Sir_NutS

Members
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    2,897
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  • Days Won

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About Sir_NutS

  • Rank
    Judge, Spanish Translator
  • Birthday 10/11/1982

Profile Information

  • Gender
    Male
  • Location
    A Tropical Island. Really! no Kidding!

Contact Methods

  • Website URL
    https://soundcloud.com/sir_nuts

Converted

  • Biography
    I maek boomtiss
  • Real Name
    Michael Molina
  • Occupation
    Web Developer
  • Facebook ID
    sirnutsmusic
  • Twitter Username
    PMichaelMolina
  • Last.fm Username
    Sir_NutS
  • Steam ID
    Macronaso

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Bitwig Studio
    Reaper
    Reason
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design

Recent Profile Visitors

4,160 profile views
  1. Mike's early remixes were a huge inspiration for me to get into music and remixing. Glad to see him back.
  2. The mix is clean, but the balance feels off, I think your compressor is acting up too much on your mix bus and messing up the dynamics, you can tell when some of your synths are obscured heavily even when outside of the "groove" window caused by the kick/snare. I think you can work on that and also, on the arrangement side, distancing a bit more from the original in structure and melodies. Synths could use more variation, but in all honestly you can make a good track with a few synth sounds if your arrangement is rock solid. Good luck.
  3. Not cool bro panel.

    Definitely join discord. The community is pretty active, and we have a workshop channel as well where we post resources and offer advice.
  4. Not cool bro panel.

    On another news the Judge Process thread has been updated thanks to @Nutritious. I'll try to keep it updated again.
  5. Not cool bro panel.

    All of these people have bars. Also Gamechops, tinywaves, etc. They all have bars, they don't publish anything and everything that they get sent. They just aren't as transparent about them, which is their prerogative.
  6. Not cool bro panel.

    When I joined the panel, the wait time for a sub to appear on the queue was about a year and a half. Yes, If you submitted your song today, the ETA for it to arrive at the queue would be around spring 2019. This year around july / august, if you submitted your song there was a good chance it would get on the queue (and possibly out of it) that very same week. So yeah, it's a bit faster now. I took this process over from Larry because the thread has been a personal grudge for me for years, since it usually went without updates for months when the queue was ridiculously long. I used to update it weekly or more often but since we had reached parity with the inbox (and I have too many responsibilities this year) I stopped updating it, since things are a bit slower now (the most recent mix on the queue is from around mid october) I'll try to update it again. This thread is a pain in the ass to update though, takes a considerable amount of time, so yeah. This has been a topic of discussion internally and is brought up a lot. To make this process visible it requires a better submission process and integration with the site. This is a major project which requires, you guessed it, a lot of time to implement, free time from the staff. I know you're perfectly aware of all of this but a lot of people, perhaps understandably don't see the amount of time that is put on the site behind the scenes to keep it running, release projects, work on evaluations, implement forum features, organize panels, etc. I personally would love to see this whole process to be updated, but it's not happening overnight with the current resources we have. I was very surprised by this as well, I thought we were rejecting far more than we were passing. But after thinking about it, it makes perfect sense. The bar has been around the same place for about a decade now, and it has become increasingly easier to make good music. I remember the FL compo mentioned by Larry, and at the time this compo was made, FL and most DAWs used to come with very poor quality samples and the tools they came with were pretty vanilla and basic (3xosc, i.e.). Compare that to the current FL studio which comes with many more powerful tools out of the box, plus a more comprehensive sample library of better quality. Same with other DAWs like Reason, Ableton etc. You can get Reaper nowadays for free/cheap, grab a bunch of high quality free synths/effects/samples and get going without spending a dollar.
  7. Not cool bro panel.

