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About Gario

  • Rank
  • Birthday 06/17/1985

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  • Gender
  • 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)

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

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  1. Haha, shoot. You don't have to compete for the tracks yet - you're in the clear. The whole 'Survival of the fittest' thing is for people that miss a deadline listed, which is not for another month or so. A WIP tomorrow would be great, though - I look for it.
  2. Yeah, this post comes off as a bit of a humblebrag, there. Absolute pitch, while certainly useful, is actually fairly common among more accomplished musicians, as a whole. It's useful to have, but you can still make due musically if you don't have it. On an interesting note, it's also something that people can have 'fall out of tune' over the years, too, so it's not something you want to overly rely on (my absolute pitch, for example, has fallen about a step flat over the years, as reproducing a 'G' often comes out as a 'F#' - a bit of stealth braggin' done right, there!). As far as your post, though, that sounds more like decent relative pitch, not absolute pitch, which is actually a skill you MUST have in order to be a decent musician. Virtually everyone utilizes relative pitch to a certain extent when they compose and arrange, and if someone doesn't use it well it's something that can be taught (perfecting it is something conservatories and universities focus on for the first year or so of education). It's not rare - it's something that's a requirement if you are to be a musician, at all. It's pretty strange to come on to a board for people who've dedicated much of their time to rearranging video game music and boast that you can recreate music just by listening to it (and comparing that skill to Mozart, who wrote his first opera at age 12). I'm half thinking that you're joking, because that's a pretty silly thing to do - it's like bragging to other fish in the ocean that you can swim. Just sayin', is all.
  3. Absolutely true. However, that DOES mean that there are PLENTY of Funiculi Funicula remixes out there that aren't hosted on OCR, if you're willing to look. It's a pretty famous piece, after all. EDIT: I mean, just take a look at this thing, it's hilarious and awesome all at once, lol.
  4. It's indeed a claim you can stake. I'm not too familiar with your music, though, so would there be a chance that you could PM me some samples of your work? Thanks - I'll hold that track for you until then.
  5. Alas, I don't think I named it correctly on the front page (Sorry!). That track actually was covered with a solo piano performance by Evory, so I don't think that spot is available... I'm not one to shut a decent track down, though. Send me what you have, and I'll see if we can make it fit. I have some ideas of how it would fit with bookending an album like this, so get in touch with your WIP.
  6. @ACMenes I suggest popping in about a week or so from now to check in on the progress & touch base - from what I gather from another project that Darkesword is running there's a family emergency that's putting him out of commission for a short while. I don't want him losing artists because he wasn't able to respond, as I'm certain he'll get back to you as soon as he's able.
  7. Sweet! There's no pressure to get something in QUITE yet, so feel free to take your time if you need to. First deadline is literally just for non-WIP claims, so you're covered.
  8. Double-post time! It seems to be the right time to start getting this ball rolling hard, so here we go! @bLiNd @Moseph @XPRTNovice @Cyril the Wolf @PabloComa @zykO @Eitzpii @Jorito @Sbeast @DjjD @Amphibious @Alephmale @Quinn Fox Giving a heads up for people that want to claim tracks without submitting a WIP, this is the last week I'll be taking those claims. After this, there will be two things that will happen: 1. There will be a concurrent competition that I will be organizing that will be utilizing the sources that remain. If one of these compos are available, this will be the strongest opportunity to get a spot on the album as a newer or less recognized arranger moving forward. I will be taking three sources at a time, and aside from the first round (which will be a freestyle round) I will be adding genre conditions/preferences. One more detail is that you will have one month to complete a competition track; ample time to submit something of solid quality, but it's short enough to keep you on your toes and push you toward finishing. While the sources are being set aside for the competition, though, I will NOT be accepting WIP claims on the track, so if you wait to make a claim past this week I can't promise the track will be available solely to you (though you may put your track among others into the competition). There will be some advantages to working on your track in a competition format, though, so keep an ear out for it! 2. If the competition schedule doesn't claim your track, you still have the opportunity to claim it yourself, but I will ONLY accept claims with a functional WIP attached to it from this point on - there will be no more red claims on the board from this point forward. If you still want a chance to nail your claim, now's the time. Of course, if you've made the claim, awesome! I will be keeping an active, watchful eye on your progress moving forward, so be ready to be bugged by me soon. If you're one of the venerable members that have a near finished track from ages ago, I will be spending the next week getting in touch with you one-by-one, seeing if there's anything I can do to help get you guys the supplies to finish your track (getting in touch with musicians to help, offering feedback if needed, etc.). I've made a cursory attempt to get in touch, but I will soon be actively pursuing your finished WAV. I am hoping to have these particular finished WAVs long before the final deadline, though, so expect me to be giving you guys some annoying nudges from time to time. Alright, here's hoping I start seeing people pushing forward with their music soon!
  9. I will close this off agreeing with most of what MW and Liontamer brought up above. I will point out that the Harpsichord popping out at 0:11 makes sense in the context of when all the music is playing together, but it really doesn't make sense to pop through that much at 0:11. Context is important - if something really soars above the other instruments like that, tone the levels down a bit until it makes sense to bring them up again. There are also considerable limiting issues with the production present throughout, but due to the dirty sound you have altogether that doesn't quite bother me as much as Liontamer. It's something to be aware of, though, and you'd be better off if you fixed your levels so you didn't have those limiting errors in your track. The biggest thing that brings this down for me is the issue MindWanderer brings up, though - the repetitive and static nature of the arrangement. Instruments are generally used in the same manner throughout the entire track - lead doesn't change, the growls are used in a similar manner throughout the track (save for at 1:17 - nice incorporation of it through that part), the drums vary little throughout, etc. Along with the almost straight repetitions that are present in the track, this leads to an arrangement that doesn't have much new to offer the listener after a minute and a half, which is a shame. The ending doesn't feel like it's finished, which almost makes this sound like a solid (if incomplete) work in progress. It's a great start, but I think there's some further development required before we can give it our stamp of approval. NO
