• 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

5,571 profile views
  1. Holy crap, I almost gave this track such a hard time in the critique, then found out my headphones were half plugged in. Got suspicious when the source had all the exact same EQ problems I was going to hammer this arrangement for. Haa.. that would've been embarrassing... *Ahem* Funny story aside, I agree with Larry that this is a pretty sweet arrangement. I think the lead should've been brought to the front more along with the vocals (though intelligibility in this genre is somewhat optional, from my understanding). The bass, being as powerful as it is, could be tamped down somewhat in the mix to give the leads some more space, but it does a great job acting as a solid grounding for the rest of the arrangement being prominent, so it'd be wise not to over-correct the bass presence there. I agree that the mix could be better on this. The arrangement is pretty great, though, and the mix isn't too far off as presented here. Half of me wants to even give you the YES on this (solid black metal is hard to come by!), but I know Larry is correct on the mixing critiques on it. Balance your leads, vocals and bass better and we'll have a real winner on our hands. NO
  2. Silver Surfer! Tim & Geoff Follin! Instant street cred goes to anyone giving this soundtrack remixin' love. While I agree that the track sounds similar when it repeats at 1:30, there ARE some significant differences between the sections that should get the credit that it's due: the choir is handled differently, there are portions that are repeated with variation to prolong the more active arps, etc.. To be honest, I'm not against how this one was arranged, from that aspect. It's conservative, and it recycles ideas, but it isn't what I would call a direct repetition. The criticism against the static nature of the arrangement certainly holds, though. The NES source has a whole lot more variety in the lead, so perhaps take a look at it as a guide - Follin was a master in that aspect, so this source is a perfect guide to that sort of thing. Parts like 2:48 - 3:31 would be far more effective if the lead wasn't the same for each repetition; it ends up sounding repetitive rather than being variations on the theme (which I thought was a pretty cool way to change up the arrangement). Give the source a listen and check out how Follin handles the repetitions for a great example of how to get life out of repetition: at 0:50 - 0:56 and 1:15 - 1:21 of the youtube source link every repeat has a pretty significant change to the timbre that keeps the parts interesting. Take note of that and see what you can do with the repetitions that can keep the listener engaged and interested. I like your arrangement, and I like where you're going with it - some TLC on the lead variety and execution of your ideas would make it an easy YES from me, next time around. Good luck! NO
  3. Oi, dropbox link is dead. Just send me a fresh link via PM and I'll handle it from there.
  4. Actually, lemme give a quasi-eval, myself, since I've actually already dropped my thoughts on it for the panel. No reason to hold it back from you at this point, eh? EVAL Very tasteful approach to the source, here, if a bit conservative. The texture is light, but when change comes in it's quite effective. It's clean, crisp and overall a really slick track. All of that being said, the levels on this are very low on the whole, and it's difficult to raise your levels without clipping at 2:30 due to that single spike in levels there caused by the bass drum (it's very easy to see in Audacity). There's a certain amount of compression or soft limiting that one could do to fix this (say, amp it to max, soft limit it about 5 dBs in Audacity, max the amp again), but a cleaner solution would be to make it so that particular bass drum strike wasn't as loud (and do a soft limit over the track afterward). To be honest, though, either solution would work fine. I could see this being easily post-able if the levels were fixed, so get your levels up!
  5. Very delicious percussion that plays throughout this one - that marimba that plays throughout pretty much nails it. The instruments blend very well, and the arrangement does a nice job with the pacing. There is one place in the arrangement that raises an eyebrow, though - at 2:22 - 2:39 it sounds like you forgot to finish the arrangement, leaving only the bass to play out the harmonies that would normally take that space. That can be a cool effect, if intentional, but the fleshing out of the arrangement at 2:18 - 2:22 leaves me thinking this is a mistake. The production on this is pretty hot throughout (not complimentary 'hot', but more this-hits-the-limiter-throughout-the-arrangement 'hot'). Moments like 3:14 sound great, but when you have everything going at once (which accounts for a good deal of the arrangement) the mix sounds overly crowded. Bring your levels down a bit so that it doesn't cause as much clutter and limiting artifacts. Doing that and finishing up the 2:22 section would make this a winner in my book. NO
  6. Submission Information Name of game(s) arranged Name of arrangement Name of individual song(s) arranged Additional information about game including composer, system, etc. (if it has not yet been added to the site) Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix, for example the inspiration behind it, how it was made, etc. ReMixer name -- Matt Canon Real name -- Matt McWhirter User ID -- Name of game arranged -- Secret of Mana / Seiken Densetsu 2 Name of arrangement -- Desert Stars Names of individual song arranged -- Kakkara Desert (Secret of the Arid Sands) Additional Information -- Composer: Hiroki Kikuta ; System: Super Nintendo Link to the original soundtrack: Secret of Mana Music - Secret of the Arid Sands ~ Kakkara Desert Theme Comments: -- My goal was to create a version that paid homage to the original work my Hiroki Kikuta while extending the arrangement in a way to avoid repetition. -- I kept the percussion vary similar to the source material, whereas the bassline is entirely my own. The basslines contain several layers, synth basses, an amp driven bass guitar and a cello. -- I made slight adjustments to the pitches/notes played by the marimbas to be more consonant to the key of the song; and layered tom drums, carefully tuned, to give them more weight in the mix. The marimbas themselves have 3 layers, each with different tube saturation, delay and reverb settings. -- The main melody is also multi-layered, with a piano, guitar, flute, and a lead created with Xfer Serum. All were mixed using a variety of saturation, compression, delay, reverb, and eq, both inserted and parallel, to create the result that's heard. -- Otherwise, all I can say was that this took a lot of time to mix and master. For my first submission to OverClocked Remix I wanted to send nothing less than the best of my ability and something the original composer could be proud of. Thank you for your consideration and Enjoy. Matt
  7. @blaggles Nah, just let me know and I'll make sure to put in the right title when it's panel'd. OCR, the land of second chances!
