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About Gario

  • Rank
  • Birthday 06/17/1985

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  • Gender
  • Location
    Vagabond in the Southern California region

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  • 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)

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

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  1. Ditto on the unnecessary pumping with the bass. I'm about 90% sure that's intentional, but it doesn't make it any more acceptable in this case - there should be plenty of space above that bass to make that unnecessary, considering how sparce the track is. The entirety of it sounds heavily low-passed, to boot, so overall the track sounds needlessly muffled. The mix, while not terrible, does have a few strange elements to it - that bass drum punches through way too much, and the hats + clap are so far behind the mix they may as well not be there. The arrangement sounds quite a bit darker than the source material, so based on the mood and tonal shift I could see an argument saying this is interpretive enough for OCR. However, there's no doubt that the arrangement is pretty static and repetitive, which still causes enough issue on it's own. The ending is pretty abrupt as well, though that's less an issue than the repetitiveness and static arrangement. There are some great ideas in here, but overall it's not quite up to the bar yet. Thanks for sending it our way, though. NO
  2. Funny fact I only stumbled upon when listening to this and remembered the game: The mythos from Mean Bean Machine is from the Sonic cartoon... which is a television version of the original Sonic games. No idea why they went that route, but it's pretty funny when you think about it. Anyhoo! EVAL: Gotta say, there are some very nice samples in this, and the attention to the humanization and articulations is certainly there to help flesh those samples out. Because of the repetitive patterns in the texture, though, over time I hear repetitions in the articulations and dynamics, as if the parts were copy/pasted with dynamics and articulations. Any individual phrase sounds human, but over the course of the track it makes the samples sound mechanical. Put some minor variation into the dynamics and articulation and it'll help sell the realism of this quite a bit more. That lead string texture gets pretty old in this quickly. You're working with a full orchestra, but 80% of it is strings. It makes the orchestration sound pretty bland when you have so many other tools to work with. Judges may consider the instrumentation static for long stretches because of this, which could affect the panel outcome. Don't be afraid of having other instruments cover the texture from time to time, like the piano did at 3:07. The beginning sounds oddly muffled and overcompressed for a fraction of a second, likely due to all of the instruments coming in at once, and when things get busy you can hear overcompression issues. Overall the track is well balanced, but be careful not to crowd the compressor when things are overly busy. It's a great idea, but as it stands the humanization, compression and static orchestration would likely hold this back on the panel. I like it, though, so hopefully some of my advice gives you what you need to make your epic comeback on OCR!
  3. As someone who knows the source very well, I'll say that this does cover that ground well enough. There IS one issue that will get this instantly rejected, though: those vocals are straight from the source. Normally that isn't a big issue (unless the samples make up a significant portion of the source connection), but this is sampled from Square Enix. They specifically forbade OCR's use of sampling their games, so we legally couldn't put this on the front page. Seeing that without those vocals this arrangement wouldn't work, you'll need to find people willing to record vocals that would compensate for that. Either that or impliment some clever instrumental ideas that replace the vocals entirely, but that would essentially transform this into something else entirely. Either way, no matter how good the arrangement is, if there are samples from Square Enix in there we actually can't post it, unfortunately. It's still a cool remix, though, aside from the strange mixing issues that Rozo pointed out.
  4. Riding in on Deia's coattails a little, but her review is spot on: mixing could use improvement at the points she mentions, the arrangement is short (a single run through the source material is all that it entails), and has an almost unfinished feel to it due to how abrupt the ending is. What IS there has very similar instrumentation and structure to the source (though admittedly of much higher quality). To be honest, it sounds like a great first half to a solid OCR arrangement, with the current end being where things really kick it off and you explore the material with your own spin on it - running through with the same structure and style once doesn't quite cut it for the sake of OCR's arrangement requirements. MindWanderer also has a great point in the production quality, since it indeed does hit the limiter quite often. Looking at the waveform, it's easy to see why: the low end takes up virtually all of your space. Toning down the bass will give you quite a bit more room to work with your other instruments. The instrument quality in this is absolutely superb, though, and the material that you added (choir, backing textures, etc.) only serve to improve what was in the source. I'm certain that you can push the arrangement side of things so it's more in line with our standards, based on what you added to this already. Pay attention to your mixing and production quality, and be careful not to push the low end too hard. Best of luck, and I hope to hear a resubmit of this. NO
  5. Yeah, it's pretty much dead as far as new development goes, though it has been bought out by another company so it isn't impossible for it to see a resurgance someday.
