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I couldnt listen to the examples; Just askin: were These kinda Ambient Tunes? BC SM kinda introduced Ambient into VGM, and as much as i love Ambient i think it's one of the First to "Fall"; Ambient with some base melodic themes Is kinda Ez to do Alright. Just sayin.

Sounds so modern :) Ty For all the Musik 20 yrs ago maze, and keep rock in!!! (I honestly gotta listen to your newer stuff sometime. American Album lotsa plays But after that...)

Sounds phat on crappy JBL, i Like this new Intermezzo! You're striking gold methinks! Päd Sounds Amazing and ethnic lead as well!

Howdy, VQ! Also gonna reiterate live review notes for posterity: The judges honed in on the fuzziness happening from 3:25-4:09. It's highly likely to be too much saturation on something. This can be tamed with a high shelf cut around 6-8kHz or by pulling the saturation back about 10%. The modulation/key change into the same section was a great idea that needs the proper preparation for the listeners to stick with it. I think we determined you're going from Ab Major to E Major. Major third modulations are pretty easy to handle as modulations go -- I mentioned going to a shared chord between the keys but you don't have many between these two keys. However, Hemo suggested some tritone substitution action. In this case, do an Ab7 (Ab-C-Eb-Gb) chord into (in this case) a B7 (B-D#-F#-A) chord leading into the change into the E Major (E-G#-B). You can omit the 5ths on the 7 chords (Eb and F#, respectively) if you don't have enough voices to cover the chords -- but keep the 7th intervals spread out to minimize the potential dissonance.

Hi VQ! Gonna reiterate what I can from the live review: Be very selective about what voice is the focus in each section, and pare back parts that aren't providing texture for your rhythm and harmony lines Consider swapping the bass ostinato from Shinobi 3 in the middle sections of the piece with another melodic phrase from your sources; I recommend the descending arpeggio siren thing from Rise of the Robots This is gonna be a groove machine when you're done. It always sucks to go back and start from scratch on mixes but it's worth it in the end!

City pop is so fun! I'll write down and expand my comments from the Office Hours voice chat: Outside of altering your basic arrangement framework or the key, the drums plod by the end of the second chorus. The groove is interesting and complex but needs more variation to maintain listener interest subtly. Consider simplifying the beat during a verse or two -- hew the kick to the bass, maybe save the snare and clap for beat 4, roll back the complexity of the hi-hat pattern or drop the hats entirely. During the choruses -- perhaps especially the choruses framing the guitar solo -- use some anticipatory kick drum placements (the 'a' of 3 or 4, and/or the 'and' of 4) for some bars. These extra 16th note spots from the kick create anticipation for the downbeat, ramping the energy up a notch and propelling the beat forward. If it still feels plodding, consider dropping the drums out entirely for a verse and going to just the claps for a couple of bars. Without changing the basic beat pattern, you can also vary the hi-hat pattern by incorporating some open hi-hat spots (beat 4 or the 'and' of 4 are good spots on alternate bars, or go for the disco approach and open the hats on the upbeats). If you keep the 16th note flourishes in the closed hi-hats, try opening the 'a' 16th note between the closed hi-hats.

Hi CW! This is killer! Easy to see it doing well in a compo setting - strong composition and solid vocal performance throughout. Key change would be pretty cool - possibly toward the end if you don't do the whole track and use it as an effect for momentum. The length feels longer than it is with some of the things we mentioned in the live weekly workshop review, but I'll recap some things to address that: Changing up the beat around 3:30ish (after the solo section going into the 3rd chorus) - dropping out the drums to just claps, or kick-kick-kick-clap. 1-2dB of additional volume to the lead vocal in the choruses - this will help make the sax samples less exposed. Please please please keep cooking on this one when you have time, it's gonna be a big bop when you're finished!!!!!

Cool beat! got the head boppin' lol

I loved it, the main thing for me is that the percussion gets a bit stale later on in the song. I think that could be solved by just shortening the track like you said but if you don't want to do that, switching up the percussion a little would go a long way

Howdy, Seth! What a fun source. Gonna attach the source for other folks to check out as well; always good to include it with a WIP so we can be familiar with it. Since you mentioned volume leveling, sound design, and other edits, I'll frame my feedback with those aspects in mind. I generally like your instrument choices for this arrangement, particularly the trumpet and the marimba, and as my name would indicate, I'm gonna zero in on those drums. Volume leveling: once that 16th note double kick and bass pattern comes in (:23, 1:06, etc), the lows from the bass and kick are eating up the soundstage. A dynamic EQ targeting the sub-bass frequencies or a multiband compressor for those segments would help keep the lows under control. Sound design: if you want to hew closely to the sound of the Genesis, consider the sound channel limitations of the system. The drums (kick, snare, toms) will most likely be sample playback from the PCM channel while the cymbals are coming from the noise channel and the PCM isn't super hi-fi. Consider rolling off the super lows (20-40Hz) and the highs (10-12kHz, maybe as low as about 8kHz). Other edits: I think I'm hearing some artifacting in the render, some light crackling in the side channel. You'll most likely be cleaning this up by the end, but it's worth pointing out. Keep cookin'! We're looking forward to hearing more from you. :)

Hi Seth! I dig this piece! I wonder how much you're able to explore with the lead synths as far as duty cycling or velocity changes; the melody felt pretty much the same velocity-wise throughout both runs of the loop. How close are you looking to hew this toward the Genesis sound palette? Some of that FM slap bass would be welcome :D Definitely interested in how you develop this going forward!

What did you think? Post your opinion of this ReMix.

