Gario

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About Gario

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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)
    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. Well, that sounds like as good an eval as any. I'll come in to pretty much re-iterate Larry on that point: It's quite good, though - the sounds are well spaced, and the synths are pretty meaty. This is very, very close to the source, though, so while interesting and well produced it'd likely not be accepted due to that. I could see something like this being taken into consideration if the medium were used to expand the source further in a way that other mediums simply couldn't (like utilizing the quick arps the NES is known for, for example), or even just expanded on the original source a bit more, but I agree with Larry that this is a bit too on-the-nose and would likely be rejected on those grounds. Solid listen, though - I did get a kick out of it, so nice work!
  2. Hmm, that is certainly something. I do not have Kontact, unfortunately, but on the Reason NX sampler I use there's an option to start your sample a certain percentage of the way into it, which can be used to manually cut out the swell inherent to the sample. Add a little attack (say, 20-50ms) to take care of the 'pop' that might occur from starting in the middle of the sample and that might give you something workable on the faster runs. I understand where you're coming from on that aspect, though - if nothing is to be done it isn't quite a track-killer (as the swelling is appropriate at some places), but perhaps this tidbit of advice might help.
  3. Always keep an eye on the Judges Process page, if you're interested in how things are going in there - you can see if your (or someone else's) track is on the panel, and see whether or not you passed.
  4. Borrowed chords, like 1st, 2nd and 3rd degree mixture, right? JohnStacy's points are correct - if you substitute one chord for another that functions similarly you'll rarely go wrong. I'll expand on this topic a bit, though, since there are other interesting ways to move into mixture and borrowed chords (and even beyond that, sometimes). Being a counterpoint junkie, I'll start there: if the counterpoint works, the chord progression works. Thus, if you transition into unique chords using solid voice leading the chord won't feel out of place. This is why there's a notable amount of Rennaisance music (Palestrina, Gesualdo) that has some pretty strange chordal patterns, and yet sound pretty natural in context - they never worked one music harmonically, only contrapuntally. If all else fails, good voice leading will smooth everything out. There's another related point of view (Neo-Reimannian) that dictates that the fewer notes that are changed, the less jarring the transition will be. Thus, if you only change one note from one chord to the next, no matter how much mixture is involved it will not sound out of place. Change two notes and it's a middle ground between jarring and not jarring. It's a logical yet interesting manner to get some cool mixture involved - lots of Romantic composers used this method of generating some pretty unique mixture. Those are a bit heavy on the theory, so one final rule of thumb: just use the chord in question, and if you don't like it, change it to something you DO like. You'd be surprised just how poignant an effect some of this can have if you just experiment with them; the 'hard and fast' rules on how to use them are a bit dated, anyway. It's nice to know that there are rules on the use of mixture, but really the only 'rule' you need to know is that there isn't really a restriction on their use. Hope that helps!
  5. Argh, something I missed in the heat of things. I'll give you a proper eval shortly, so keep an ear out. My apologies. EDIT: Apologies once again for missing this on the panel - I've been chewing on it on and off, so it's not that I wasn't aware of it. It's just that something always seemed to take time away once I started making an eval for it. Not this time - on with the review! EVAL An all French horn arrangement of Protoman's ballade? I'm definitely digging the idea - it has a diverse range, and the timbre is really rich. The performances are actually quite good, but I do feel there is some issue with syncing your trills from time to time. At 2:16, for example, those trill sound like a wash of sound rather than a trill because the two aren't quite lining up right. It's tough, but especially with those clusters throughout they need to be pretty precise if you want the listener to hear them as something more than background clusters as well. It's not always an issue, but your trill syncing is a bit hit-or-miss. The performance at 0:52 - 0:55 is a little too loose with the tuning, though that's about the only spot where it's problematic, so nice work on the performances in general. At 1:31 - 1:33 the theme has a note that's a step lower. It's not bad, per se, but it IS a bit unexpected - was that intentional? No worries if it was, but I thought I'd point that out anyway. Some of the effects are excessive in this. In the beginning the delay is too strong; every little slide and detail clashes against everything else. Definitely make the decay of that delay stronger, so that the little details don't clash as hard against your backing instruments. The reverse delay effect at 3:58 sounds strange, especially considering it's not used much prior to that point. I'd suggest either using normal delay or leaving clean at that point; without any other context or preparation, that effect doesn't work well. It's a great piece, though - despite all the nitpicking I've done here, it would still have a decent chance of passing the panel; if I had to guess, it would probably be a pass. A borderline pass from some (including myself), due to what I mentioned, but a pass nonetheless. Make some tweaks to the timing of the trills, let the delay decay faster and change the effect at 3:58 and it would be a much stronger pass, in my book. Hope that helps!
