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  1. Yesterday
  2. "Bloody Tears" - 1:18-1:36, 2:34-2:55, 3:33-4:25 "Maridia" - 3:04-3:30 = 117 seconds or 40.20% overt source usage Yep, whatever you did with the Maridia Rocky theme, congrats, it's unfortunately not recognizable in the first half. :-D I did hear the CV2's "Bloody Tears" melody from 1:18-1:36 & 2:34-2:55, even though it wasn't listed as a source tune, but "Purification" only arranges the intro of that song, not the verses, so this should have been DQed from the compo if "Purification" was the CV source, no? Maybe there's another Aria of Sorrow track also arranging "Bloody Tears"? There's Maridia finally from 3:04-3:30. Back to "Bloody Tears" from 3:33-4:25. Really dunno where this source breakdown even comes from, because the times and instruments don't match what's been given. I'm just confused, which doesn't mean I'm not being obtuse here, but just chiming in to say this didn't immediately make sense to me. To me, the instrumentation quality's solid enough, but the dynamics can feel pretty flat here despite the obvious gradual build when you skip around from section to section and better notice the changes in textural density. I'm willing to say that I also thought it was too dynamically flat on my first listen, but on repeated listens, I was fine with how it subtlely builds, and I'm OK being outvoted. There was a change at 3:04, albeit with no real transtion, so the switch felt awkward; see what you can do to smooth that out. To me, I'd just need a more accurate source breakdown, but if this source usage was explained better to me, and it was all in place re: sufficient & recognizable source usage, then I could pass this as is. For now though... NO (resubmit)
  3. Awesome direction to take! But I agree with my fellows, the soundscape sounds too muddy and lossy overall. If the backing pads are going to be fuzzy/distorted, the leads should be clean so they can soar over the soundscape, but they are distorted too so everything kind of mushes together. The arrangement works well enough, but there isn't much in the way of arrangement dynamics, because the energy stays roughly the same throughout the piece, mostly because this heavily distorted soundscape never changes, so it becomes fatiguing after awhile. If the backing pads dropped way low or out completely at any point, that would provide more arrangement dynamics. Even with the timestamp provided, I cannot hear the source connections. Perhaps someone with more familiarity with these sources can hear it more easily. I feel like the source represented here has been very heavily interpreted, and often little two-note motifs are being counted as source (which is fine to do, it just makes it harder for me as a judge). I'd love for Larry to take a listen to see if I'm massively missing it, Larry's our source-o-matic around here. But regardless, the mixing issues are holding it back for me. NO
  4. The whole concept of this piece could work well, and the Enya/New age-type vibe does come through well. However, I am in agreement with Prophetik on both points about the orchestration/part-writing being dense in the low-mids as well as the reverb being too much. Make sure the reverb has EQ cutting the lows to help it from creating mud solely from the reverb. When the pan flute first enters at 0:14, it starts to quickly sound like a flanger/chorus or distortion effect is applied on it. That kind of effect feels counter-intuitive to the smooth new age sound you're going for. This carries throughout the piece and dominates the soundscape. This really needs to be cleaned up, and the parts balanced more evenly amongst each other with possibly some low end parts reduced or cut. I appreciate that there was some thought put into the swelling of the background elements to help give them movement and energy, but the bass does get really big at times when it reaches it's fullest. I'm hearing the Metroid (something very closely resembling it) in the piano in the deep background 3:05-3:10, and then 3:11-3:30 it sounds like interpretation of that same part. Even with the timestamps, I'm not making out Metroid except for there. As is, the Castlevania parts feel much more dominant in the arrangement. Overall, more direction both in structure and melody would go a long way to keeping interest going as it does feel rather stagnant for a longer piece ~5 min. NO
  5. Last week
  6. I'm necroing this thread because I'm necroing this project. Recently did more work on the Sandopolis one: I'd love to see more people jump on this.
