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I have been summoned! The guitars sound properly treated to my ear in this mix. The bass living @ 80hz seems to be a mixing decision to give the sub-bass frequencies to the kick drum (which is a stylistic choice for metal that I often make as well) and so it's a feature, not a bug. The drums, though, throughout the mix lack any room tone and sound dry as a bone; the opening choruses (@ 1:27, 2:41) and the second verse (@ 2:04) really demonstrate how dry the drums are. We can expect to feel a lot of dry kick and maybe a little snare, but if there's any room/reverb on the drums, I cannot hear it. Compare this to EK's vocal, which is swimming in reverb by comparison - would love to hear this balanced better! Another thing about the drum writing here that falls flat for me is the lack of time-keeping shells or cymbals - they aren't non-existent, but for this style especially, the song loses a lot of energy by their absence. @ :49 - 1:26 is an excellent example of how much impact from the part-writing is lost from there only being a single cymbal hit (the hats) on every other bar on beat 1. What frequencies proph perceives as noisy in the guitars would be swallowed up by the cymbals in this sort of section. If there was still too much fizzy/scratchy/amp noise (basically stuff above 11khz) audible after that, a nice shelf on the rhythm guitar bus tames that up. This mix has a lot of heart and passion in the writing! The part-writing and performance from the guitars, synths, and vocals are excellent, and my main problems with this piece are the drums and the production in general. I don't think the things it needs to find a home here on OCR are quick fixes, but they are worth pursuing for the song - specifically, to pass this track, I would need to hear: drum programming adjusted to feel more natural and dynamic adjust velocities, add room or reverb to the kit as a whole, and bring some element of time-keeping back to the sections missing it (choruses, verses) vocal production adjusted to balance out the mix EK's reverb crowds out the rest of the band and her own dry vocal, making it hard to decipher what she's singing NO (resubmit)

Valkyrie Profile - Confidence in the Domination Remix

No. It’s still there. I’ll look into why it’s not showing up.

Hey! Your nickname sounds familiar. I especially remember you from your stuff in Vampire Variations. Nice to see you back :) Also this track sounds nice. MIDI Metal FTW! Simple and raw, just what sometimes we need. I can see that fitting pretty well in an early 90s shooter game like Doom or Duke Nukem.

DAW is Mixcraft 10 Pro Studio. Synth-wise, half of this is RYM2612 (a paid SEGA Genesis VST), the other half is prepackaged stuff like Messiah, ME-80 and MinivogueVA. Percussion samples from Trisamples Trapstep and Datadrive 80s Futuristic Retro.

For media files uploaded to OCRemix, such as images and audio files, I have always checked from time to time how much I have already exhausted my upload limit for attachments in posts or to decide how much I want to compress this media data. When I checked my last uploads of attachments, I could no longer see any such upload limit. Does this mean that this upload limit restriction has now been lifted?

Howdy, Worlder! I didn't have a chance to get to this one the first time 'round, so let's have a few listens. Oof, proph and Emu weren't kidding about the extra low-frequency content -- specifically in the side channels (content happening in the left or right channel that is different from the content in the opposite channel). While most producers aren't pressing their works to vinyl records these days, keeping the low-end stuff (bass, kick drum) as mono as possible can help maintain mix headroom and give those elements a strong presence -- especially on systems with subwoofers. Now, I could be wrong about this: it sounds to me like the low-freq side channel content is mostly reverb and the bottom end of the chippy arp from the intro (maybe some of the rhythm guitars too, but it's a much lesser extent). If it's reverb, a high-pass filter will clean this right up (and don't be afraid to take the filter up to 400-500 Hz; reverb is great for giving a sense of space in a track but it muddies a mix up really fast), and the same can work with your rhythm guitars to a lesser extent (80-120Hz). If there's some other instrument generating low-end content (like that chippy arp synth in the intro), that should get high-passed to just below the fundamental frequency of the lowest notes it plays; this'll give your kick and bass the space they need. Separately, I'm with proph that the drums in particular are lacking punch. Some of this is the "internal mix" of the drumkit -- hi-hats and crash cymbals are louder than the kick and snare (e.g. the bomb blast pattern from 0:58-1:12ish, the half-time breakdowns at 1:15-1:27) due to either velocity or volume balance, maybe both -- some of it is sample selection, and some of it is a lack of compression and saturation. The extra club kick layer at 3:10 helps that segment compared to the first half-time breakdown at 1:15, but the snare is still anemic. It's unfortunate that we're being so hard on the production elements of your track, because the arrangement is well above the bar. The writing has good energy management and interesting twists on the source material -- the build at 0:58-1:14 and the evolution of that bassline from 2:38-4:00 are some highlights for me. And although I agree with proph that the guitar intonation issues detract from the experience at 1:58-2:35, the part itself provides a refreshing break from the frenetic passages that come before and afterward. This one's still not quite there yet, Worlder; please keep cooking on this one! You're closer than you think. NO (resubmit)

What DAW are you using?:) Edit: Also, what synths are you using?

