Gario

Members
  • Content count

    6,689
  • Joined

  • Last visited

  • Days Won

    35

1 Follower

About Gario

  • Rank
    Judge
  • Birthday 06/17/1985

Profile Information

  • Gender
  • 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

Contact Methods

  • Skype
    TheGreatGario
  • AIM
    TheGreatGario

Converted

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

Recent Profile Visitors

8,851 profile views
  1. On the bottom left corner of Discord there's a button that begins a video chat (it looks like a camera, I believe). This begins a video session for the channel, which people can join at their leisure. Hope that helps.
  2. Personally, I thought this compo last year had a great method of pushing out timely arrangements while giving artists two weeks to mix (which is twice the normal time for something like this). Staggering the remixing periods so you always had two rounds of remixers at any one time was a solid strategy for giving people that extra edge. I would like to do more Castlevania music myself. I'll give my picks soon.
  3. EVAL Hmm, I can dig this; it reminds me of a slightly more hip version of LA Noire, with the smooth jazz and some added effects, for color. The tone and atmosphere of this track is pretty great. As far as how it'd fare on the panel, though, there are a few things that would hold it back at the outset. First and foremost, that kick is mixed loud to the point that it clips - the actual waveform is slicing at the top and bottom every time that kick hits. Tone down the kick levels so they better match the rest of your instruments. There are a couple of "performance" concerns and realism issues that catch my ear, as well. The piano utilizes some sustain pedal, which is great, but it doesn't release in time. This causes what I refer to as 'pedal mud', which just crowds your track. If you ever want some ideas as to how to work the pedal's magic Chopin actually wrote out his pedalling; you could spend a little time checking out how he designed his pedal and release timing and figure it out from there. The simpler bit of advice, though, is to just to release the pedal when the notes start clashing (like when there are some passing tones or the chord changes). The dynamics in the piano are a little stiff, too, but overall they're handled alright. The strings all sweep into the picture, which gives them the distinct impression that they're sequenced. I do not know what you're using, but often this is because of how the sampler has the attack set on the instrument. If the attack is something like 500ms or something, change the envelope after the first sweep in a phrase so that the notes don't all sweep in the exact same way, since real string players wouldn't sweep into every single note. If the sample itself sweeps and it's not the attack envelope it'd be wise to consider using another instrument for those lines; instruments like that are more suited to being used like pads and not used for countermelodies. Overall, the track does feel like it meanders a bit, but I think the elevator-like style has it's advantages, too. It does have it's highs and lows, even if the instrumentation is a bit static, so that helps. I think you'd be okay as far as the arrangement goes. I wouldn't see this track passing if it were submit as it is - the clipping and sample realism issues would definitely hold it back. Mix the levels on that kick better and see if any of the realism advice helps and you would have a much better shot on the panel.
  4. Rebecca's been getting better with the humanization overall, and her arrangements are getting better every submission, but I'm less impressed with the offering this time around in terms of humanization. The strings all have the same articulation/swell in the attack, and they're very often the centerpiece of the arrangement (particularly in the first minute and a half of the track), but even the woodwinds have this mechanical articulation throughout at various points. The arrangement is still really cool, though, with that choral part past 2:04 and some interesting harmonizations to boot. The orchestration really makes it sound much more majestic than the source. It's a tough call, but I know you can improve the articulations significantly, if any of the other submissions you've sent lately are any indication. It's close, and honestly I could still see this passing, but those articulations really throw me off, especially toward the beginning. Humanize your string and woodwind articulations better and this would be a musical force to be reckoned with. NO
  5. RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Final Fantasy 9 Song Title: Garnet’s Love Songs Remixed: Garnet’s Theme/Dagger’s Theme Comments: Here's a link to the track:
