• Content count

  • Joined

  • Last visited

  • Days Won


1 Follower

About Gario

  • Rank
  • 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)
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
  • Instrumental & Vocal Skills (Other)

Contact Methods

  • Skype
  • AIM


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

Recent Profile Visitors

7,333 profile views
  1. 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
  2. Yeah, it's pretty much dead as far as new development goes, though it has been bought out by another company so it isn't impossible for it to see a resurgance someday.
  3. Highschool? With that habit of Capsing Every First Letter it looks like he's passing through gradeschool, at best.
  4. Pokemon! Good choice for a source, and a great choice for the direction to take. The source seems to have a more ominous, epic feel to it, while this is more intense and in your face. To be honest, I think your track would be a better fit for something like a crazy intense battle. This is a very dense track. The overall production is quite loud, to the point of having mild clipping and some limiting errors throughout the louder sections. Every synth seems to be fighting for space, and none of them really win out past the 1:02 mark. Production-wise, this needs to be redone from the ground up: turn off your compressors and limiters, rebalance the mix so clipping doesn't occur and so that the leads are always clear (but not overpowering everything else). Then one can boost the volume using a limiter or such, but even then be careful not to create issues in the process. The drums sound quite generic, and do not come through at all throughout the mix. When balancing the mix, be sure to give some special attention to the placement of the drums in the track. Some special attention should be paid to the reverb in this as well for every instrument, since everything sounds very oversaturated, and is likely contributing to the overcrowding that's occurring throughout this arrangement. I don't think the notes in the arrangement sounded too off, save for a single note at 1:27 and 1:38 sounding a half step too high in the melody (either that, or the harmony is carrying a clashing note). If you're going to raise the lead for the sake of a cadence (as the source does), make sure it doesn't clash with the backing texture or harmonies. Listen to the source again and check to see how they handle it, as it's definitely in the source. The arrangement works well enough even with the vanilla synths, and despite the production and mixing issues there is a certain amount of energy that the source is lacking. I think it's a good approach, but you've got a lot of cleaning up to do on this. I wish you the best! NO
  5. Oh, this is really quite good; you DEFINITELY could do worse for a first submission. It's criminally short - I really wish it developed further with the meloncholy original lead being backed by the strange source harmonies. The lead work is just gorgeous, with the delicate application of vibrato and portamento. The instrumentation, with the simple synths, sounds great with the lo-fi processing used, so great work on your overall sound design. The backing to this is pretty repetitive, even if it's a great backing. That's the trouble with arranging such short sources - at face value, if one uses repeats to lengthen the arrangement it'll make for a repetitive, stale arrangement. It doesn't feel TOO detrimental in this track due to the clever lead work above it, but if you were to extend this any further it would drag you down. Letting parts drop, mixing the instruments in different ways, re-order the harmonies, etc., all are techniques one can use to get more out of little, which I would encourage you to explore in this. The EQ range is pretty limited to the mid range, which leads to the track's soundscape sounding constricted. Explore using synths in the bass range, brighten one or two of your synths with some high end EQ; you've got the space, so don't be afraid to use it. It's a great little piece, but as it stands it doesn't feel like a complete thought, quite yet. The repetition in the background holds this back, and with something so short repetition doesn't do the track too much good. The potential is very high in this one, though, so I hope you can expand this arrangement further and send us an amazing, dark, lo-fi Candy Crush arrangement in the near future. Hey, if this is your first submission, I can't wait to hear more from you regardless! NO
  6. Hi, Here's my first submission ever to OCREMIX. Google drive download : (Download icon is on the up right corner) Contact InformationYour ReMixer name : Clement PanchoutYour real name : Clement PanchoutYour email address :Your website : userid (number, not name) on our forums, found by viewing your forum profile : 34601Submission InformationName of game(s) arranged : Candy Crush SagaName of arrangement : Candy CrashName of individual song(s) arranged : Main theme Additional information about game including composer, system, etc. (if it has not yet been added to the site) Original composer : Johan Holmström Candy crush saga is developed by King and can be played on mobile and browsers (Facebook app). It's a puzzle game released in 2012. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Er, hard to find, sorry :/ Found this one : Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I made this song for MusicWeeklies, we're a group of music composers and we compose music each week with a special theme. The theme was "candy" and I thought it would be great to make a cover of Candy Crush Saga main theme. These days, I'm usually into lo-fi composition, chillout music, so that's why I chose lo-fi synths and sounds for this cover. I hope you'll like it ! Thanks ! Regards, Clement Panchout, from France.
