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About Gario

  • Rank
  • 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)
  • 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. Ooo, I really like this. I saw in the other thread (and even dropped this suggestion in there), but listening to this here, the real problematic samples are the two from Sora. Of course the Goofy/Donald samples are not good either for OCR's purposes, but you can look through some Disney material to find suitable substitutes. If those Sora samples are more popular quotes from the game or have some more meaning to the players (Not as familiar with them myself - only played through it once when it came out and once a year ago) you could perhaps speak the parts yourself. You never know, it could be a really cool effect on it's own with your voice speaking Sora's parts. Sorry we can't actually take Square samples, though - it causes so much unnecessary trouble for people. On an unrelated side note, that Halloween town remix is dope as hell - you've got some real solid vocal chops. It... just autoplayed the Soundcloud list while I was writing this, so there ya go, I'm a fan.
  2. Does this sample technically count?

    Not a bad question, but that's no-go, as Darkesword said If it were from one of the Disney characters, though, perhaps sampling a Disney property could be a useful workaround? It feels weird suggesting sampling the largest media company in the world rather than Square Enix, but them's the ropes 'round here. Otherwise, er, perhaps a good impersonation is in order? Ask around; you never know, someone might really pull through.
  3. Huh, I wonder why; I thought it was a pretty clever arrangement, myself. Ah well, haters gonna hate, as they say.
  4. Mega Man 11!!

    A new Megaman with a new style? That's pretty cool. It's also cool that they snuck in some concept art in Legacy Collection 2 (It's in the Megaman 8 gallery, showing one power that Megaman will get in 11) - I was wondering what the heck that design was from a week before this game was announced, lol. Speaking of that concept art, I'm loving the idea of Megaman's costume making more significant changes to show off what power Megaman is holding. To Supercoolmike's point on MMX9 = introduction of Cyberelves, I don't think MMX would ever reach that point, much like MMClassic will likely never show the beginnings of MMX outside of the filler at the end of Power Battle 2. At most, they'd likely continue the story of the new type of Reploid that Luminous and Axl are said to be. Putting something like the Cyberelf war or the beginnings of the X series at the end of their prior series marks an end to how far the company can expand their franchise, which for something as reproduceable as the Megaman series would be a serious blow to it's profit potential. If we ever get a game (or games) following the Cyberelf wars, it would need to be done with either a Megaman Zero series prequel or a new Megaman series focused in that era. Either would be pretty interesting, but making an official Megaman Zero game that was a one-shot prequel would get me hella excited. I'm not all THAT excited for a new MMX anyway for similar reasons Zircon has (post-MMX4 is mediocre at best), but on this note of a prequel OH MAN would a remastered/redone console release of the Megaman Zero series be absolutely amazing. It stayed high quality for the whole series, and frankly it follows an amazing story that 100% concludes it's story arc at the end of the 4th game (which is a rarity for these kind of games, due to the incentive to profit on them for as long as possible). The DS collection is a pretty mediocre re-release, so it really would be amazing with a fresh coat of paint. But yeah, new Megaman is a pretty cool thing. Does anyone know if Inufane is at all involved with this one? If not, this is will be the first classic Megaman game outside of his influence - how will the different ideas show forth?
  5. No confirmation email for ThaSauce

    Not sure if he frequents OCR anymore, but @Ramaniscence is the owner of the site. If the issue persists, you should figure out a way to get in touch with him. Also, totally still waiting on them to upload my Deus Ex submission I turned in five or so years ago - tell em' to get on that shizz, while you're at it.
  6. Ads on OC ReMix YouTube Channel