  7. Another classic MkVaff that continues to live on my playlist. Not a fan of how one prominent effect has aged, but overall it fades away into the loveliness of the rest of the remix. Speaking of fading, I also agree that the ending could have been drawn out a bit more.
  8. As with all of the VQ tracks I have evaluated, I can hear and feel how much care and attention to detail went into this. As with the other submissions, there is a story behind the arrangement, the instrumentation has been carefully selected to convey a specific mood and tell an evolving story. There are so many textures, sfx and ear candy, and the arrangement never loses interest. This one is actually mixed rather well I think, compared to previous submissions. (Although as with the previous submission I voted on, something has gone wrong with the mastering because it is hitting peak 2.4db, and it needs to be limited at 0db maximum). ----------------------------------------------------------------------------------------------------------------------- Before I write what I have to say next, which I wrote six days ago, I need to say that the Shinobi source song is problematic for me, in that it contains unpleasant dissonance, clutter, and lack of melodic contour in its lead writing. Weird-ass source, imo. I'm having a harder time busting this remix for doing similar things as the source is doing, but here goes. ----------------------------------------------------------------------------------------------------------------------- The problem I am having, as with previous submissions, is that there is so much going on at once, and quite a bit of the writing sounds extremely random and often out of key too, which ends up sounding awkward. The track starts out fine up until 0:25, at which point the flute is already conflicting with the main arp, vocal patterns, and kettle drums. It's several different patterns at once, and none of it makes sense together. This problem persists throughout the piece. The worst section for me is from 2:30-2:52; the patterns are so varied harmonically as well as rhythmically that the entire section is just confusing. I don't even mind the fuzzy timbre at 3:27, I kind of like it! But the arp patterns conflicting at that section is what ruins it for me. For musical writing to make sense to a listener, lead motifs should have some sort of motivic or harmonic contour, meaning the notes don't just bounce all over the place. Also, countermelodies, arps, basslines and supporting patterns need to interplay with each other in a way that makes a cohesive soundscape, and that is not happening here. In a previous submission, Larry described the problem as a "lack of melodiousness.." I hate to say it, but that's the problem here as well. I hate to come down hard on this. There's a lot to like about the track. It has a great ethnic flavor and energetic vibe. The combining of the sources is well accomplished and the arrangement has great dynamics. The attention to detail is off the charts. The mixing as I said is even working well enough (although please use a final limiter, set to 0db maximum). But the mismatched harmonic, melodic, and rhythmic patterns are sinking it for me. Ok I am listening to some Glitch Mob tracks to try to understand what's being emulated here. Wow, their stuff is really unique, full of varied patterns and sounds. The difference is that even though they are really pushing the envelope, the patterns ultimately make sense rhythmically and harmonically even when many of them are layered together. This would be a tough style to emulate, it's a very ambitious undertaking for sure. In all honesty, and please take this in the spirit of helpfulness, I suggest you select a much simpler source song, and approach a remix in a much simpler way, so that you can learn about melodic contour, harmonies, countermelodies, rhythms, and keeping the soundscape more simple, with elements placed purposely and never randomly and never too many at a time. Don't be afraid to cut out ideas that aren't working, even if you spent time on them! Eventually you do get used to doing that! Your arrangements are already VERY good, they just need refining at this point. NO