Hey all. This is gonna be relatively quick, because I wasn't sure if I'd present it or try to rework it again yet, but. . . SUBMITTED, MASTERED SONG: https://drive.google.com/file/d/1ixEWhVdIC-Xj1y5YevPlgwfW9hTDTgYF/view?usp=sharing ORIGINAL DECISION: SOURCE TRACKS: Shinobi III: Return of the Ninja Master - "Inner Darkside" Rise of the Robots - "Prime 8 / The Builder's Stage" REFERENCE TRACKS: The Glitch Mob (Aesthetics / Vibe / Asian & Ethnic Influences) Mike Oldfield - "Tubular Bells (Theme from 'The Exorcist')" 'Theme from the X-Files' I uhm...don't entirely know what to do to resolve the critique points for this track arrangement-wise. *Mixing* I might be able to grasp on, but the basses are hell, and I need to find a way to rhythmically marry the two sources together better? Or--at the very least--the main issues I took from it are: 1) too much going on that sounds fuzzy, and 2) there's not enough variation on the main motif. . .and I guess the sources are very strange / weird / wack...etc. Any comments or questions or concerns would be great to discuss here and ask. ♥ I'm open to any ideas on how to redress this or...whatever. I'd hope maybe the way the song is built is alright, and maybe it's just the elements within in that are problematic and can be resolved for the better.

I changed some of the beat work just now. Minor changes is the kick and snare, more changes in the hats. Also added some "decorations" to the new slower section involving the sister's battle theme:) TwistedSisterzReEQed5-1.mp3

howdy folks! as a serial compo-er, i often face the challenge of being able to spit out a track idea in a relatively short amount of time, but when it comes to refining and polishing i tend to find myself scratching my head. i'm looking to tackle that by polishing up my one-and-only (for now 😉) PRC entry and getting it up-to-snuff for submission. it's a city-pop-inspired remix of "1000 words." here is the submission for PRC472. a lot of things are currently on my to-do list, including: possibly changing the key so it's a half-step higher, re-recording guitar parts per this change shortening the length to the verses/choruses that appear in game, since it's fairly long as-is more ear candy one thing i'm struggling with at the moment with is making room for that adlib in the last chorus on top of all of the other elements going on, on top of trying to keep the production of the track true to its city-pop inspiration. if anybody's got any tips for me in that department, please let me know! other constructive comments are greatly appreciated! thanks y'all! edit: source

A personal fave and permanent resident on my playlist all these years later. The source selections, transitions, sound effects, the beat...👍👍 Stellar timeless (IMO) example of early OCR

It's finished

Still needs some volume leveling, sound design and other edits, but I think it will be pretty nice when I get around to finishing it. Star City.mp3

Agreed with Marmiduke, although I actually tried listening to this song several times on repeat and it leads in and out to itself quite nicely. You gotta be a fan of that backing tune, right from the source, and I really am. Nice remix that still hangs out on my playlist.

I added an extra section incorporating bits of the battle theme for the sisters. Not sure if I like the lead I chose or not in that section....or rather, I like it, will others? It's a Yamaha dx 7 guitar patch, and the bass drone was made with Sawer, with an lfo on the sync frequency. I had it more in tune sounding, but decided I wanted to push the amplitude on the lfo just a little more to give a more detuned sound. The pad is one I made from scratch on Harmor, with various parameters effected by lfos, and well as some harmonic content being altered with the image synthesist part of Harmor. Thanks! TwistedSysterzCausticReEQed5MP3.mp3

Figured if anyone was still here, they'd probably appreciate this: Leah Kate - My Bed vs The OneUps - Halo theme https://www.youtube.com/watch?v=XjizeBqWX5w I made a mashup years ago of that OneUps track vs the original Kylie Minogue song that came out good but not perfectly - when I heard this new super-produced pop song had come out that was clearly riffing on it, I knew I had a great opportunity to make a new super-produced mashup out of it. It's definitely better with the Halo theme than without it. :D

An older remix for sure, from style to production, but I still like the take on the source. I like the vocals, and the remix gives me Parasite Eve vibes, so thumbs up!

Thanks for responding. I appreciate the feedback! 1) You said, "I wanted to hear some more of the melodic material from the original besides the A section, as after the 2 minute mark it started to feel stale." I didn't want to sound too stale, which is why I kept it fairly short. I tend to make techno tracks that are 8 to 10 minutes. As for the melodic material beyond beginning of the track. LOLOL! I knew it! I knew I'd hear someone complain about that. I honestly thought about it, but I really didn't like the other portion of the song, because it felt very VERY Nintendo-ish. Nintendo music always seems to follow along Koji Kondo and his style of music. This particular track, after the beginning, definitely does that. Nothing wrong with it! I love Koji Kondo's music! But I like techno more! ROFLMAO! 2) You asked, "I am curious about the pauses between your transitions being shortened from presumably an older version of the piece. Were you feeling like they were dragging?" Nope. There isn't an "older" version of the piece. This is the original remix. The transitions are shortened to keep the length of the track manageable. Like I said earlier, I tend to make longer techno tracks. At the same time, I wanted to keep the adrenaline pumping. Long transitions, when playing at a dance club, slows or even stops the dancing. But if you make the transitions short, people keep dancing! I was trying my hardest to NOT deviate from the source. I love variation too, but I was afraid that if I did that, it wouldn't keep the same spirit of the original song. I really wanted to keep that original sound and stretch is as far as possible without making it too stale. I hear ya! At the same time, I wanted to keep the track short. To accomplish this, I had to shorten the transitions. As you know, in techno, people love their drops, and they want those drops to last foreveeeeeeer! I had to resist that urge to stretch this baby to 10 minutes (like I wanted).

Wow...i didnt know DW sounded so....Italian. Sounds Like accordion composition on NES. Wanna include an accordion??