    Privately y'all probably know this, but I'll make it public here once again: DjP is a smelly doo-doo face. Also, OCR can monetize my music from the site, just as I said in the prior thread.
  7. Is that a Galaxy Quest quote? I think it is - HA! Also, she CAN be tough, but if you want past the spider girl just use some spider products that you purchase in the beginning of the game and she'll leave you alone. Just sayin'! Er... Yeah, for the music I think this is a solid and enjoyable arrangement of a really cool source. Go check it out.
  8. Looks like you got a nice, warm welcome on here already, but I'll say it again: Welcome to OCR's WIP board! Seeing that people already gave an accurate assessment of how this would fare upon submission (it would indeed be rejected due to the cover aspect and the fact that it's a MIDI arrangement), I'll look at this from a different perspective. First and foremost, this is definitely a pure, unabashed MIDI arrangement. Definitely nothing wrong with that if that's what you're all about - I was a hardcore MIDI arranger back in the day - but nowadays there's little reason in this day and age to ardently stick to GM MIDIs when there are plenty of samples and soundfonts out there that just sound objectively better. General MIDI soundfont has had it's run waaay back due to it's extremely efficient filesize (we're talking kilobytes rather than megabytes in filesizes), but it's been virtually phased out due to how fast computers and the internet processes things today. That being said, looking at this strictly from a MIDI arrangement point of view, this is really quite good. The instruments are accurate and representative, and the overall presentation is nice and clean. If you haven't already, I recommend submitting this to, since they're a site dedicated to posting MIDI arrangements. This isn't at all bad for the type and style of arrangement that this is, so in it's proper place it'll shine brightly enough (I have my share of MIDI arrangements on there too - mainly MM3 MIDIs - if you're ever checking MIDIs out ). In fact, if your other tracks are at this quality and are also MIDI arrangements I suggest posting all of them up at once on there, if you're looking for somewhere to showcase your MIDIs. What kind of tools are you using to arrange these? With some luck you might be able to transition easily into sample-based arrangements, where many of the lessons of MIDI arrangement apply (correct notation, effects envelopes, mixing balance, etc.). You've got a promising start on things, here, so I'm hoping you can apply what you learned so far to some great arrangements in the future that break past MIDI arrangements.
  9. Just giving a heads up, for something to be ripe for a mod review the track should be considered finished, with all the trimmings completed. If you're missing backing vocals then this is a WIP, not a finished mod review track. Just a heads up and a slap on the wrist on that front. That being said, I think this sounds great so far. You've got some nice vocal chops, and your performances are tight as hell. Paired up with some good production values that makes this quite a solid listen, overall. The sources that I'm familiar with in this are well integrated. I'm not at all familiar with Mario Odyssey's OST, so perhaps a link to the primary source would help me compare what you've arranged, but from all that I recognize I think this would be a great track to submit once it's finished.
  10. You've got some lovely commentary on here, but I'll add my two cents and cap this off with an official mod review. EVAL You've gotten quite a bit of energy put into this track - the instrumentation sounds far better than the source while losing nothing in the original source's energy and intent. Of course, when handling the track in a way that's similar to the source you run the risk of being TOO close to the source for OCR's purposes, which unfortunately would be the case here. The notes, the style, the instrumentation, etc., is all very close to the source material, to the point of sounding like a sound upgrade rather than a re-arrangement of the material. Nothing wrong with that, of course, but it wouldn't be something OCR could post. On a related note, the arrangement does a direct loop with no difference between the loops (other than the automated highpass location). It's a bit of a side effect of following a source too closely, but it's still an issue in it's own right worth addressing: if the repeat is nothing more than filler for length then it's not worth having in a stand alone track. In this case it's a method of achieving an almost three minute runtime rather than a meaningful expansion of the track. Give the listener something new to grab hold of if you use such repetition in the future - some new textures, variation in the theme, a variation in the drums, etc.. As far as the production values go, this isn't bad - the overall loudness of the track is about where it should be, and save for the moments where the highpass overtakes the track there's little notable overcompression or limiting artifacts. Those automated highpasses, though, really cause production problems (clipping/limiting artifacts), and they make little musical sense to boot. Techniques like automating the highpass should be used with some purpose in mind, not simply in the middle of an otherwise straightforward arrangement just for the sake of having an automated highpass. It really tars an otherwise enjoyable track. It's not bad, but it would be stopped right at the gate due to how conservative the arrangement it. Furthermore, the strange use of automated highpass would cause it some problems, as well. While not a bad arrangement, it's not something OCR would be looking for.
  11. Ah, MkVaff, one of the true OG's of OCR lore; he's pretty much up there with Disco Dan and IAmEvil as far as prestige goes. I'm glad we were able to post this track - it's an entertaining as hell arrangement of an under-represented soundtrack - and I'm excited to hear what you got in store for us in the future.
  12. I was very curious how one could make FF7's battle music into an elevator style song, and this did not at all disappoint. The switch to major was a smooth move, and the bouncy, overly active accompaniment really gives this that elevator music feel. That poppy organ was probably my favorite instrument in there. As far as places where you could expand, improvements, etc., I suggest building in a bit of an introduction. It sounds like it just pops into existence; with a small bit of introductory material it it'd prepare the listener a bit better for what you've got, here. It might also help generate some ideas you can use later in the track, too, as an added bonus. Obviously my opinion more than anything, but if you're looking for ideas that's a thought. The mix is a bit busy in this. The production is otherwise great, but if someone isn't familiar with the FF7 battle theme the overall track would be difficult to follow since every instrument is mixed more or less in the same place in the mix. Bringing out the instruments that are playing a theme the listener can grasp helps make the track sound more focused and goal oriented. Granted, this IS elevator music, so this meandering aesthetic might actually work to your advantage in this case, but it's an idea of an alternative direction to take the track. Great little spur-of-the-moment track you've got here, though - I got a real kick out of it.