  9. Oooooh, for this Shinobi 3 source, I get why it's breaking Chimpazilla's ears in our #judges chat; that line brought in at 1:29 of the source. I 100% hear the dissonance; there's something about it though where's it not THAT bad for me; my mind's playing it to me like the way you'd THINK it would sound if that line were melodious, which might make 0 sense to say; I'm unsure of if there's a musical term for this dynamic. :-) The beats at :25 are mixed in an odd way; a nice, booming presence, but sounding on the lossy/no-high-end side, so it's not benefiting the texture. Then some light claps or layered finger snaps, whatever they were, came in and also sounded very lossy and also very flimsy and dry. I liked the transition sound at :57, but then the mixing of the next section also felt off. The light clacking percussion part added at :59 was too flimsy, then some beats added in at 1:10 sounded beefier, but again very lossy-sounding. The buzzing synth line brought in at :59 is practically buried once other elements are added at 1:13. The string line at 1:13 initially sounds decent, but gets way more exposed from 1:33-1:55. The overall sound & flow of the track is serviceable, but even by 1:33, it's pretty repetitive; 1:10-1:55 could be cut in half. MindWanderer's correct that the melody, as presented now, drags out over the course of the track; there may be other ways to present it to better maintain the interest. 2:07 changes up the textures more, but, from 2:11-2:52, lines begin to step over one another and competing to be heard, it's too messy, cluttered, and indistinct, due to that part added at 2:11. From 2:29-2:40, there's some clashing writing from whatever line was handling the lead before the part shifted back to the source melody at 2:41. Lots of quiet indistinctness from the bass writing as well from 2:30-2:50, where it's filling in the space some, but you're not making out any individual notes. Back to the source melody at 3:03. Key change at 3:25 that sounded really clunky. I dunno any theory, so while I can't articulate it, the transposition of the part-writing taken from the source isn't clicking. I've said this to HoboKa and think it's the same for you; when you play it straight with your source tune transcriptions, it's fine, but often when you try to deviate in big ways, it opens up the potential for non-melodious writing. Dunno what that instrumentation is with kind of a light phasing effect on it, but it's just creating clutter, and when it briefly drops out during transition phrases like from 3:46-3:48, it makes it more apparent how awkwardly it sits in the texture just adding noise. Much better texture at 4:11; less was more there, both in terms of having a direction and the textures sounding clear enough, so it was an effective finish. I didn't catch any of the Rise of the Robots writing; I'll check it later, but it didn't affect anything from a source usage standpoint. To me, when the textures are fuller, you're inadvertently adding a ton of clutter and making it difficult to follow along, even though the core melody is repeating so much (and could use other variations), and the off-key sections (2:29, 3:25) dragged this down as well. Hemo made a good point that everything right now seems to pull emphasis away from the live parts, which come off extremely subdued. Like MW, I agree there's good potential here, but it'll need a mixing reboot, undoing the off-key writing, and maybe some further melodic variations (not necessarily changing the notes, it could be the instrumentation), in that order. The first two are necessarily, the third may not be but is worth exploring. Unpolished is an apt word for it that MW used; we don't need perfect polish, but it'll need more than this. Lots of good potential here. :-) NO (resubmit)
  10. Not the craziest mix, or the most technically impressive, and it does feel too short, but damn it's so easy to listen to. The beat plays on, even after all these years. 👌
  11. I'm going to put this one out of its misery quickly, since I know the twins are already looking to revisit this. The mixdown and especially the mastering feels incomplete and doesn't do justice to your fantastic arrangement, I know you guys can nail it better than this. See you on the other side! NO (resubmit)
  12. I agree that it still holds up. Great energy, great work on improving upon the source. Classic MkVaff
  13. Have you, or someone you know, ever tried to mix guitar or bass tracks (or even virtual versions of them!) and felt way in over your head? Like nothing you do is working and it sounds like garbage? Well fret less, because The Sages have you covered! Join @pixelseph for a live workshop on guitar/bass tone shaping - what it entails AND how to use it in a remix! This 3-4 hour event will consist of general terminology (how stringed instruments like guitar and bass produce sound, what an amplifier is and does, what gain is in the context of amplified instruments) basic differences in instruments (pickups, strings, amp types, speaker types) a practical demonstration of the terminology in action dialing in a similar tone across 3 amp simulators dialing in a clean tone, a crunchy rhythm tone, and a lead tone (guitar) dialing in a clean tone and a kanky tone (bass) working stems into a mix Everything will be demonstrated with free tools (where possible) and some of the more prominent tools in the community. These tools - DI stems, virtual instruments, amp simulators, and impulse responses - will be made available to EVERYONE at the end of the webinar; please see the VOD description for links!