  7. Haha, well I won't make any assumptions then about submission - it's always fun to hear more unrestrained interpretations, too. It's a fun little track, with a pretty sizeable shift in style in the middle and end. Individually I like each section, but the transition is virtually non-existant, and the sections couldn't be more different from one another (bouncy electronic into somber quasi-chamber orchestra w/ vocal clips). The section changes are quite jarring - either having a little more carry over or utilizing a smoother transition process would help this feel like a complete piece. I really enjoy the electronic parts. They follow the source quite accurately, though there's a considerable more bounce to them than the source does (which is pretty cool considering the source is pretty bouncy, as well). The somber portions are cool too, though the instruments would benefit from some humanization (e.g. playing with the parameters to make the performances sound 'more human'). For example, the strings would generally not have the same articulation for every note - swelling into the first note of a phrase and having the notes not swell for the rest of the phrase would be a more realistic portrayal. Also, in generall the use of dynamics for realistic instruments helps sell the illusion of realism. These factors don't make for a bad experience when I listen, though; it's more food for thought for your next endeavor. Nice work, and thanks for sharing.
  8. Well, this is a pretty cool idea - take an older track in the series, give it a more chill "menu screen" vibe as if it were to be a track in the new game. As far as composing soundtracks go, you've got some technique, and I like it. The overall source representation is clear, with some care to give a new spin to the textures from the source and make it your own. The track does repeat at the 2:00 mark, though, which is a pretty big no-no as far as getting it posted on OCR. I understand the idea if this were actually being used in the infinite soundtrack (loop points are important!), but for a stand-alone track it makes a third of the track sound like needless padding. The mix in this isn't ideal, either. While there is a sense of foreground and background, they're not quite seperate enough to prevent the leads getting a little lost in the supporting textures. It's not the worst mixing, but it could use another pass on the levels to help make the leads stand out more and the background textures sit further behind in the mix. Watch the soundscape in this, as well, since the lower mid range tends to get pretty crowded while the upper range is quite empty. The percussion at 1:14 fills the upper range nicely, but everything prior and after has a bit of a dull, lifeless quality to it due to lacking in the highs. All that being said, you definitely get your initial idea across, and aside from a less-than-ideal mixing job I could see this being a cool menu screen track for the Infinite game. However, one needs to consider that this is a site for stand alone tracks: a looping point isn't necessary, and in fact is frowned upon due to making a track needlessly repetitive on here. Change it up past the 2:00 mark so it's not as repetitive and give the mixing some more TLC and we might have something we can post up here. NO
  9. Contact Information ReMixer Name: Chief Takinawa Real Name: Bradley Richardson Email Address: Website: UserID: 34521 Submission Information Name of Game(s) Arranged: Marvel Vs. Capcom 2: New Age of Heroes Name of Arrangement: Infinitely Waiting Name of Individual Song(s) Arranged: Swamp Stage Additional Information: Composer(s): Tetsuya Shibata; Mitsuhiko Takano Platform(s): Arcade, Dreamcast, PS2, PS3, Xbox, Xbox 360, iOS Soundtrack Link: ReMixer Comments: ( )This remix was originally intended to be a concept theme for the upcoming Marvel Vs. Capcom Infinite's online lobby screen. I slowed the tempo down and gave it a jazzier feel as demonstrated by the keys and the "do-bop" vocals. The solo section is simple using traditional instruments and a more hip-hop ish drum break. Mixing and mastering to give it the highest quality I could achieve was definitely the most time consuming part of the writing process as always. Figuring out certain chords also took its toll on me. All in all I feel this came out nicely and I feel it would be enjoyed by several long time MVC fans as well as fans of traditional jazz type music. Thank you for your time! -Chief Takinawa
  10. Hey there! Yeah, you certainly have two finished WAVs on there, so you have nothing to worry about. I'll likely send permission forms again considering the age of this project, but outside of taking another track (which I encourage!) you should be set. The project forums are still there, though I don't know why you'd lose access seeing that I can still get in there no problem. It's about time I get those running again anyway, so I'll ask the staff to start giving people access to that sub-forum (so get excited, woo). I guess it's as good as any to pop in and ask: Any new updates from our artists? There are a few that have given me regular updates, but there are a few that still don't have an initial update for me. It's a relatively relaxed forum on here for right now, but don't think I won't start really getting in your grill for some updates if y'all are that behind (or just drop your claim if nothing is sent in soon). July 30th is a pretty generous deadline, so I will absolutely not hesitate giving you the boot if you don't have your 1st WIP by then (and I'll be givin' y'all lip if you don't have your 2nd WIP in then, too). We're still live, so don't go slackin' in here!