UPDATE: Death Trap 2025 DEMO 4.mp3

Begins with a drum loop and a synth bass riff. I can see what you mean by "80s" feel in the description but I'm not sure I'm getting those vibes necessarily, especially as 80s music tends to be big on room and space while this sounds quite dry. At 0:10 an organ plays the organ break from the source and is then followed by a synth string-ish sample playing the A melody. The melody gets harmonized at 0:34 and, as proph pointed out, some of the notes in the harmonized sound a tad off, although if I'm being honest they don't bother me much. There's a percussion break around 0:50 and the extra samples have a ton more reverb, making my earlier point on dryness more evident. At 0:58 a new section begins and eventually the organ melody returns and we have something of an organ solo for a little bit until it's joined my a synth melody. I liked how you had the snare return at 1:35 for a burst energy and a smart transition. Around 1:37 a new bass riff begins, joined once again by the organ melody. There's some notes and variations that sound odd in here, like 1:52 (and its repetitions). B melody plays here on synth and then, over more or less backing, C melody plays on organ until the track ends. On arrangement, this has some fun ideas, changing the track into something more rhytmically upbeat is cool. That said, there's a fair amount of repetition in percussion/bass writing, with basically 3 riffs (0:00-0:50 is one, 0:58-1:37 is the second and 1:38 'till the end for the last one) for the entire track, each getting repeated a lot (second one at least changes with the chord progression though). Some of the harmonies play notes out of the key and the 3rd riff plays some odd notes here and there, but I'm honestly not as bothered as proph was by this. Generally, I enjoyed the arrangement. Production is for me the main sticking point as the sounds are for the most part very basic. As an example, the organ has very little modulation, which is a staple of the instrument. Leads are similarly very vanilla with no modulation. Bass sample(s) is also very basic, I love synth basses but there's more you can out of the sound on the production side to make it shine. Drums are also a little basic, the snare sound is a little cheap but I think it's usable if you at least add more 80s appropiate reverb, the kick however is too bright, it needs more oomph on the lower frequencies. Overall, while this is a fun arrangement it could use extra polish on the production side. I don't think you need to outright replace all your samples, but work on adding more life to the writing through articulations on organs/leads and see how you can make bass/drums shine on production. NO

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I'm calling it on this one. 12 years later and Cryamore is still not released, and there's no release on the horizon. With apologies to Garoad: we can't post this one. Aivi may have written a killer soundtrack but if that game doesn't exist, it's a no-go for OCR. NO Override

Thanks! I've found a current link for the project at https://archive.cavestory.org/csrp/, so I've replaced the link with that. It should correct itself on the site in the next few hours.

The issue being, it leads to a NSFW website now. :X I made an account here just to report this. Been visiting since 2000. Yall keep on keepin on. :)

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Downloads are fixed! Hit this one up, it rules.

Fixed. Download away! Phenomenal track. Glad to see it finally released. :)

intense open. that synth in the opening is really fun. and the fading in guitar is great. drums come in with bass at 0:23 and it sounds way, way, overcompressed. drums have zero punch, especially the kick, and they've been scooped pretty hard to my ears. there's an enormous peak in this opening section where the bass is, at about 80hz, and it's a lot of pressure in my ears. everything sounds hyper-notched and heavily boosted within that notch. EK's voice is really loud without any formant boost which is part of the issue - she takes up a lot of the freq range - and also her voice's reverb is really present and loud, which is also occupying freq range. gregorio's growls are pretty deep, and that might be affecting it a bit too - some formant boost in the low 2k range would help him to pop without being so loud. the chorus really highlights some of what i called out. ek's reverb on her voice is louder than the drums - cutting that back a bit, turning down her voice a decent amount, and pushing her formant a bit will allow you to get the band sound more balanced. the kick is all beater and no beef - the drum patterns sound really cool, but i just can't hear what they're doing. the beater tone is louder than the overheads for example. bass is pretty loud for not having a very bright attack tone - again, most of this track, the bass peaks at 80hz or so and i'd expect it to be an octave below that, at 40hz. the rhythm guitar parts feel very noisy and not particularly meaty - that might be with how they're tracked, i am not as good at that stuff. but i'll note that the lead guitar part that comes in right after feels thin. that might be due to the choice of distortion and amping, or due to the EQing. gonna page @pixelseph for more specific recs around that. the chorus with harmonies, at 2:40, feels good and aggressive from an arrangement perspective. ek's harmony voice needs to be heavily EQ'd down to be a lot thinner, and again formant boosted so it pops. that'll help it not press back so much on the guitar elements in the same range. it's not super clear why her harmony part isn't in the same rhythm as the melodic line - that'd be easy to fix in melodyne if you wanted to. there's a big break at 3:18, and i think this emphasizes how loud everything is. there's just the lead guitar by itself and it's loud loud, and then everything else comes in and it's so present. the bass is way, way too loud here, especially under the growls that come in right after. i like this section as a break section though - it's intense and a fun idea. the unison section right after this at 4:14 is something i didn't care for at all. unison singing is one of the hardest things to do in a way that 'feels' right because our ears so naturally identify phasing and intonation issues at the unison. ek does an admirable job, but the reinforcement of the two parts makes it way louder than everything else. we go through another chorus - this might be five times? and they all sound the same, at least mixing up rhythmic elements would be a huge improvement - and hit the last big chord to fade it out. so, yes, i agree that there's a lot to be done on the production side here before this is really there. something this big is always such an undertaking. i think the performances are great! and i like the approach a lot. i wouldn't have minded more personalization throughout, but the big dealbreaker for me is the mastering. crank the bass back, fix ek's effects chain and formant/eqing, and spend some time getting the drums to be punchier and the overall mix to not have such a huge peak at 80hz, and you're going to have a much more enjoyable experience overall. NO

Yes. Also broken for https://ocremix.org/remix/OCR04860. Not the first time I see this. They'll probably be fixed soon.

The download link seems broken ?

Source Tune: Death Egg Zone Act 1 Also, main inspiration source: Looking for critique before submitting. Death Trap 2025 DEMO 3.mp3

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