Gario

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About Gario

  • Rank
    Judge
  • 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)
    Reason
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
    Piano
  • Instrumental & Vocal Skills (Other)
    Percussion

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    TheGreatGario
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    TheGreatGario

Converted

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

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  1. Oh, this is really good stuff. The direction you took it was perfect to get nearly four minutes out of such a short source - breaking up that arp in the beginning, then expanding on the source in a more recognizeable way later. It has the affect of making the source almost obvious on a second pass, even though it was elusive upon a first listen. I love it. It's up to you, but have you considered sending this to OCR? I'd love to hear it there, if you're willing.
  2. It was inevitable for this day to come - a FF6 track named after the suplexing of a train. This certainly has a few good things going for it - the sequencing is pretty good, and that arrangement really does a good job playing with your expectations. A good example of how to handle precise repetition occurs at 1:11 - 1:30 (a copy/pasta of 0:02 - 0:21): moves just like an earlier section, but then it swerves hard against one's expectations. I preach that there ARE some good uses for copy/pasta, and you present a good example here of doing it right. The production on this unfortunately buries the good; the master track sounds like there's a heavy compressor and heavy low pass on it. There's virtually no highs that come through on this, and pumping from overcompression sound like it's happening in quite a few places. On top of that, the overall mastering ends up sounding pretty quiet, to boot. The performances, sequencing and even mixing sound acceptable, but it's all hidden underneath some poor production at the end of the day. I like what you did with the track, since it's something that plays with expectations. The heavy of production issues, though... take off anything on your master track, and redo the lowpasses and compressors that are in this so that the track doesn't sound like it's playing underwater. The fixes aren't trivial, but I think there's something passable under all that (since you DID submit this, and all). Good luck!
  3. It was inevitable for this day to come - a FF6 track named after the suplexing of a train. This certainly has a few good things going for it - the sequencing is pretty good, and that arrangement really does a good job playing with your expectations. A good example of how to handle precise repetition occurs at 1:11 - 1:30 (a copy/pasta of 0:02 - 0:21): moves just like an earlier section, but then it swerves hard against one's expectations. I preach that there ARE some good uses for copy/pasta, and you present a good example here of doing it right. The production on this unfortunately buries the good; the master track sounds like there's a heavy compressor and heavy low pass on it. There's virtually no highs that come through on this, and pumping from overcompression sound like it's happening in quite a few places. On top of that, the overall mastering ends up sounding pretty quiet, to boot. The performances, sequencing and even mixing sound acceptable, but it's all hidden underneath some poor production at the end of the day. I like what you did with the track, since it's something that plays with expectations. I can't justify passing something with this heavy of production issues, though - take off anything on your master track, and redo the lowpasses and compressors that are in this so that the track doesn't sound like it's playing underwater. The fixes aren't trivial, but I think there's something passable under all that. Here's hoping to see this again with some fixes! NO
  4. Remix Name: Ultimate Train Suplex! (The Decisive Battle from Final Fantasy VI) Mixer Name: iDeceive Name : Eleazar Garza Molina Mix Description: FF6 has always been my favorite game of all time, and this boss theme my favorite. I always found this theme to be highly mixable and always wanted to do a mix of it, I thought why not go back to Uematsu basics and make it a headbanger with a bunch of solos with a little violin in the mix as it is my favorite instrument.
  5. I like the breakdown - even thought it was a great idea. I simply believe it was just dragged out too long, is all - breaks the sense of flow the rest of the track has. Glad I could help!
  6. Oh my, I do like this. I'mma like this a lot. Of course, I do love me some psytrance, so that helps. Oddly enough, I was writing up a comment on this before the mod review tag came up, so I was already halfway done. Might as well go whole hog now and give you my thoughts on this for the panel, eh? EVAL The arrangement is really interesting - while the texture is damn iconic, at the same time it sounds so different from the source when it either doesn't utilize the theme or uses a subtractive rendition of it to the point of neigh unrecognizeability. Personally, I think that's a great approach, and that transition between the minor/major portion is powerful. For OCR? That could be a different story - with many of the source references in the first third of the track being very subtractive references to the source this could be approaching too-liberal territory due to how much non-source space the track utilizes otherwise. There's an argument to make for this either way, so I can't predict whether it'll get hit for being too liberal, but it's veeery close in that regard. If you like what you've got regardless (objectively it's still good, regardless of OCR