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About Sir_NutS

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

Profile Information

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

Contact Methods

  • Website URL


  • Biography
    I maek boomtiss
  • Real Name
    Michael Molina
  • Occupation
    Web Developer
  • Facebook ID
  • Twitter Username
  • Username
  • Steam ID

Artist Settings

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

Recent Profile Visitors

4,552 profile views
  1. This is a good method that works for me a lot of times. In fact I think most of my most transformative mixes come from "shower humming".
  2. *NO* Legend of Zelda: Ocarina of Time 'Wood Requiem'

    I am very familiar with this song, as is probably 90% of people who play videogames, and I am having a hard time connecting all of this to the original as well. Surprising how small changes make a huge difference. However, I don't actually think that's a bad thing, in fact, I quite liked it!. However for an OCRemix this feels a bit too disconnected. Also I think other judges have gone over the panning issue near the intro, which I didn't think sounds very good or fits the arrangement much. It's not easy to transform a jingle into a full-blown track like this, and I think you did a good job on that front. My big issue is with the VERY distracting panning and the crowded section around 1:17, in which the production gets a bit too dirty in my opinion. If you clean the mix up in the busy sections and bring the overly distracting panning down, I can give this one the thumbs up. For now though: NO (resubmit)
  3. Man, I really dig this arrangement. The piano is really lovely, however I must agree with the other J's on some issues. The track sounds muffled and some instruments lack clarity. The panned violin wasn't a huge issue for me, I understand why it's being done (it follows the piano very closely and would probably clash a lot more if put in the center) but it does feel lopsided to listen to when there's no counterbalance, specially on headphones. I also had no issue with the synth instruments, a track doesn't need to be straight-up edm to have these type of synth sounds. They didn't feel out of place for me at all. To be honest, my only big gripe is with the overall clarity of the production, if it can be cleaned up and balanced a bit more, it'll be golden for me. The arrangement is great and intricate, This is super close for me, but I'd like to hear an improvement on the production side. NO (Borderline, resubmit)
  4. How to future bass?

    To be honest future bass has a wide range of styles within itself that's really impossible to tell you "go do X for future bass". It depends on the artist and the sound you're going for. One thing I've noticed is somewhat common is the 85-90 bpm range, and the gated 1/8 chords. As for synths, if you want it to be aggressive, stack your saws, big chords, underlying bass doesn't matter much since texture will be lost. For stuff that's a bit more calm you'll have to be subtler with the synth choice for your chords. Drum structure usually follows the chord rhythm usiing the kick and snare. My recommendation would be to just listen to the type of future bass you want to make and extract the elements by yourself. That's how different styles within a genre are sometimes born.
  5. Mike's early remixes were a huge inspiration for me to get into music and remixing. Glad to see him back.
  6. 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.
  7. I agree the mix gets very crowded, and that the arrangement is pretty good, though it does repeat a bit. The guitars are clashing with the synth frequencies for sure, but I'm not sure panning could help here, the guitars are already panned very widely, and the synths sometimes sit int he center, other times they rotate through the stereo field, and that doesn't help much. I think different synths that aren't as frequency rich as the saw wave-based ones here could work, or moving them up an octave. Either way, if the mix gets cleaned up a bit, I can see this passing easily. Right now it's just a bit too crowded, not too far from the bar, but not over it. NO (resubmit)
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. The arrangement is pretty straightforwards, but it works. I would've liked to hear more variety in the arrangement than just the added solo break, but I think the new layers of melodies work well to make it something more than a cover. The mix is good, with the exception of the lead violin which does feel buried in the mix. This track passes for me, however I would've asked for a conditional on raising the volume on the violin. It is after all, the main focus of the track and is carrying the main melody by itself, to be honest this is one of my favorite mega man tracks of all the classic series and the original really kicks ass but the issues with the violin lead makes it sound a bit meh at some points. So this would be a YES (conditional). I would like to add that mix quality is but one aspect of the evaluation, so pointing out that other mixes have worse mixdown is pointless. We know that, and those other mixes may have other qualities that make up for it. Either way, the attitude of an artist has no bearing on our votes, but it's just nicer if everyone is... nicer, y'know?