    Ditto. Also, usually an artist has his/her own stylistic vision for a song, and that's totally ok. It's just not what OCR is looking for. It's been said several times throughout the thread but OCR is not the end-all of videogame remixes. In fact nowadays there are several ways to get your remixes out there regardless of stylistic vision or quality. Not that I want to send anybody away at all, but OCR has had a quality and stylistic definition for what is an OCRemix for years and if you want your remix to be an OCRemix it just has to abide by that. Regarding the bar, it hasn't changed in years and it's in a good place where it is, this is my opinion now and it was my opinion long before joining staff. As an example to why I believe so, I didn't know about the "big bad koopa dubstep" remix posted in the first page until today. That people reacted negatively to something they perceived was not up to OCR's quality is actually a great thing. That means that people expect quality from us, and having the "bar" where it is has created a standard that people expect when opening a link featuring an OCR song. Regarding judging speed/amount of judges, it's now a fact that more judges don't result on faster queue, on the contrary, when there has been a small team of people who have a good idea of where the bar sits, the queue moves faster. The queue has been faster than it's ever been in years now. Sadly, getting it faster is not as easy as saying it. This is voluntary work, that people do it out of love for what the site represents, but voluntary still, which means that we all have other responsibilities besides judging, and as such we can't possibly have all songs evaluated as soon as they hit our inbox. This will likely never happen on a system that has actual people reviewing the submitted work, nor here, nor anywhere else. The current pace of "1 week to 2 months" to get a mix evaluated is, in my opinion, as good as it can realistically get. Some remixes take longer because of split votes, because the judges are human and thus can't always agree on everything. This is also very unlikely to change. Scrutinizing YES votes even more than what we do now (we require 4 YES votes for a pass, only 3 for a NO) would make evaluation take even longer. Complete counter to what we want. I don't personally dismiss criticism on the process, and from what I see neither does the staff. Otherwise we wouldn't be here, reading this. On the whole PS1 era samples for a song etc, I think Gario summed up my views regarding this pretty well. Plus, we don't require anyone to go out of their way and get the most expensive libraries out there. Jorito already gave an example of his own, but I also can think of Rebecca Tripp, who I'm pretty sure doesn't have the most expensive libraries but manages to get on the front page quite consistently, with orchestral, folk and ambient remixes. Outside of the symphonic realm, you can make ocremixes with free stuff, this is a fact, as I have at least a couple remixes on the site made 100% with completely free tools. We really don't require perfect production at all. Regarding mixer's comments, like Gario I try to avoid them whenever possible because they get in the way of an unbiased evaluation. Same with the other judges' votes, I try to just scroll all the way down and read them after I've written at least my initial thoughts (but before hitting submit). Sometimes there's a good story behind the mix and I really appreciate that (this comes to mind) or the mixer's write up brings up some interesting points about how the track came to be or production techniques used, or the other judges have pointed out things that need more of my attention, etc. All good stuff, but whether the mixer spent a year manually crafting the congas out of cow leather or if his intention was to make the song sound like an authentic Adlib Soundcard track without actually using an Adlib Soundcard has no bearing on whether it meets the expectations of being an OCRemix or not. Not being an OCRemix doesn't automatically means it's bad or it's good, it's just not what OCR is looking for. On the transparency side I'd be fine with that once (if ever) the process gets more automated on the submission side. If at some point the process itself becomes something integrated properly with the website instead of being a manual process at all points (submission by email, separate upload, manual inboxing, manual creation of threads, etc.) At this point it's a bit too messy to open it up and have it make much sense, IMO. It'll honestly be a lot of clutter plus probably more work for a staff that's already pretty busy. Finally, I should really be working on the queue instead of writing a wall of text.
  8. Not cool bro panel.

    I was updating it at least 2-3 times a week for the past year or more. But seems like people don't notice when things are working well I have a lot of responsibilities lately so I've slowed down with judging and updating that thread, I thought that since songs are judged quickly now, it wouldn't be an issue if that thread doesn't get updated much, so my bad.
  9. Not cool bro panel.

