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About Jorito

  • Rank
    Speeding Towards Adventures Co-Director
  • Birthday December 8

Profile Information

  • Gender
  • Location
    The Netherlands

Contact Methods

  • Website URL


  • Biography
    Hobby composer freakin' out with Logic Pro, Renoise and a bunch of VSTs with a year long craving to create game covers from the MSX home computer.
  • Real Name
  • Occupation
    IT Director

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    Bitwig Studio
  • Software - Preferred Plugins/Libraries
    Kontakt, Zebra2, Shreddage, Omnisphere, Komplete Ultimate
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering

Recent Profile Visitors

5,470 profile views
  1. Not cool bro panel.

    Pretty much. Just visit and have a nice li'l chat. You can also enjoy the late night ravings of bustatunez and snplmn every once in a while
  2. Listening back to the remix now, I have to agree with the comments about the mixing. I did this track way back in 2014/2015, and it's quite cool to listen back and hear the mistakes/not so great choices you made back then and how you've improved over time (and how much there's still to improve) .
  3. Not cool bro panel.

    Interesting that you should say that. I've never met any OCR people face-to-face nor did I visit any live events. All my involvement has been remote, mostly through Discord (go join!) and the forums. Didn't really make me feel like an outsider with an outsider perspective. Just being active in the community made me feel involved and informed. $0.02 (yay, more cash!)
  4. Not cool bro panel.

    I did some casual polling of some (a very small set of) non-musician people that do like their video games, and the key take aways were 'they always have awesome remixes', 'that is where I learned remixing videogame music was a thing' and in general that it's cool and people tend be followers for a long time already. So I wouldn't say it's dying or becoming irrelevant. Sure, VGM remixes and covers are a big thing these days, and with all these other parties doing VGM stuff nowadays, it makes sense that OCR stands out less than it used to do way back when OCR was one of the few communities doing such things. I think there's enough space in the VGM world for all these initiatives, all with their different angles and interpretations. I never dabbled in DoD because I am too lazy to learn to actually play an instrument, but I am doing a remix for a non-OCR album this month and I am also looking into Materia Collective. For the latter, there might not be an explicit bar, but I do know there's a proposal + approval process there too, and judging by the albums released they also have a QA process for stuff that makes it on the albums. Anyway, maybe it's time to accept that OCR is doing its own thing and is what it wants to be, not what you think it should be. Sure, constructive criticism is good and should be welcomed. Eagerly awaiting, almost pleading for DJP for a veto and a course correction of this perceived Titanic seems pretty fatalistic to me though. Chill, dude. It's good that you care so much, but you might wanna reconsider your tone and approach if you really want to have a solid constructive discussion.
  5. I have to agree with ACO here; usually big dreams start small and he brings up some other good points. You might want to reconsider your approach here. Also not sure when/if/how law should be involved here, of course the law firm has their own agenda (and bank account) and personally I would just try to inquire how, for example, OCR or Materia Collective did those albums and maybe release it there in stead of going full Indie on it. Just $0.02.
  6. Not cool bro panel.

    Quoted because I am rather intruigued by this idea. I would definitely be game for this, and I am pretty confident I could do it at a postable level. Of course, the sounds and tools in the DAW would really determine the style and the approach *), but at the end of the day it's all about being creative and come up with something that sounds good - to my ears, to listeners, and to the judges panel. That 'sounds good' part is a skill that needs to develop and grow over time, I've learned, and it takes work and effort. *) I have 2 DAWS I could use. The first one is my main workhorse, Logic Pro. Logic comes with a very extensive set of sounds, from (good quality) synths (Alchemy, to name one) to okay-ish instrument samples and good drums. The other one is Bitwig, which is more lean on supplied instruments and effects and has maybe 1-2 synths I'd call useable and a pretty limited set of sounds. While I might do a pop or rock track in Logic, the samples aren't good enough (IMO) for something orchestral, at least not as the main attraction. In Bitwig it's a whole different story. Because of the sounds and functionality available, I would probably opt for an electronic track, something EDM or synthwave, because that's the kind of music I think I can make with what's on offer and still get it to sound decent. Anything else with just stock would be a big big big challenge.
  7. Ozone 8

    Ultimately it's all a personal choice. For me, I decided to stick with Ozone for my mastering bus, and it's essentially all I use and have been using for the past years. I find it to be a complete and compelling suite of mastering tools that even work with my mediocre mastering skills. The presets are also useful and inspiring to me. So for me it'd be worth it. For you? YMMV. You can use other tools for this, like the bundled stock plugins, and they will also get the job done, but the convenience, the workflow and the quality of the bundled stuff made it an easy choice - for me. I would suggest to try a demo version and see if/how it clicks with you. Either you figure out you like it a lot and it might be worth your while, or you go 'meh' and move on.
  8. Not cool bro panel.