  13. Wow, I think this acoustic-only version is a really rich, self-contained arrangement in it's own right. The additional elements of the arrangement compliment the core, most certainly, but you've really got a great base to work with here. I'mma gonna hold on to this other version for my own listening purposes, too, since there really is a different tone to it than the posted ReMix. Not better, not worse, just... different. It's definitely difficult to hear some of the more subtle guitar textures in the posted version than it is in this unplugged version, which in some ways is a shame. Oh yeah, I like the remix, too - the overall atmosphere is almost heavenly, as the sound design compliments the lightness of the guitar work under it. The sounds are relatively basic, relying on what seem like preset pads and such, but I'd be damned if I said they weren't effective for the overall arrangement. Great stuff, here.
  14. Haa, I can't believe I never commented on this one after all of these years. Nine years later, why not; it's great to look at something I held as one of my favorite tracks of the day, and it's interesting to think of how it would be evaluated today in comparison to back in early 2008. Firstly, looking at it today with fresh ears and a relatively new appreciation for the whole judging process, I think this is still a solid ReMix and would probably still pass. The arrangement has a good sense of how to build into an arrangement, layering instruments and textures slowly over the course of a minute and a half. It's static, but it manages to stave off that issue by making distinct enough changes in the build-up to keep the textures fresh - a good lesson on how to be both repetitive and yet keep things fresh. The instrumentation is good... for the time. Today I'm sure this would've gotten some flak for the plain instruments and rather horrible sounding fake guitar (I would've counted it against him in a submission, at least). That's less a statement against the track and more a statement on where music making is today - so many tools out there to create amazing instruments that the instrumentation back then really does sound dated. Even still, I think the handling of the instruments in this solidly hybrid style would've made it a safe submission today. Larry's contribution to this track is gold, I don't care what kind of controversy it may have caused back in the day - those haters were just wrong. In all seriousness, though, it's really built into the track in such a way that you can't go without it. It creates a much needed pause in the energy level of the track, and it's used as a vehicle to introduce new subtle textures that would've been much less noticed had they been introduced otherwise. The vocoding is clean as hell, too, and the lyrics are amazing and rather profound. This track would've been boring and uninteresting without that section, and likely wouldn't hold up nine years later. Not going to lie, Larry be willing I'd love to have something like this in one of my remixes one day. The production is passable, but it seems to get hot in the second half of the track (after the vocoded part). I do hear some limiting artifacts popping up in sections like that fake guitar and such. The mix is good, though, and the majority of the production is clean, so I doubt that would've sank the entire track, but it's not perfect. Would it pass today? Probably, though it's impossible to say a definite "YES" on it, strangely enough. I love this track thoroughly even today, but I don't think it'd be an easy or certain pass if it were submit today. The tools people have nowadays make it easier to produce clean, solid arrangements - the fact that in comparison to many submissions today this has a few underpar instruments and production choices shows just how far the community has gotten in nearly a decade. Speaking of the past, I love the write-up, here. Reading things like "Jimmy's been busy working at GC [Guitar Center] lately, catchin' some mad deals and learning the ropes; seems like that's working well." is really hilarious in hindsight considering where our boy Jimmy has been since (composing music for games like Mass Effect 2 and having decent success otherwise selling his brand). It's subtle, but there's a lot of site growth that can be infered by quotes from OCR like this one. Good track, definitely one of my favorites from yesteryear (yesterdecade?), and a decent place to see just how much not only OCR, but amateur arrangements have grown over this time. Good stuff all around.
  15. I do like this, even past my academic curiosity: it's clean, it's clear and it's super interesting. I'll argue the issues that Mind Wanderer bring up in the arrangement are not 'problems', per se; it sounds like something Varese would put on a tape, or something Crumb would make with the different tuning style. I'd rather not fault the artist for something that's not only clearly intentional, but even getting the sound pretty spot on. There aren't any production issues to speak of that I can tell, so if the arrangement had enough source I'd say this was an easy pass. That being said, the concern that there's not enough source in this is perfectly valid. Here's where I can find the source, given a pretty liberal interpretation of the term: 1:12 - 1:28 - VERY liberal interpretation of a background texture turned into an elongated chord 1:54 - 1:58 2:02 - 2:06 2:28 - 2:31 2:40 - 2:43 ~30s / 197s ~15% Source ... Yeah, I think it was a mistake for me to post this up, considering the severe lack of source - it's such a strange source to begin with I thought it might've been a lack of familiarity that I was missing, but it's really just not to be found. The fact that it's 38% silence and single held notes should've clue'd me in on this, however - with that much quiet the track would've needed to be almost 100% source with what was left. Sorry, this one's a pretty clear NO due solely to source usage, but I do hope you try something in this style again with more clear references to the source since it's a really cool piece. NO OVERRIDE