  6. Highschool? With that habit of Capsing Every First Letter it looks like he's passing through gradeschool, at best.
  7. Pokemon! Good choice for a source, and a great choice for the direction to take. The source seems to have a more ominous, epic feel to it, while this is more intense and in your face. To be honest, I think your track would be a better fit for something like a crazy intense battle. This is a very dense track. The overall production is quite loud, to the point of having mild clipping and some limiting errors throughout the louder sections. Every synth seems to be fighting for space, and none of them really win out past the 1:02 mark. Production-wise, this needs to be redone from the ground up: turn off your compressors and limiters, rebalance the mix so clipping doesn't occur and so that the leads are always clear (but not overpowering everything else). Then one can boost the volume using a limiter or such, but even then be careful not to create issues in the process. The drums sound quite generic, and do not come through at all throughout the mix. When balancing the mix, be sure to give some special attention to the placement of the drums in the track. Some special attention should be paid to the reverb in this as well for every instrument, since everything sounds very oversaturated, and is likely contributing to the overcrowding that's occurring throughout this arrangement. I don't think the notes in the arrangement sounded too off, save for a single note at 1:27 and 1:38 sounding a half step too high in the melody (either that, or the harmony is carrying a clashing note). If you're going to raise the lead for the sake of a cadence (as the source does), make sure it doesn't clash with the backing texture or harmonies. Listen to the source again and check to see how they handle it, as it's definitely in the source. The arrangement works well enough even with the vanilla synths, and despite the production and mixing issues there is a certain amount of energy that the source is lacking. I think it's a good approach, but you've got a lot of cleaning up to do on this. I wish you the best! NO
  8. Man, I've been sitting on this one for quite some time, here. On first listen, I thought it was amazing - the orchestration is tasteful, the instruments are humanized very effectively (minor complaint about the cello lead's attack envelop in the beginning aside), and the structure makes sense. Then I listened to the source to compare, and... well, it's hard for me to call this a "ReMix". The source is well orchestrated using virtually the same instruments, and the source structure is solid (which outside of drawing out the ending this arrangement follows to the note). I could see an argument saying this is a varied enough arrangement based on some of the backing woodwinds, a few trills on the piano and harp here and there, and the ending being a different variation of the source. For me, though, the textures mirror the source's instrumentation, the style is virtually identical, the themes share the same instruments, the pacing is the same... I'm thinking this is cover territory. My first impression still stands - it's STILL a gorgeous piece in it's own right - but going based on OCR's standards I'm afraid I've got to turn this one down. Thanks for sending it our way, though, as I still got a kick out of it. NO
  9. RebeccaETripp Rebecca Tripp ID: 48262 Game(s): Chrono Cross Song Title: Ancient Reverie Songs Remixed: Dragon’s Wish/Dragon’s Prayer Comments:
  10. Oh, this is really quite good; you DEFINITELY could do worse for a first submission. It's criminally short - I really wish it developed further with the meloncholy original lead being backed by the strange source harmonies. The lead work is just gorgeous, with the delicate application of vibrato and portamento. The instrumentation, with the simple synths, sounds great with the lo-fi processing used, so great work on your overall sound design. The backing to this is pretty repetitive, even if it's a great backing. That's the trouble with arranging such short sources - at face value, if one uses repeats to lengthen the arrangement it'll make for a repetitive, stale arrangement. It doesn't feel TOO detrimental in this track due to the clever lead work above it, but if you were to extend this any further it would drag you down. Letting parts drop, mixing the instruments in different ways, re-order the harmonies, etc., all are techniques one can use to get more out of little, which I would encourage you to explore in this. The EQ range is pretty limited to the mid range, which leads to the track's soundscape sounding constricted. Explore using synths in the bass range, brighten one or two of your synths with some high end EQ; you've got the space, so don't be afraid to use it. It's a great little piece, but as it stands it doesn't feel like a complete thought, quite yet. The repetition in the background holds this back, and with something so short repetition doesn't do the track too much good. The potential is very high in this one, though, so I hope you can expand this arrangement further and send us an amazing, dark, lo-fi Candy Crush arrangement in the near future. Hey, if this is your first submission, I can't wait to hear more from you regardless! NO
  11. Hi, Here's my first submission ever to OCREMIX. Google drive download : (Download icon is on the up right corner) Contact InformationYour ReMixer name : Clement PanchoutYour real name : Clement PanchoutYour email address :Your website : userid (number, not name) on our forums, found by viewing your forum profile : 34601Submission InformationName of game(s) arranged : Candy Crush SagaName of arrangement : Candy CrashName of individual song(s) arranged : Main theme Additional information about game including composer, system, etc. (if it has not yet been added to the site) Original composer : Johan Holmström Candy crush saga is developed by King and can be played on mobile and browsers (Facebook app). It's a puzzle game released in 2012. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Er, hard to find, sorry :/ Found this one : Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I made this song for MusicWeeklies, we're a group of music composers and we compose music each week with a special theme. The theme was "candy" and I thought it would be great to make a cover of Candy Crush Saga main theme. These days, I'm usually into lo-fi composition, chillout music, so that's why I chose lo-fi synths and sounds for this cover. I hope you'll like it ! Thanks ! Regards, Clement Panchout, from France.
