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About Gario

  • Rank
  • Birthday 06/17/1985

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    Vagabond in the Southern California region

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  • 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. 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.
  2. Deia and MindWanderer are spot on with the humanization of the harp, piano and flute, and I've got to second the concerns with the meandering nature of this track, as well. The arrangement sounds like it works toward a goal, but it never reaches anything that ultimately satisfies this, which is an issue. The lack of highs is also a concern, though it doesn't concern me as much as the other two issues do. Yeah, I actually think the sound design choices in this were great, and the track really fills out well with some good production, to boot. I'm not sold on a lot of the background textures and how they harmonize, but listening to the source it seems to have similar issues, as well. I still think this could be harmonized better anyway (and definitely should), but I acknowledge that it's not entirely your fault, either. Not too much more to add on my part. Cool track, there are some things to fix in the arrangement and humanization before we can post this up. Best of luck! NO
  3. Wow, I actually really enjoy the acoustic work in this track, and the arrangement is quite good, to boot (if a little light on source, though I think I hear enough). I'm not going to pass this, though, due to the incredibly loud upper-mid EQs that punch through the track relentlessly when the music goes into overdrive; it is physically painful, in fact. Tone down your upper mids considerably and balance your EQ levels significantly. The mixing in this is also an issue. While it sounds fine with the acoustic guitar alone, the addition of distorted guitar and drums has everything drown under that distortion. Bring down those levels, and bring those drums out better. I like the direction taken on this, but I can't give it my thumbs up, for now. Take a look at those issues and see if you can improve the production on this; I here a pretty cool song under the issues, here! NO
  4. Remixer Name : Necko Mail : Game : Final Fantasy VII Remix name : Cetra's last cry Original music : You can hear the cry of the planet Composer : Nobuo Uematsu - Playstation 1 Original song link : Link to the cover : Hello OCRemix, For my first serious remix try, I wanted to do it in a genre I love and was not really common, black metal (or atmospheric black metal maybe). I choose songs that I feel may be great when remixed in Black Metal. For my first I choose "You can hear the cry of the planet", a very atmospheric song with a repetition that you can also find in the black metal genre. Anyway, I hope you like it. Thanks !
  5. Huh, well I've got some commentary on this too, though it's going to come from a different direction than my peers. The grit, the dirty lo-fi effect on this... I'm not a fan, but I'm not going to hold that against you - not liking a style doesn't mean there's anything wrong with it. I will, however, agree with MindWanderer on the static nature of this track. The combination of the repeating harmonies, the overall similar textures used throughout, etc., does wear on the listener over time. Doing different things with the instruments provided, changing up the texture patterns more, etc., would help alleviate this. If that were all I'd probably still pass the track, but most of the synths and textures seem to also be restricted to the midrange EQ area, which makes the whole track sound squished. I can chalk up the bitcrushing overall to style, but there's no reason to be squishing the EQ range of your mix like this. Lift the floors and ceilings of your low & high passes (respectively) on your instruments and give them room to breath, since right now they sound unpleasantly squished. Great ideas otherwise, though, and with some minor tweaks I could see this being a solid pass. Tweak it up and send it back our way! NO
  6. Mega Man 1 has Mega Man return home to Dr. Light & Roll, if that's what you're looking for.
  7. I'll be there with my girlfriend, already have the vacation times and room set. See y'all there.
  8. Ooo, you're ticklin' my ears with this - a TWEWY arrangement? They don't come often enough on here. No vocals, but you do take this in a very interesting direction - like a happy electronic dance fused with some sax to cover the theme. The overall high energy compared to the source's subdue'd approach is pretty clever. You've got some cool realistic instruments in here, and though the electronic elements are vanilla they do their job. The drums and percussion don't quite blend with the style, though - they just sound too light and the snare has too much 'snare' to it - it would sound cleaner with a tighter head. The overall arrangement it pretty awesome, but it does drag a little bit toward the end (it even sounds like it's verbatum repeating material at the end, there). It's pretty cool, though - great to see people like yourself giving TWEWY music the love it deserves. You've got an interesting stylistic blend in this that I can appreciate, so nice work!
  9. I've personally had NES systems that have survived drops to the ground from a table, and have played a Contra cartridge that was literally run over by a car. I heavily object to this notion.
  10. Doing a quick check on the samples, if you submit as is you'd likely be alright on that front. Aside from the orchestra hits (which sound sampled from the MMX library), most of the samples + instruments used here are just different waveforms and FM synths, which can't reasonably be misconstrued as Square-Enix SFX (they can't reasonably claim ownership on FM synths and basic waveforms, after all). Rozo is correct that all artists submitting need to be careful with the samples in that regard, but I think this is alright here in that regard. Neat arrangement!