  10. Damn, nearly eight minutes long. You're merciless - making us mod eval people work hard for you. Ah well, you make up for it by giving us some cool music to listen to - it all balances out in the end. EVAL Get started with the good, here - the arrangement is absolutely great. I love the handling of the themes, especially the integration of the various themes throughout (especially utilizing 'Spirit of the Night' as a compositional glue to keep the different sections related - nice touch). When everything is clicking, everything really DOES click. Slick lead work, awesome drums work, and overall a very driven arrangement that seems to tell a story. With a 6+ minute track there's bound to be a few things to point out, though. The aforementioned drums are mixed pretty far behind the mix, which is a shame since they're actually quite well done (particularly, the snare and toms are mixed way to far behind the mix). Letting some more highs through on the snare would be a good idea, as well, as it sounds pretty dull, at the moment. The synth choir that you use in various places (like at 1:12) sounds pretty weak, partly due to the attack on that sample. You don't want it swelling that much, or else on the quicker runs it loses prescence. A similar note can be said on the horns, but for a different reason; tweak the attack a bit so there isn't as much swelling on every single note, as it makes the performance sound mechanical when every articulation is the same. At 4:45 the guitar gets far too wet, there, causing all sorts of clashing in the layering. I dig the delay there - it's a nice effect - but having pretty heavy reverb on top of that is overkill. Tone that reverb down to a minimal amount, it's wet enough with the delay as it is. At the end there is a great deal of silence; be sure to cut that off before submitting. You'd have a decent shot if you submit the track as it is (I would consider giving it a borderline YES, as it stands), but I do highly recommend giving the drum mixing and balancing one more look prior to submitting this, as that drags the track down more than anything. I would love to see this on the panel sometime soon, though, and hopefully posted on the front page, so hopefully my suggestions help you get there sooner rather than later.
  11. Sorry, I missed this! Unfortunately (or fortunately, pending on your point of view), the Sinistral's battle theme is Battle #3, which has an amazing finished arrangement from Prince uf Darkness and Snappleman. Do take a look at the links on the front page, though - perhaps one of the Sinistral themes when you encounter them is to your liking instead? Just a suggestion!
  12. Contact Information Your ReMixer name: Sebastien Skaf Your real name: Sebastien Skaf Your email address: Your website: Your userid: 23598 Submission Information Name of game(s) arranged: Castlevania 2: Simon's Quest Name of arrangement: Children of the Night Name of individual song(s) arranged: Bloody Tears Link to the original soundtrack: Source Usage The source usage here is pretty straightforward. Notes I made a drum and bass remix this time, which is rather different from what I've submitted in the past, but I think it turned out alright. I pumped the tempo up to 170 - a familiar symptom of drum and bass, so I had the choice of either raising tempo of the source to 170 or lowering it to half that, and I chose the latter. As a result it sounds slower than what we're used to from Bloody Tears, but I think it allowed more room for the drum & bass style to breathe. Originally I had incorporated samples of the famous "The children of the night, what music they make" line from the 1931 Dracula, but I removed it when I realized it was still under copyright. I stuck with the track name, though. Thanks
  13. Man, I've got to say, between this track and the dubstep variation of Star Wolf's theme you had on the WIP boards, you know how to get some solid mileage out of it, and to be honest I love both of them (albiet for very different reasons). I'm really enjoying the power of the epic orchestral style here, and the lyrics are actually pretty powerful (and fitting of Star Wolf's character, from what I can tell). Unfortunately, both of your Star Wolf arrangements share a similar issue, as well: I'm not hearing enough Star Wolf in this arrangement. If someone can hear more source in this please correct me, but this is what I pull from this track: 0:09 - 0:13 0:57 - 1:31 2:10 - 2:45 2:56 - 3:03 3:53 - 4:28 115s/278s (the last seven seconds are just silence - I won't count them) ~41% Source Stopwatching this, I'm getting pretty shy of 50%, and I don't quite feel there's justification outside of using this method this time around. I wasn't catching virtually any source in the singing, but perhaps someone with a more attentive ear can correct me on that. So what I'm saying here is that this is too liberal for OCR as it stands. Given the structure of this track I could see this being easily corrected via the use of Star wolf's theme as texture in the background of the more open portions (which you start the track off doing - 0:09 - 0:13 is a perfectly good way to get source out of that). More of that and I could see this getting over that 50% mark without too much issue. The performance is fitting, and gets pretty exciting, but it has a few issues that hold this back, as well. The vocalist, while having a great voice, does tend to go flat from time to time. A re-recording would fix this, but if you don't want to trouble the singer a little bit of pitch correction software would also work to touch this up without issue. I know autotune gets a lot of bad rep (thanks, T-pain), but it's actually a tool for making minor tuning corrections like that, so don't be afraid to use it in leu of making the singer work extra hard. There's also an odd moment from 3:11 to 3:29 where the singer sounds like she's off a beat. An easy fix in a DAW would be just to shift her back a beat for that portion, so I suggest doing so. As a final note, the singing comes off as too dry against the backing instruments; put a little more reverb on it so that it sounds like it's being sung in the same room as the backing instruments. I really do enjoy this one, but I think it could use a little more work before we post it up on OCR. Do send it back our way with these adjustments in mind, as I think it's a great arrangement. NO
  14. 3. completed