  11. Didn't submit (for shame!), but I did swing by and listen to everything and vote. Gotta give anyone who does FFL2/Saga2 music my support! Best of luck, all.
  12. Hmm, this is a tricky one. Honestly, this sounds like a first place Meat'n'Potatos arrangement with how conservative the track is, but I definitely have to credit this track for having a really rich atmosphere. The tone manages to evoke even more of a 1930's depression era mining town than the source ever could, especially with the rustic vocals and acoustic guitar throughout. The vocals are not perfectly in tune with themselves, but that's part of why they work in this. I could see people swinging either way on on the conservative nature of the arrangement, but I think there's enough personality and minor additions to the arrangement that makes this stand out. The biggest gripe that I have with this is how long it takes to get to the meat of the arrangement. It's a great start to the track, but by the 0:32 mark the opening was really starting to wear on me. Past that point there isn't too much that's added - it really feels like filler. I'm really on the fence for this one, because that opening isn't bad, it just lasts to long without change. The real guts of the arrangement is awesome, if a bit conservative. Cut the music from 0:32 - 0:56 and this would be good enough for me to give my thumbs up on. NO
  13. Contact InformationReMixer name : Reuben6Real name: Reuben SpiersE-mail: Submission information Game: Donkey Kong Country Name of arrangement: Mining for a Living Name of original song: Life in the Mines
  14. I didn't know how this was going to be approached, considering the source is so sparse. It's a smart choice, making variations with the chords that the source makes up with those short notes, and using the actual textures and sprinkling it throughout the arrangement. The overall track is smooth as silk, with that hip hop beat and well placed e-piano against the regular piano. The near seductive quality of Zelda's voice in the beginning paired with the title of this track made me think this was going to be unsafe for me to finish listening to at work, but it doesn't quite go that route (for better or worse). I think the SFX and voices being handled in this are a mixed bag. I enjoyed them in the beginning, and while they're a little corny as they continue to be used it's not too bad. At 2:26 the SFX really cause the track to get muddied up, though. Since it's all just Link and item SFX it would be pretty safe to remove them for the sake of cleaning up the production without losing the original intent of reliving moments from the game itself. Later in the track the delay that's applied to the clips is excessive, so I suggest toning that down as well for the sake of cleaning up the track. You do a lot with so little, and I love it. The only thing that's holding this back for me is that middle section and the muddiness caused by the SFX, which I consider a dealbreaker, so get rid of them and clean that section up to flip my vote on this. Toning down the delay on the vocal clips would improve this further, and lightening up on the vocal clips would help make this more broadly appealing for those that don't have the memories to fall back on (like myself - I haven't played BotW). Clean it up and send it back our way - it's otherwise a well produced hip hop track that I'd love to see on the front page. NO
  15. Good Evening, Attached is my submission for a remix of "The Temple of Time" from The Legend of Zelda: Breath of the Wild. I have also posted this track on SoundCloud here: Thank you for your consideration. v/r Joe Contact Information ReMixer Name: Joe November Real Name: Joe Thomas Email Address: Website: n/a Forum Profile ID: 34557 Submission Information Game Name: The Legend of Zelda: Breath of the Wild Arrangement Name: The Triforce Needs Five More Minutes Song Name: The Temple of Time Composer: Manaka Kataoka System: Wii U (I know it came out on the Nintendo Switch as well, but this was the system I played it from) Original Soundtrack: Inspiration: I absolutely love the minimalist piano used throughout the game, and the first area to really catch my ear was when I visited the ruined Temple of Time. I loved the haunting yet serene melody that you could hear, as if it it was reminded you of a great period of time that has long since past. I also love hip hop, and I felt like I could pay homage to the melody by merging it with a bouncy head-nodding beat and a funky bass line. The vocals and sound effects are used to simply add emotion and color to the track, so that those who've played the game can relive some key moments. The vocals also serve to tell a bit of the story of Breath of the Wild as well. The pace of the song attempts to illustrate when Link first awakes in the Shrine of Resurrection, learning of the plight of Zelda from the King, fighting (and dying) in numerous battles, acquiring the aid from the four champions to conquer the Divine Beasts, and marveling the power and the prophecy of the Master Sword.