  11. Contact Information Platonist Jonas Loman 16372 Submission Information Legend Of Mana Nocturnal Lumina PSX Composer - Yoko Shimomura This one is old, so if it sounds old, it's because it's old. Well, at least the intro loop is. I wanted to leave that part intact, because stubbornness, but I had to polish it a little bit at least. The arrangement beyond that is new and pretty straight forward; a trance beat, some strings and a pwm chip lead that I've overused :'D. I tried to make it not loud, because that's probably the most common complaint I've gotten over the years, and since the loudness wars are over anyway I decided to master it to -14 LUFS with a -1dB true peak headroom. As usual, sequenced in Schism Tracker - because I want to and you can't stop me?
  12. Ditto on the unnecessary pumping with the bass. I'm about 90% sure that's intentional, but it doesn't make it any more acceptable in this case - there should be plenty of space above that bass to make that unnecessary, considering how sparce the track is. The entirety of it sounds heavily low-passed, to boot, so overall the track sounds needlessly muffled. The mix, while not terrible, does have a few strange elements to it - that bass drum punches through way too much, and the hats + clap are so far behind the mix they may as well not be there. The arrangement sounds quite a bit darker than the source material, so based on the mood and tonal shift I could see an argument saying this is interpretive enough for OCR. However, there's no doubt that the arrangement is pretty static and repetitive, which still causes enough issue on it's own. The ending is pretty abrupt as well, though that's less an issue than the repetitiveness and static arrangement. There are some great ideas in here, but overall it's not quite up to the bar yet. Thanks for sending it our way, though. NO
  13. Funny fact I only stumbled upon when listening to this and remembered the game: The mythos from Mean Bean Machine is from the Sonic cartoon... which is a television version of the original Sonic games. No idea why they went that route, but it's pretty funny when you think about it. Anyhoo! EVAL: Gotta say, there are some very nice samples in this, and the attention to the humanization and articulations is certainly there to help flesh those samples out. Because of the repetitive patterns in the texture, though, over time I hear repetitions in the articulations and dynamics, as if the parts were copy/pasted with dynamics and articulations. Any individual phrase sounds human, but over the course of the track it makes the samples sound mechanical. Put some minor variation into the dynamics and articulation and it'll help sell the realism of this quite a bit more. That lead string texture gets pretty old in this quickly. You're working with a full orchestra, but 80% of it is strings. It makes the orchestration sound pretty bland when you have so many other tools to work with. Judges may consider the instrumentation static for long stretches because of this, which could affect the panel outcome. Don't be afraid of having other instruments cover the texture from time to time, like the piano did at 3:07. The beginning sounds oddly muffled and overcompressed for a fraction of a second, likely due to all of the instruments coming in at once, and when things get busy you can hear overcompression issues. Overall the track is well balanced, but be careful not to crowd the compressor when things are overly busy. It's a great idea, but as it stands the humanization, compression and static orchestration would likely hold this back on the panel. I like it, though, so hopefully some of my advice gives you what you need to make your epic comeback on OCR!
  14. As someone who knows the source very well, I'll say that this does cover that ground well enough. There IS one issue that will get this instantly rejected, though: those vocals are straight from the source. Normally that isn't a big issue (unless the samples make up a significant portion of the source connection), but this is sampled from Square Enix. They specifically forbade OCR's use of sampling their games, so we legally couldn't put this on the front page. Seeing that without those vocals this arrangement wouldn't work, you'll need to find people willing to record vocals that would compensate for that. Either that or impliment some clever instrumental ideas that replace the vocals entirely, but that would essentially transform this into something else entirely. Either way, no matter how good the arrangement is, if there are samples from Square Enix in there we actually can't post it, unfortunately. It's still a cool remix, though, aside from the strange mixing issues that Rozo pointed out.
  15. Riding in on Deia's coattails a little, but her review is spot on: mixing could use improvement at the points she mentions, the arrangement is short (a single run through the source material is all that it entails), and has an almost unfinished feel to it due to how abrupt the ending is. What IS there has very similar instrumentation and structure to the source (though admittedly of much higher quality). To be honest, it sounds like a great first half to a solid OCR arrangement, with the current end being where things really kick it off and you explore the material with your own spin on it - running through with the same structure and style once doesn't quite cut it for the sake of OCR's arrangement requirements. MindWanderer also has a great point in the production quality, since it indeed does hit the limiter quite often. Looking at the waveform, it's easy to see why: the low end takes up virtually all of your space. Toning down the bass will give you quite a bit more room to work with your other instruments. The instrument quality in this is absolutely superb, though, and the material that you added (choir, backing textures, etc.) only serve to improve what was in the source. I'm certain that you can push the arrangement side of things so it's more in line with our standards, based on what you added to this already. Pay attention to your mixing and production quality, and be careful not to push the low end too hard. Best of luck, and I hope to hear a resubmit of this. NO