    I wouldn't mind to keep my link included for rejected links. Not at all! It's just that I didn't know/forgot to add it explicitly to every submit I do. I would love to have a setting in my profile somewhere (a checkbox that says "YES, leave links to my tracks in my submits even if they get rejected" so I can set it once and it can be used from there on. I am totally cool with sharing these links, heck, for every track I do, I usually have like 10 different work-in-progress versions before declaring it done, and I share those in-between versions sometimes for feedback and if it's interesting I wouldn't even mind sharing those to a bigger group. On the sample quality thing: a few weeks back I did a pure chiptune track with samples from SAC PC (so lo-fi by design) and submitted that to the panel. Not sure how it will fare in the panel and it might be too far out for OCR, we'll see. But earlier this week I also stumbled upon a video on Youtube with pure Amiga MOD file music and thought it'd be interested to give that kind of lo-fi sound (just 4-8 sample channels, about 500kB of samples) a shot too. In both cases I'm pretty sure the intent will come across well without anyone having to read any added notes
  9. Not cool bro panel.

    That's a good writeup and I think it frames things nicely from a listener's perspective too. Nowadays, VGM remixes and covers are a more common thing than they used to be, and I am not sure how listeners do perceive a song from OCR versus a track from, say, Materia Collective. Do they mind, do they care, or do they just like to listen to a nice remix and are they not too bothered with the remixing criteria OCR upholds? Production quality is a bit different IMO, because there is like a common lowest threshold if I am to judge it by e.g. Materia Collective or random (popular) VGM artists on Youtube. Do I take OCR (too) seriously? Perhaps, but I also used it as a motivator to improve myself, and having this decent threshold helped stimulate me to do so. Maybe that's not for everybody because not everybody is as crazy as I am, but your point on listener perception is a valid one, because I also do this because there's other people besides myself who enjoy what I do. I am not sure what the common issues with the current bar are. Maybe it would be interesting to have a look at the more recent NO'ed tracks and see what the common patterns are. Makes it also less anecdotal and personal if you go beyond just fussing about your own NO'ed track.
  10. Not cool bro panel.

    I am a noob with Symphonic Orchestra. I did a trailer style track a few years back ( and none of the judges nagged me about poor sample quality. Might be an incident, I don't know. I agree that it is incredibly hard to get good sound quality with free soundfonts (I know I can't, but I am also not stupid enough to try). My whole point is that, in stead of going "boohoo, they NO'ed me" and putting it all on the other party, also take a step back and try to look at yourself and your work objectively and see if the feedback has some merit in stead of feeling all agitated and offended about it. Anyway, let's just agree to disagree on this one. I assume that the "scrutinize YES votes more thoroughly" is about the incident with the Big Bad Koopa dubstep remix? I am not sure if it's something that has happened more often these past years to warrant such a step or if it was an incident that happened only once 6 (!) years ago. Other than that, it seems a good list to talk about. A summary of bullet 3 would help. I would like to add a 'Make judge queue progress panel more visible and transparent' to it as well, myself.
  11. Not cool bro panel.

    In my submits, I usually have a nice writeup about my intentions and choices for the track as well as my inspiration. Not sure if they take it into account, I just do it because I like to add that bit of retrospect. I hardly ever mention the samples I use, and I wouldn't expect any leeway or extra credits based on that. Feel free to try it, but I seriously doubt your samples are going to get you a NO. IANAJ, but it's very likely more in how you used them as well as some other things combined that give you a NO or a NO (resubmit). Maybe focus on improving yourself with these other things in stead in stead of hoping for leniency because of sample choice? Anyway, we're sidestepping from the main discussion about judging, influx of new artists and whatnot. Maybe we should go back on said topic.
  12. Not cool bro panel.

