might affect it's chances. It's up to you whether to develop it any further, but I've got to keep it real on that front. There's about ten or so seconds of silence in the beginning of the track. Prior to submission I suggest cleaning that up, since you'll probably be asked to clean that up no matter how the track fares on the panel otherwise. All of that being said, it's a pretty cool idea with a decent execution. The humanization issues on the violin would land it a rejection as it stands, but if that's fixed it would have a shot on the panel. It's a tough call, though, considering the brevity of the track and somewhat static nature of the arrangement; this is likely one of those borderline cases even in the best conditions. If you send it off, though, good luck - with the violin fixed and the accordion swells toned down in intensity I'd give it my YES, at least.
  12. Hey, a Guile cover! Awesome. John is correct that this is absolutely close to the source, but I disagree that this is a problem - y'all do what you want to do. I always like to make it clear that there's no such thing as "too close to the source" unless you're submitting to OCR. As far as the rest of the track is concerned, I think you made some great choices with the lead instrument (it sounds synthetic, but it sounds pretty neat nonetheless), and the choir is definitely something that can work. However, the choral pads are very wet as they stand, which makes them sound like they're from a completely different piece. Outside of a church choral arrangement I can't imagine when you'd need your choirs to be that wet. John makes a really good point on writing idiomatically, if you want to make an authentic 'epic orchestral' piece. Though that's always up to the arranger, it's wise to take note of how instruments have been used in other orchestral works in the past, and write your instruments utilizing these idioms. This is one of the more advanced ways to make a piece of music sound authentic and realistic and it's not easy, but oh man is it worth it if you get the hang of it. In this case, rather than listening to Mahler and Brahms (as amazing as they are) I would suggest studying Williams and Horner, since those are styles you'd be closer to emulating. Or not; the track doesn't sound terrible, per se, but it doesn't quite sound like an epic orchestra, either. Always up to the artist what they're going for, but if you're making an epic orchestral arrangement/cover then you'd be in better shape to do so by doing your homework on how other artists and composers get that "epic" sound out of their instruments. Thanks for sharing!
  13. Disney In Talks To Buy Most of Fox

    It's a fun idea to have the Marvel universe all come together and all, but I'm thinking more in terms of Disney's monopolistic tendancies when I say I don't think this is a good thing for the rest of us. They have the tendancy to dig their copyright-law claws hard into IPs and franchises that make them lots of money. I'm still rather pissed at em' for changing copyright law to extend their Mickey Mouse rights constantly, which is preposterous. If the merger happens I think there'll be some cool short-term gains, but I don't think it's healthy in the long term to have one company in control of so much IP, especially when they've got a record of not letting things go once they've got hold of it.
  14. Paper on the history of VG remixes

    Ooh, you want to analyze some remixes for your paper? I can help a bit there when you pick any tracks; I've got quite a bit of experience on the analysis side of things. As far as the history of VG remixes, I'm not sure when the concept began, but if you want a good starting point of when they really started taking off look no further than file sharing programs like Napster and MIDI sites like for the American boom. I'm not sure when it started in other countries (like Japan), though, so you might need to do more homework for remix's even earlier roots. OCReMix is at least one of the oldest sites of it's kind, as well (pushing more for high quality Mp3 arrangements over MIDIs to contrast it from other sites of it's time) and gathering them in one place (in contrast to tools like Napster sharing all sorts of music), so looking into OCR's history and influence will be helpful for your paper, as well. I'm less a musicologist and more a music theorist on these things, so I probably can't help on this topic further than that, but I do hope it's a start. Good luck!
  15. Oh, a newcomer! Welcome to OCR! Bringing over an Asgore arrangement for your first outing? Good choice - that was a great soundtrack, with this being a solid penultimate boss music track. You nail the notes, as far as I can tell, and I can hear some interesting things done with some of the textures in the background (like the guitar part). Sounds like you had some real fun with this one. The samples used, are they out of the box from FL studios? You probably know they sound stiff and unconvincing, but I'll mention it really quick once again. I'm personally terrible at handing out advice on this topic (being an oldschool Reason user, I never had to deal with VSTi's), but Zircon made a guide a while back that has some good advice on how to expand your music library on a budget (or free, even). You seem to know how to handle your instruments well enough to where expanding your library will be greatly beneficial (even with freely available tools). Thanks for sharing!