    FWIW, I rarely check remixer names before judging. If I do, it's after I've written my evaluation or because it was very hard to miss in the post when I have to click the link. I don't really care about who you are, and in fact I don't think the other judges do either. Joel is my best buddy and if he has to say NO to one of my tracks, he does, as he should, and as he has. I don't really care if it's djp himself sending a track in. I'd actually say, when the remixer's name and past is considered, the panel is harder on established remixers because we expect them to be at a certain level.
  10. Yeah, I appreciate that a lot of work was put into the instruments to make them sound good, but the arrangement is not clicking for me. It's very static, and goes on for very long sections without any energy changes. Intentional or not, the drums are very clicky and exposed and the pattern is too static, making the whole track sound unchanging. The mix work is solid and production on the whole band is ok, but this needs another pass : first on the arrangement. making it less static and second regarding the drums. NO (resubmit)
  11. OCR01030 - Ninja Gaiden "Ninjitsu Groove"

    For some reason I've been thinking of this remix recently, as it was one of those very early remixes that inspired me in my early days. To my surprise (and after thinking about it, not that suprising) this remix is by the amazing Danny B., whom I didn't remember being one of the authors of this one. Simple remix but this is all about those buildups and breakdowns such as around 1:34. Even 15 years later and after several "bar raising" in the judges panel, this would be a borderline vote, which speaks volumes about how damn talented Danny B. is. TLDR: BUMP
  12. *NO* Sonic Adventure 'Big Fish' *RESUB*

    I'm not sure if it's just me but a lot of sections in this song feel like there's a clash going on between the lead guitar and backing chords. Larry pointed out some but to me stuff like 0:57 and 1:18 is really pushing it in terms of harmony. I also think that, even though the song is meant to feel lazy and laid back, it seems like it's going overboard on that aspect for me and verges on plodding. I don't have major issues regarding production on this one, but I don't think the arrangement and adaptation is quite working here. NO
  13. Smash The Record: The Record - History

    I can try Prime.
  14. *NO* Final Fantasy 10 'One Dream, One Destiny'

    I'm in agreement with my fellow Js here. Lovely arrangement but the performance is holding this back for sure. I think that not only the performance but the piano sound itself has this blocky, cold tone to it when in an emotive piece like this one the sound should be warmer. The use of pedal isn't optimal here as well, with some of the harder chords around the 2 minute mark feeling pretty dry and harsh even though they should be evoking power and emotion. Overall, an arrangement like this should feel very touching but this is feeling rather soulless at the moment. It may sound like I'm overanalyzing this piece, but in a piano solo the performance is of prime relevance and I think this needs another pass to make it feel more human. NO (resubmit)
  15. *NO* Guardian Legend 'Miria's Legacy'

    wew, Larry really went into detail for this one. Sadly I've never played the game more than just a few minutes so I can't say I'm very familiar with the soundtrack, but Larry seems to be very familiar with it hence the very detailed evaluation. For the most part I agree with the issues he raises, the guitar mainly feels very blocky. Most of the transitions worked for me with some exceptions such as 1:40. The mix feels muffled throughout, with the guitars feeling very far back and the drums taking too much prominence. The bass lacks definition, and the only element that I thought was getting proper level and eqing was the chip lead, even properly going into the background at 3:32, but the guitar is just not taking over properly due to the muffled mix. Now for the good stuff I find the chip lead works really well, and really, the soloing here is very good throughout. The drum sequencing here is just amazing, tons of detail and pacing changes that sound natural and fit each sections. Even though this is a medley, this could work with just a few transitions adjustments. I feel you have the arrangement chops but gotta step up the production. The mix needs brightness and definition in everything but the chip lead, and I really recommend to join us on our workshop on the forums or on discord and look for a guitarist. We usually have people interested in collaborating specially with well-done arrangements. BTW, I checked your Serendipitous Synchronicity track and it was amazing. This one though needs another pass. NO (resubmit)