  6. Your ReMixer name: JohnStacy Your real name: John Stacy Your email address: Your userid: 33075 Name of game(s) arranged: Super Mario Bros. 3 Name of arrangement: The Journey Never Ends Name of individual song(s) arranged: Ending Your own comments about the mix, for example the inspiration behind it, how it was made, etc. This was originally started for the Smash the Record EP, but that lined up perfectly for the Insaneintherain Jazz Challenge this year, so I produced it for both (with a youtube video for the challenge). I've done a lot of performances of this source tune before, but they were all fairly close to the original style (as Latin, or a beguine for instance). This time I went in a different direction, trying to do it in the style of something Jerry Hey would appear on. I've recently discovered the magic that is Jerry Hey and his horn section. I used 2 trumpets, 2 french horns, and 2 trombones, which is similar, but replacing the tenor saxes with horns and adding a bass trombone on the bottom. I experimented with mic placement and saturation attempting to capture a similar sound to theirs in the 80s and 90s. Although I missed the mark, I did produce something I am very proud of. I've learned that a lot of music is playing to your strengths and making the best of what you have. I would have liked to have done a vocal track, but because of the time constraint I couldn't find a vocalist fluent in the style, so I just did it as a french horn solo because that was my best bet. So I present my arrangement, The Journey Never Ends.
  7. An update: due to the status of the album (basically it's on indefinite hold due to it being rejected) Argle requested that we release this outside of the album. To quote him: I'm removing the 'Projects' tag from this, so we can release this any time.
  8. EVAL Well, this is certainly a different approach to the arrangement - it's almost calm with it's 80's flair when most really push the pumping industrial aspect of the source. You almost forget that there are pretty catchy themes behind the more mechanical elements, which this does a nice job bringing out. I love the style, and I like the arrangement. The production is okay, as well, though it could still use some fixes to the mixing; while it's not an extreme issue throughout, there is still little sense of what should be in the background, what should be in the middle and what should be at the front of the mix. In this case, the pads are mixed in a way where they sound like they're in the middle of the mix when they'd better serve in the background. The lead that comes in at 1:16 sits in the middle of the mix when it would serve us better closer to the front. Little things like this help keep the listener focused on the important things while allowing the structural portions to do the necessary work. The pacing in the middle (1:47 - 2:53) is pretty slow. Slow isn't inherently bad, and you'll get different opinions on it from different judges, but stacking two or three distinctive yet slow sections in a shorter arrangement like this makes the piece drag. 2:18-2:20 sounded like it really wanted to bump the pace at an appropriate time, but it cuts short like an incomplete thought. To be honest, the style and overall quality might still land you a pass on this, but the vote would be close. I personally would send this back to you on the panel due to the mixing concerns and some pacing issues. It's a pretty borderline track as it is, so with a little spitshine on the mixing you'll likely have a good pass on your hands.
  9. Hit about 40%. I didn't have glasses when I first looked, so I squinted through the cloud cover; you could see it well enough that way. My eyes hurt afterward, though. But yeah, with someone else's glasses I got to see it clearly, and it was pretty cool.
  10. This is some really solid stuff, here! The production is crisp, and the performances are quite good. Nitpicking the performance a little, the acoustic portion in the beginning has some slightly wavering timing issues, but they're not a big deal. The arrangement on this one is pretty conservative. The change in style is good, and there is a neat change-up in the middle there, but it does stick really close to the source, if not too close. The copy/pasta repeat of 0:45 - 1:33 at 1:45 - 2:32 drives this home, being a deal-breaking issue in it's own right. The resulting ending just cutting out is also a problem, which branches from that section just being a repeat of an earlier portion. Y'all got some serious chops, though. Give the 1:45 - 2:32 some more attention and variation, give this a proper ending and this would be a pretty easy pass. As it stands, though, I don't think we can ignore the heavy copy/pasta in this. Best of luck, and thanks for sending it our way! NO
  11. Note: If this passes it'll need an original title. - Gario Hello my name is Caleb Flint and I do a project called Zelda Metal. Someone online told me about this community and I am really happy to come across it. I had no idea is existed! I hope you guys enjoy my arrangement. More song are coming soon! Caleb Flint