  8. Ah, no source link, alas. I know you mention it in the OP, but it does help linking the source for us. Normally that's a straight requirement to get an eval, but since I've just been listening to that source I'll give it a go, anyway. Just a heads up for the future. EVAL Nice performances, great deep tone to the guitar. I like your style, and I think the track shows that you have the technical and production chops to pull off whatever you want, here. There are a few things that I should point out, though. The track overall suffers with the levels of reverb that you have layered on everything, which makes it sound muddy. Tone down the reverb and your guitar will sound tighter, more powerful. I can see that you changed the harmonies up a bit from the source. I can see that working, but the chords you settle on are not quite right. At 1:23 you've settled on playing power chords over that first note, but in the source (and in this arrangement, as well) the note that's one step lower is the key that the track is in - that first note was a neighbor tone. This makes the 1:23 - 1:54 (and similar sections) very difficult to get through. Changing harmonies from the source can work well, but drop the harmonies in those sections a whole step or else everything will sound off. 2:55 has a part in the background that's not meshing with the rest of the track. It corrects itself in a measure, but that decorative guitar part doesn't sound correct. It's going in the right direction, but I think the arrangement needs a few tweeks in the harmonies used from time to time, and a careful look at what guitar licks harmonize well with the lead and what doesn't. It's probably 85-90% great with 10-15% being tough to listen to due to being off key, so it has potential to be pretty sweet. Also, be sure to tone down on the reverb and I could see this doing well on the panel. Good luck!
  9. EVAL Interesting source - most of the time DK64 tends to get arrangements from their toy factory source, so this is pretty fresh. Most of your samples are on point - nice brass, great percussion and some sweet woodwinds playing throughout. I like the minimalist approach to the orchestration, as well - there's never too much going on, crowding things in the process. The instruments all seem to have a lot of reverb applied to them, which often creates mud in the track. Even live performances aren't this wet, and when they are that wet the hall is considered terrible for performances (unless it's a church choir... but that's a bit off topic). Lighten up on the reverb, and that'll make this arrangement sound cleaner. The strings increase in dynamics in an unnatural, sudden manner in the beginning of the arrangement (0:16 - 0:38). When strings swell in and out of their chords like that, be easy on the increase of dynamics - too large a jump between chords sounds jarring. While I enjoy this arrangement, I will add that it sounds like an upgrade to the source rather than a reimagining of sorts. The samples are better, and there are a few background elements that are different, but this is a very conservative interpretation of the source. While I enjoy it and you did a good job on it overall, I think this would be rejected primarily on arrangement grounds. Nice work, though.
  10. 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!
  11. 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.
  12. To be honest, I was waffling on this one a bit. The arrangement is pretty clever (and a bit hilarious), and while there isn't anything spectacular with the production of the chips it IS stereo separated, with some care taken to make it sound acceptable on one's speakers or headphones. Production isn't that impressive, but he does give it the proper spit-shine to make it adequate for our standards, I feel. The one thing that holds this down is ironically the guitar - it just follows the chips, and it's panned too hard to the right speaker. If the guitar had a better presence to it (probably with a layered guitar part on the other side), and PERHAPS the guitar were doing something more interesting than following the lead (or alternatively the lead was the guitar without the chip) this would actually be a pass on my part. Right now, though, the guitar throws me off, so I've got to send it back for now. Great work with the blending source, though - I got a kick out of it, and I hope you send it back with some improvements. NO
  13. 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.
  14. Hi OC ReMix! I'd love for you to take a listen to my cover of Super Mario Bros. in the style of Mega Man 2: Contact Info ReMixer Name: BoyMeetsRobot Website: User ID: 34348 Submission Info Games: Super Mario Bros., Mega Man 2 Name of Arrangement: Mega Mario Bros. Name of Songs: Overworld Theme (SMB), Underworld Theme (SMB), Boss Battle (MM2) Chiptunes for this arrangement were created with a Nintendo Game Boy running Little Sound DJ. Thanks for your consideration! -Mike
  15. 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!