standards), I highly suggest giving some solid time stamps of where the source is used to help us make the case that there is indeed enough source, particularly portions that are not the more obvious moon texture. Judges aren't perfect at catching subtractive source usage (just look at their review of my Jurassic Park arrangement - still a little sour 'bout that one, the source was there, dammit!), so a little help identifying where you used it could go a long way in getting this posted. It's a different panel since that track was rejected and the folks there are quite good at catching source, but I've been personally hit by this years ago so I'd rather you avoid a similar disappointment. The section at 4:05 that takes the theme into half time takes quite some time to get through. It's a good idea, but it lingers for too long - it simply left me waiting for it to finish by the end of it. Past 4:35 it could've came back in regular time again, or do the whole section from the source in normal time to keep the length as is (so the build can remain as is). As it stands the section lingers for too long. I like the production on this - clean beat (standard psytrance stuffs), with some dirtier synths on top when it really comes together. The ending few seconds, while it sounds intentional the clipping/limiting artifacts from the synth at 6:51-6:52 is pretty distracting. I suggest toning down that EQ envelope to avoid that, or alternatively use another EQ device on that synth to simultaneously lower said EQ envelop manually just for that instrument. Either way, a fix there would only help you, however you approach it. Otherwise, lovin' it. I think this has a good chance at passing regardless - it's just too cool and unique to ignore - but to better your odds be sure to send a timestamp of source usage for the judges, and perhaps take another look at that slower section in the middle. Fixing the ending artifact would be great too. Awesome work!
  7. Giant of Babil! Great source, one I personally think is under-represented overall. Simple as the arrangement is, I think it fits the source perfectly, and the little touch of extending the opening like you did does wonders for it. The mix is pretty quiet, and sometimes the textures pop out a bit too much (like at 0:55), but I think this sounds pretty cool overall. Thanks for sharing!
  8. Well, I'll say this first (before listening to what we've got) - if your style is to make something very conservative in the beginning, then expand on it later after establishing your material, I'm all for it, and so should the rest of the judges. Of course, pending on how much you expand on it, how long it remains on the very close source material, etc., counts toward whether it's stylishly different enough from the source for the panel, but that's what the eval process is all about. As for the rules for or against the sound effects, the only hard rule against them is that we can't take anything with Square-Enix sounds in it - everything else is all good. Another more obscure consensus is that SFX shouldn't alone constitute the source reference in an arrangement. Though rare, that issue does pop up periodically. Neither of these issues apply to this track, though, so no worries. That all being said, let's get this thing goin'! EVAL As far as production goes, this is quite good. The overall soundscape is clean, the mixing is solid, and there's no clipping/limiting artifacts/overcompression that I can spot. You've got some production chops that I can respect. As far as the arrangement goes, I do hear some differences coming in past the 1:30 mark (some nice counter-themes in the background - I think I hear some Zelda's lullaby there, even), and the addition of the pan flute was perfect. The material past 3:18 was particularly good, and blends with the original source quite nicely, to boot - wish there was more expansions like that in there. Aside from that, though, the similar instrumentation, the otherwise close adherence to the source and the similar pacing do still make this a pretty conservative arrangement. It's not a STRAIGHT cover, but it's still quite close throughout. It's a tough call, since there ARE some cool directions taken on this later in the track I think the combination of the same overall style and themes would still push this into the 'Too Conservative' category for OCR, as it stands. It's very close to what we'd be looking for, though - past the first iteration of the source (to keep with your mentioned style), if you integrated more of the Lon-Lon Ranch and Kakariko Village themes into the body of the arrangement, or added your own flourishes to the Lumpin' Pumpkin theme past that point that would push this past that conservative mark. It's still a great arrangement, and I'd argue it's close to being something you can submit, but it's still on the conservative side. Hope that helps!
  9. EVAL Oh, never heard this source before (haven't played Skyward Sword)... That's a pretty cool, calming source. The direction you took with this is clever, and it fits very well. The production is very well done, and you've got the chops to match. A few points: at 2:06 the higher lead is a half step too high, clashing with the chord prior pretty hard. It's the same as the doubling at 1:56, but the harmonies cause it to clash. Not a deal breaker, but it's something that you'll likely get called out on. The end of the recording retains the release on your guitar, which sounds like an artifact. Not sure if that was intentional or not, but it'd sound cleaner if that part was edited out. Not too much else to say on this one - it's in pretty good shape otherwise. If you sub'd it now it'd likely pass, so by all means send it our way. Nice work on this one!
  10. PRC366 - A Personal Surprise (Persona 5)