  12. This one's definitely something different. The beginning threw me off hard, with the combination of instruments sounding like a disaster as far as timing goes (the different attacks quickly coming together like that is what causes this). I'm glad I stuck with it, though, since the harmonizations and theme combinations are very clever, and it's otherwise pretty well produced, to boot. There are a few things that throw me off, though. The arpeggios at 0:47 & 2:13 sound off, like the notes themselves are a step or two too high. The lead balance at 1:21 & 2:48 was a bit off for me, as well, since it seems to be drown behind the textures and drums. The e-piano that supports the whole track is actually really cool, with all the different textures and counterpoints it has with the leading instruments. It's very dry, though, which makes its presence less pronounced than it should be. The reverb level is fine, so raising the levels a bit would help give it the attention it deserves. I'm a lot closer on this than I initially thought I would be, but that opening part really turns listeners off before it can show what it has to offer. Fix the very beginning, fix the arpeggios and balance the leads better in the mix and I think this would be good to go. NO
  13. Contact Information • fxsnowy • Adrian Bureu
 • Soundcloud.com/fxsnowy • 25684Submission Information • Megaman X3 and Megaman X5
 • Thermoception • Doppler Stage 1 (X3) and Dark Necrobat Stage (X5)My round 2 arrangement from the 2015 Sigma Fortress Remix Gauntlet. My original idea was a loose semi-realistic funky rock vibe with some added retro cheesiness.Source Breakdown :
0 - 0:15 Doppler0:37 - 0:47 Doppler0:48 - 1:10 Necrobat1:21 - 1:47 Doppler1:52 - 2:15 Doppler2:15 - 2:36 Necrobat2:48 - 3:20 Doppler
  14. Oh, absolutely resub if you want to give it another go. I personally never add the RESUB tag, since I was literally putting that qualifier on every single track I rejected. In this case I would strongly suggest resub'ing once you alter/vary/restructure the sections that are repeated almost verbatum (like I said, a little variation is there, but the copy/paste is very noticeable), as I think everything else is quite strong in this. Again, it was good enough for me to entirely miss the copy/pasta at first glance (which I still feel pretty awful about, by the way), so you were not far from the bar, there. Resubs are generally prioritized, so if you make good on the changes and submit it we put it on the panel ahead of the inbox, so by all means do send this in again if you want to make the requested changes.
  15. Alright, we got an update on this, so anyone who was a NO or conditional should give this another look. I gave this a YES before, so it's only a stronger YES for me. His message: Dear Judges, I want to thank you for the substantive feedback, it's very clear en specific! As Gario pointed out, I intended that background flute to play some jazz-like harmonies, but I guess it didn't work out too well. I've changed almost every part of the flute to something more acceptable (I hope). Nearly every note should be in harmony with the original scale of the piece now, but I kept the imperfect pitches so it will still sound human. I'm happy to read that some of you agree with the trumpet parts. It's been a long process to get it sounding like that, and not spending 140 euro's on a higher quality vst. I really wanted to meet Liontamer's criticism more here, but due to all the effects and edits on the trumpet it has become... "unstable". Even something simple as changing the velocity of a note is very delicate work now and I reckon has a high chance of impacting the piece in a negative way, so I picked the safest option here and let the part be. With the exception of boosting mid-high frequencies by 3 Db to make it sound just a teensy bit fresher. I've tried to speed up the intro some as DragonAvenger would've liked, but it killed the intended mood for me and I think that would be a shame, so I'm sorry for not making that change, DragonAvenger. And lastly, I've given the drums more variation and made them play some differing rhythms now and then to hopefully break up that metronome-like feeling. I also considered to change the whole set for a more realistic-sounding one as I obtained better drum libraries since I submitted this piece. In the end I decided not to do this since you've asked me for a *quick* fix and I presume you don't want me to alter the music too much as, from what I can gather, the track is very close to sufficing. Wandering too far from the original seems like a risky move. I hope you'll agree with the changes that I made (and didn't make) and that you'll give this track a YES. Even if it doesn't make it through, I'll be sure to send you some more game remixes in the future that I hope you'll like!:) Yours sincerely, Vijay van der Weijden