  14. I'll be listening to this on loop for a little while, what a nice track! I find myself wanting more, but isn't that how you know it's just that darn good?
  15. Y'know what? I think I'm going to make something like this for my channel as well. Nice work!
  16. I'm may not be overly familiar with the source, but it's awesome to hear mixes from you again Deej. Nice work with the orchestration in the first half mixed with the rhythms, and great work with that lead melody in the second half as well dude!
  17. I arrived at the site lost in a sea of emotions from recent and current ill fated life events. The remixes of games of my youth upbeat and energetic tugged my malleable mood in positive spine tingling directions. Then I took a chance and typed "Opera" in the search box. Not knowing what to expect, but knowing I would be rewarded for my efforts I hit the search icon. I clicked the first link I saw and pressed play. I would not return to conscious awareness for what seemed like 20 minutes. As the thunderous power of the music came to a close and started to repeat I came to my senses. My shirt soaked in tears and my teeth sore from clenching my jaw I knew I had made a good choice. I had been holding back so many emotions and pretending to be ok while going through so many recent life changes. I needed a release from my own emotional prison and this track afforded me that opportunity. Thank you.
  18. This is from, uh, 4 years ago. I just threw a couple more hours into it (mixing before was freaking awful, lol), but it's nowhere near finished. Sand Trap (Revival).mp3
  19. Still a regular on my playlist. Another early remix that sticks heavily to the source, and some of the instruments may sound dated, AND it's too short, but there's more than enough going on to still take me back to that factory of evil. Maybe I should use this as my alarm...👺
  20. Still enjoying this remix! At first the change midpoint threw me off, but after a repeat listen I got over that quick. This tune actually makes me think of the Serpent Trench in FF6, itself also a great source. Regardless, good stuff, great energy 😎
  21. Great remix that still rocks (blasts?). Tracks that focus on electric guitars aren't usually a draw for me, but this tune won me over long ago. As mentioned, too short! Regardless, good stuff 🤘
  22. While this could be a really cool idea to start out with this and expand into something more interpretative and transformative, this is not what OCR is looking for. This is too similar to the original with very little interpretation or transformation. You want to go in and see what more of your own flavors you can add to or change from the original source. Present the source in a new way. It could be anything from melodic embellishment, changing the chord progression, or changing the time signature even. There are many ways you can change it up and put your own spin on things. Or you can add completely new material to sit against the original source. Those are just a few examples of how you can do it, and there are many more ways that you can do it that I didn't mention. I'd encourage you to post in the workshop on the forums or join to the discord server to get feedback. NO
  23. The chill is still going strong on my playlist. Classic game, classic remix 😎
  24. Hi Devsman! So happy to see some Megaman Legends love!! Is the intention to keep this piece as just the 3 instruments? I’m not a pianist, however I’m not hearing anything in your piece that sounds impossible for a single player to accomplish. That said, the sequencing for both the piano and the flute needs more volume and velocity automation - the velocities sound the same throughout (particularly the piano), which make it hard to retain interest with the short melodic figure. Having the same reverb for your instruments is always a good idea, as it makes them sound like they are in the same space. Did you create a reverb send/bus or is it two instances of the same reverb plugin on the instrument channels? The concert bass drum rolls are a good way to signal the transitions, however they don’t sound like they are in the same space as the flute and piano. The other issue is that they are currently only being utilized for the transitions, which makes them feel a bit awkward in the space. Would you be against having them in one of the sections, like say the climax of the piece, to help drive everything toward the conclusion? The section at 2:51 would benefit a lot from the bass drums accenting those first two stabs on the piano each bar! Keep working on this one! Glad to read this is your return to music - definitely looking forward to what you’ve got cooking up next
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