  6. Huh, no kidding on the precision of the loop, there, and it doesn't help that the ending fades out on was appears to be another loop. That pretty much bars it from a front page post, but I will mention that I think the style was pretty chill, with a nice bit of oldschool synthwork throughout. Some of the lead work branches out into some new territory, but it never feels out of place - all great qualities of a ReMix. This could easily be developed into something great to post on OCR if past the 1:50 mark things were done to differentiate the track from the first half (new lead work, different instrument orientations from time to time, perhaps a different section, etc.), but as it stands there's too much padding to the track with that loop. Fun track, and hopefully you'll make some tweaks and send it back our way! NO
  7. This is such a strange source to draw inspiration from, but damn do you pull it off. There's a lot of extra material in there, but from my calculation (source at 0:30 - 1:10, 1:32 - 1:49, 2:15 - 2:33) it clocks in at about 60% source, which is plenty. The harmonization really push this source to somewhere the original could never dream (ha, pun), and changing the harmony under the source (1:32) is a GREAT way to continue to get mileage out of it without having it go stale, so kudos to that. The plucking of the harp is a little too punchy for my taste when it carries the themes, and the violin sounds a little mechanical (the attacks use a little too much detache and nothing else), but otherwise the instrumentation is pleasant. It's something that could've easily been a part of Esther's Dreams, and frankly it's unexpectedly good from what you pulled it from. Great work! YES
  8. Contact Information ReMixer name: ChaoSynthesizer Real name: Stefano Bottarelli website: n/d userID on forum : 29189 Submission Information original game: Final Fantasy VIII arrangement name: The Man With The Synthesizer song name: The Man with the Machine Gun Composed by Nobuo Uematsu I always play the main song theme while goofing around in the studio, so I ended up recording the solo then adding the arrangements, it's a simple electronic remix
  9. Remixer name: tymime Remix title: sleepy baby weasel dook Game: Mickey Saves the Day: 3D Adventure (http://www.mobygames.com/game/windows/disneys-mickey-saves-the-day-3d-adventure) Source track: Rock-a-bye Weasel (https://www.youtube.com/watch?v=WMaF1TIY9mI) Link: Comments: I'm a big fan of the often-overlooked Disney weasels, so when I found there was a song dedicated to them, I knew I had to do something with it. There are a number of instruments that I picked to suit the mood I was going for, but the most important is the Celtic harp lead. When I was little, my mom used to play a tape of Celtic harp music to me and my brother to help put us to sleep, so I felt that this was essential to the arrangement. Also included is the music box soundfont from Yoshi's Island (more nostalgia), and at the very end, the actual sound of baby weasels playing. I don't imagine that whoever wrote the source expected anyone to take it at all seriously, but even if you picture a Disney weasel sleeping, the music to go with it has to be cute.
  10. Mmm, those reharmonizations are tasty as hell.
  11. You mean from this thread? Hey, you'll be a hero if you just start pushing good covers and arrangements from the ReMix Request area.
  12. If you're not planning on submitting the track, then please don't mark it for Mod Review. That's a tool to help people get an idea of how it'll fare on he panel without needing to wait however long it may take, but if too many people mark their tracks just to get a review it exhausts the mods on here, leaving people who actually need it for its intended purpose without the tools to do so. Mark it as a WIP to get the attention of other users on here, or mark it as finished if you're simply sharing your music. Thanks.
  13. Okay, this is actually really, really cool. Loving the use of the guitar bodies for percussion, and the overall soundscape is rich as all hell. You're in the right place for instrumental covers - we take em' all in here. Do keep posting your stuff in here, because this is awesome.
  14. EVAL The arrangement goes in some neat directions - it sounds like it merges a bit of MMX2's intro stage toward the end, which works pretty well. It really sounds like you're trying to fit a great deal of ideas in this, which unfortunately the track can't fit. The mix is pretty muddy, especially when you start adding new instruments at 1:34. There's only so much space you have to work in; if you add too much, either you'll have clipping, your limiter will cut out or you'll experience overcompression (which is the case, here). The soundscape is pretty static, too. You utilize the same instruments through most of the track (save for the addition of a new synth at 1:34), so the listener gets tired of that soundscape before long. Don't use all of your tools at once for the entire track; cut a few instruments out from time to time, play with different combinations, etc., and only really have everything going when you must. This will also have the added bonus of helping clean up the mixing, too. If you were to submit it, it's likely be stopped at the inbox due to production issues (the mixing & overcompression issues mentioned above). Bypass whatever limiters and compressors you have over your master, turn things down until you don't have clipping and work your mix up from there. Also, pay attention to make sure you don't use all of your instruments for the same purposes throughout the entire song, as that makes the arrangement tiring to listen to. The human ear craves variety, after all! Hope that helps!
  15. Not going to lie, this is an arrangement that I find myself coming back to ever since I first heard it. It's the kind of track that, while it doesn't really have that 'one moment' that really strikes you as amazing, its consistent high quality overall keeps you smiling through the whole track. As mentioned in the write-up there's a period where it gets a little stale, but the track gets right back into it and doesn't let up after that. There isn't really a mood that this track doesn't fit, and I wouldn't have it any other way. Solid work, a great track if you want to chill out OR shoot some alien scum.