    Just wanted to point out that if you want to do a trailer-style track, that goes with certain expectations from both listeners (and hence staff). With regards to sounds used, structure, arrangement and whatnot. Since any trailer music you hear tries to be pretty realistic, your track would stand out like a sore thumb when you use soundfonts or sibelius and don't try to achieve a similar realistic sound. You probably _can_ do it with free samples and soundfonts, but it means you need to work a lot harder on it and more skill than the out-of-the-box experience you get with current sample libs. Again, the right tools for the right job. If you don't have the tools, ask yourself really hard if you can do a good job. Maybe you should pick another style/genre that works better with what you have. Yes, I am not a fan of people complaining they got rejected because they made a poor genre choice up front and couldn't get it to work and meet general expectations. Now, maybe I should go find my poorest PS1 level samples and try to make a PS1 style track and submit it to see if my assumption is actually valid
  13. Not cool bro panel.

    Ever considered _not_ making _realistic_ orchestral stuff if you don't have the equipment to handle it? In Dark Souls it gets you killed, in OCR land you get NO'ed Seriously, with the sample stuff you listed, you might get PS1 era level sounds, which can be good if you are doing this kind of retro vibe. And if you would do a track in that style, with those instruments, where clearly you choose it for stylistic purposes rather than try to be realistic, I don't think it would be a problem on the panel. But epic realistic orchestra? As you said, it's very hard with the stuff you listed, so why be a mad man about it and try anyway? Nobody is expecting you to buy expensive sample libs and software, just as much as nobody is telling you to make realistic orchestral music. Seems a bit like a self-inflicted pipe dream to me. I am also not gonna be like "all I have is a banana and a didgeridoo, but that will not stop me from making the most brütal metal known to man"...
  14. Not cool bro panel.

    Epic wall of text is epic. And clarifying. I'll grant you guys that the eval process is quicker these days (as long as you keep in mind that eval might be quick but it might take a good amount of time to get it actually posted!) but for me as a poor ol' remixer that's a bit hard to see. Sure, tracks that get NO'ed end up quite quickly in the judge decision forum, but for tracks that are either YES'ed, under judgement or pending in the queue there's not a lot of visibility unless somebody takes up the (manual) chore of updating the 'Currently in the Judging Process' topic. Personally I think it'd be awesome to have this automated and more visible (and faster), but I'm not sure how feasible -or desirable- that is.
  15. Not cool bro panel.

    I think the standards of what a track needs to bring in order to be posted on the homepage has also grown over the years. If you look back at earlier mixes, quite a few of them wouldn't be posted these days. So the quality standards have evolved as the musicians making the music (and the easy access and sheer quality of today's music software and knowledge) have grown. Which I think is a good thing. It's probably also a really tricky balance to define where that low threshold of quality should be. Put it too high, and you end up discouraging newer remixers (even though some might meet it as a game to match and try and beat; I know I did!). Put it too low, and you end up discouraging those musicians who are further along on their musical journey and want to be in a community with people with similar level. Uniting those 2 contradicting positions might actually be impossible. And maybe you shouldn't. Having the jury and some barrier on getting posted on the homepage does alleviate it to something of a kind of Champions League, if you will, and also makes it a kind of special event. I know I always look forward to getting mixposted. Anyway, it might not be a bad idea to expand this Champions League with a Premier League and maybe even a First Division kind of thing, with a lower threshold. You could for example consider remixes that are being evaluated in the Workshop and getting a pass from the mods there to be in a separate list of their own (the Premier League) and maybe a First Division kind of thing for the tracks that get a NO, resub mark from the panel. Not a new idea, because this is actually pretty similar to the next goal on OCR's Patreon page. And yes, judges just being human will mean that sometimes their subjective opinions will be a pain, and yes, they will nitpick about stuff you might feel different about. But copy/paste is something I would tend to agree on with them; this is a remixing community, not a copy/paste community. Show your creative chops, that's the whole point. That creativity extends to getting whatever stuff you have to sound good, without requiring you to have all the fancy sample libs and synths. That kind of production work is not everybody's cup of tea (I cheat by using these fancy sample libs and synths if I feel like it), but don't let "I don't have fancy thing X" be an excuse for being lazy at it