  12. Haha, well I won't make any assumptions then about submission - it's always fun to hear more unrestrained interpretations, too. It's a fun little track, with a pretty sizeable shift in style in the middle and end. Individually I like each section, but the transition is virtually non-existant, and the sections couldn't be more different from one another (bouncy electronic into somber quasi-chamber orchestra w/ vocal clips). The section changes are quite jarring - either having a little more carry over or utilizing a smoother transition process would help this feel like a complete piece. I really enjoy the electronic parts. They follow the source quite accurately, though there's a considerable more bounce to them than the source does (which is pretty cool considering the source is pretty bouncy, as well). The somber portions are cool too, though the instruments would benefit from some humanization (e.g. playing with the parameters to make the performances sound 'more human'). For example, the strings would generally not have the same articulation for every note - swelling into the first note of a phrase and having the notes not swell for the rest of the phrase would be a more realistic portrayal. Also, in generall the use of dynamics for realistic instruments helps sell the illusion of realism. These factors don't make for a bad experience when I listen, though; it's more food for thought for your next endeavor. Nice work, and thanks for sharing.
  13. Well, this is a pretty cool idea - take an older track in the series, give it a more chill "menu screen" vibe as if it were to be a track in the new game. As far as composing soundtracks go, you've got some technique, and I like it. The overall source representation is clear, with some care to give a new spin to the textures from the source and make it your own. The track does repeat at the 2:00 mark, though, which is a pretty big no-no as far as getting it posted on OCR. I understand the idea if this were actually being used in the infinite soundtrack (loop points are important!), but for a stand-alone track it makes a third of the track sound like needless padding. The mix in this isn't ideal, either. While there is a sense of foreground and background, they're not quite seperate enough to prevent the leads getting a little lost in the supporting textures. It's not the worst mixing, but it could use another pass on the levels to help make the leads stand out more and the background textures sit further behind in the mix. Watch the soundscape in this, as well, since the lower mid range tends to get pretty crowded while the upper range is quite empty. The percussion at 1:14 fills the upper range nicely, but everything prior and after has a bit of a dull, lifeless quality to it due to lacking in the highs. All that being said, you definitely get your initial idea across, and aside from a less-than-ideal mixing job I could see this being a cool menu screen track for the Infinite game. However, one needs to consider that this is a site for stand alone tracks: a looping point isn't necessary, and in fact is frowned upon due to making a track needlessly repetitive on here. Change it up past the 2:00 mark so it's not as repetitive and give the mixing some more TLC and we might have something we can post up here. NO
  14. Contact Information ReMixer Name: Chief Takinawa Real Name: Bradley Richardson Email Address: Website: UserID: 34521 Submission Information Name of Game(s) Arranged: Marvel Vs. Capcom 2: New Age of Heroes Name of Arrangement: Infinitely Waiting Name of Individual Song(s) Arranged: Swamp Stage Additional Information: Composer(s): Tetsuya Shibata; Mitsuhiko Takano Platform(s): Arcade, Dreamcast, PS2, PS3, Xbox, Xbox 360, iOS Soundtrack Link: ReMixer Comments: ( )This remix was originally intended to be a concept theme for the upcoming Marvel Vs. Capcom Infinite's online lobby screen. I slowed the tempo down and gave it a jazzier feel as demonstrated by the keys and the "do-bop" vocals. The solo section is simple using traditional instruments and a more hip-hop ish drum break. Mixing and mastering to give it the highest quality I could achieve was definitely the most time consuming part of the writing process as always. Figuring out certain chords also took its toll on me. All in all I feel this came out nicely and I feel it would be enjoyed by several long time MVC fans as well as fans of traditional jazz type music. Thank you for your time! -Chief Takinawa
  15. Hey there! Yeah, you certainly have two finished WAVs on there, so you have nothing to worry about. I'll likely send permission forms again considering the age of this project, but outside of taking another track (which I encourage!) you should be set. The project forums are still there, though I don't know why you'd lose access seeing that I can still get in there no problem. It's about time I get those running again anyway, so I'll ask the staff to start giving people access to that sub-forum (so get excited, woo). I guess it's as good as any to pop in and ask: Any new updates from our artists? There are a few that have given me regular updates, but there are a few that still don't have an initial update for me. It's a relatively relaxed forum on here for right now, but don't think I won't start really getting in your grill for some updates if y'all are that behind (or just drop your claim if nothing is sent in soon). July 30th is a pretty generous deadline, so I will absolutely not hesitate giving you the boot if you don't have your 1st WIP by then (and I'll be givin' y'all lip if you don't have your 2nd WIP in then, too). We're still live, so don't go slackin' in here!