    EVAL Well, this was a pretty full of energy! You got some nice, meaty drums, the side chaining to really back them up, and the glitchy, something-step sound overall does the source wonders. I think the main thing that I will comment on is that your lead has a bit too much portamento to it. When it's really juiced up on the portamento the notes often just sound flat rather than sliding to them properly. As a rule of thumb, if the note spent more time sliding than it did on the note, it's not going to be recognized as that note, so tone it down when it's supposed to be landing on the notes (like at 1:36 - it sounds pretty rough there). I will also note that it would be nice to hear at least one other instrument used as a lead from time to time, as that lead starts to wear on you after nearly five minutes. Otherwise, I think you have something worth submitting, here. It'd be a borderline case even as is, but if you take Starphoenix and my word for the lead and switch it out once or twice for something else, and tweak the portamento where it makes the lead sound too swanky I think you'll have a pretty solid chance at getting posted.
  15. Wow, this was one of the few that have been eval'd by Level 99 & Emunator, way back when. It would be nice if they dropped by periodically to say hello to the WIP boards again, from time to time, as they're pretty cool dudes. But I digress - time to give it an eval, Gario-style! EVAL Alright, you've spent quite a bit of time on this, and I do think you're close. The idea is interesting, and the source is recognizable. The production is in pretty good shape, to boot - I'm not hearing things like overcompression or limiting errors in this, which is good. You're probably tired of hearing the humanization issues on this, so I'll rephrase it in a way that might be more useful - your articulations are mechanical. Particularly, the attack envelope of your samples all swell when a real performer might only do such swelling at the beginning of a phrase. This afflicts most of your samples (solo violin, oboe, backing strings), so it's something that can't be ignored, if you presented this to the panel. Fortunately, most samplers that I've seen have knobs that allow you to adjust the attack of your sample, so decreasing the 'attack' of your samples will give you a tighter articulation. If that swell is inherent in the sample itself that's unlucky, but there's still hope in that samplers sometimes also offer an adjustment of where to start in the sample. Start after the inherent swell fo the sample and viola! Tighter articulation. I would highly suggest considering the phrasing of your instrumental lines, and focusing a little on when it makes sense for something to swell and when it makes no sense to do so, and adjust accordingly. I spent a lot of time on that (as it's the most noticeable concern), but I will also quickly point out that the mixing doesn't have enough focus to it. I hear a particular instrument (such as at 0:15 and 0:46) that pops out whenever it's around - that guitar. It really makes more sense as a supporting instrument, but it's mixed in a way that brings it to the front, at the cost of your more melodic instruments (like your violin and oboe). Past 1:45 it becomes difficult to follow your track, because of how things are mixed - there's little for the listener to grab onto, which results in the track sounding like it meanders. The strings sound like they should be the focus at that point, but they are mixed pretty far in the background (and have the aforementioned swelling that squashes their sound). Pay careful attention to your mixing. I do hope some of that helps you out. I hate to say this would still not pass the panel in its current condition, but I would be doing you no favors if I weren't honest. Pay attention to your articulations, and mix it in such a way that the listener can follow the most important elements and it'll fare better. Best of luck!