    Er... I wanted to get this done, but I got a sudden job which took my whole weekend. What can I say other than I never saw it coming~! ... Also thought we had 'til NEXT week, so this is a bust on my end (Sorry!). Looking forward to the submissions to this one, though!
  11. Yeah, while it's in the submission instructions as a part of the 'Arrangement' section, I could see how someone could miss that part about Square-Enix sampling being forbidden. Without going into TOO much history, it was enacted during the great FF6 album kickstarter debacle in 2012. Fun times, fun times... As far as recreating the samples, it IS technically possible to use that legal work-around by recreating the instruments from scratch in a synthesizer (one artist took another similar route in this remix, actually recording something that mimics that hollow bell sound from Chronotrigger's future area's theme), but utilizing a soundfont would be a no-go (since soundfonts generally sample from the source itself - no Square Enix SFX means NO Square Enix SFX). The level of work to recreate these synths, rewrite the parts AND convince everyone else (OCR and Square, most importantly) that these were created from scratch and were not directly sampled would be astronomical, for something this extensive. I love OCR and all, but I don't think they're worth that effort, lol.
  12. EVAL Ooo, that's some deep bass, there. Again, as your last track was, this one is really slow-burning. I think think the use of sampling in this is quite tasteful - almost like a Pogo-Chrono Trigger arrangement, there. My headphones that are listening to this don't have the power to let through that much bass so all I'm hearing is the harmonics (which makes it sound very strange), but that's an issue on my end, not yours. I would suggest running that deep bass through one more low-pass filter to clean those harmonics regardless, considering most people don't have the kind of equipment to get the most outta that phat bass otherwise, but I wouldn't fault you if you didn't do that, either. I think this actually would be a candidate for the front page... except for one crushing issue. That tasteful sampling? It's sampling a Square-Enix game, which OCR legally can't post. I wish that weren't the case, since I would give this an easy pass otherwise. Right now, though, I'd be forced to shut it down in the inbox... It sucks when I have to deny otherwise great arrangements because of that rule, but there's nothing that can be done for it - blame Square-Enix for that one. Great job otherwise! It really does sound great, and I look forward to more from you. I just can't see this being altered in such a way where it could eventually get posted, considering how integral the SFX sampling is in this one.
  13. PRC366 - A Personal Surprise (Persona 5)

    Dude, are you kidding? This is legit one of the sources I was thinking of posting if I won that freebie round. Need some more arrangements of P5 on OCR, it's criminal how there's not an arrangement of it yet. Man, now I REALLY would like to produce something for this, but if I tell anyone about it then it wouldn't be a... last surprise.
  14. PRC364 - The 14th Anniversary (Free Round)

    Eh, submitting something that's not remotely finished deserves the spoon, that's for sure. Ah well, congrats to Jorito!
  15. chrono trigger help

    You walk into the wind to counter it directly, so if you need to be careful you can walk to the side (which with the wind will push you diagonal), and when you get close to the edge you can hold up to stop. Run up until you have a comfortable height and then walk to the side again. Rinse and repeat until that section is done. It's slower than just running through it, but if you're having trouble it's more sound. It's been forever since I've played so I don't remember if the wind is constant or if it's periodic, so adjust the strategy accordingly. Best of luck, there.