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Alright you PRC slooots, I voted!!! Maybe I'll parshitstipate next round, the Canadian way eh?

I like Winamp for listen chiptune, and Chipamp is a good bundle making easy to use Winamp, but there is a lot of time Chipamp do not receive a update, I had make a preliminary work about some plugins update and some new plugins for Chipamp . updated plugins vio2sf 0.23.13 http://foobar2000.xrea.jp/up/index.php?page=all asap 3.2.0 http://asap.sourceforge.net/ in_sidplay2 http://www.lemon64.com/forum/viewtopic.php?t=61429 https://github.com/zbych-r/in_sidplay2/ MDX Input Plugin 1.14.5 http://www.vesta.dti.ne.jp/~tsato/soft_sound.html VGM input plugin 0.40.7 http://vgmrips.net/forum/viewtopic.php?t=112 VGMStream r1050-test http://hcs64.com/vgmstream.html NotSo Fatso http://www.slickproductions.org/notsofatso.php (officil By Disch) http://drag.wootest.net/notso/ (fork By Drag) (new links for update) new plugins aoqsf 0.07 http://foobar2000.xrea.jp/up/index.php?page=all FMP/PMD input plugin http://www.vesta.dti.ne.jp/~tsato/soft_sound.html AdPlug 1.8.2 http://www.shikadi.net/adplug/ WinAHX http://www.abyss-online.de/static/download/ NEZplug++ http://offgao.net/program/nezplug++.html in_ncsf http://www.cyberbotx.com/NCSF/ in_org https://github.com/Yukitty/in_org in_hively http://www.hivelytracker.co.uk/downl.php in_openmpt https://lib.openmpt.org/libopenmpt/ (I use it to replace in_mod, this is the best module playback) in_xsf https://github.com/CyberBotX/in_xsf AUD Player http://www.vgmpf.com/Wiki/index.php/AUD_Player Highly Competitive http://www.vgmpf.com/Wiki/index.php/Highly_Competitive http://snsf.caitsith2.net/ IMF Music Player http://www.vgmpf.com/Wiki/index.php/IMF_Music_Player_Winamp_Plugin https://sourceforge.net/projects/newwolf/files/Editing tools/in_imf WinAMP plugin/ MSXplug https://github.com/digital-sound-antiques/in_msx Ken's plugin http://www.advsys.net/ken/download.htm#in_ken

So, in my English class, we read Antigone. And one student wasn't sure what to do for the project we had assigned to us. So my teacher said, "Just work on your strengths, make a little game out of it." So he did. And I did the music for this small project. Just a title screen and overworld. But it was pretty fun. Here they are: Game Project Overworld Theme Game Project Title Theme Game Project Final Boss Just thought I'd share this fun little thing I'm doing.

Melodically, it's too conservative, IMO, but if the arrangement were personalized in other ways beyond the adaptation to the chippy instrument set and new (though repetitive) beats, then it would have a chance; that's just my one opinion, but I think a vote on this as is would be "it's a good listen, but too close to the original without some other changes/additions to help it stand apart more from the original" At 2 1/2 minutes long, i.e. when it's on the shorter side, it's important that the track pretty much always stands apart from the original in some meaningful way; if it were longer, it'd have more time to start conservatively but then branch off into other more creative/interpretive directions. That's just looking at it from the OCR standards perspective. In any situation, it's a fun de-make, and the chippy sound is awesome.

A softer take on the source. Sweet. Nice sound. Structurally, it's really similar to the source. It gets mnore interesting once the rest of the instrumentation enters. There's more dynamics, more texture, more going on and more differentiating it from a plain cover. The very conservative first half might be an issue on the panel, but it's difficult to say. Put it in a playlist with some posted remixes, other orchestral works, and compare levels. Is this _too_ soft in that context? If it's just down to source usage issues, my go-to response is to just sub it and see if it passes. Check levels and sub it when you think it's sounds good next to posted mixes. Pass or no pass, I think it's lovely. Nice work.

The key word is "gradually." Streaming services do this. I don't know of any standard software that applies any kind of volume standardization to a plain ol' playlist of MP3's. As such, we have to make certain guesses as to how loud a track should be in comparison to similar music that exists, not only on OC ReMix, but elsewhere in the general market. We're pretty tolerant, on the whole: unless a track has a lot of unused headroom, or is distorted, pumping, or clipping, we're likely to be OK with it (although there's certainly some subjectivity involved, as NutS and Rozo said).

eval: The piano is quite mechanical. Humanize it. The drums are boring. Create a better groove, eg by varying hihat velocities and adding some percussion loop to the background. There are many solutions to this problem. Some better than others. Don't think you need a hundred percussion elements and a messy drum pattern to make it work. Just give it a little more life. The whole thing sounds quite loud. Find some posted remixes with a similar enough sound or style that you can compare levels to. It seems that at the skill level you're at right now, you've got the tools and know how to use them, you just don't know _why_ and _when_ to use them. Find some good reference tracks from ocr's recent years, and start comparing. How loud should the bass be? How bright should it be? How about the hihat, the kick, the rest of the drums and percussion? How about lead, secondary melodies, pads? Is the bass too indistinct when the rest of the insturmentation plays, does it need the reverb gone at those points? Is something too prominent and needs some eq cuts and reverb to be pushed back? What stands out in the wrong way? Basically, learn to listen. Source is there, sufficiently interpreted, and I think the arrangement, albeit messy, is okay. There's some weird (or absent) transitions that could be improved. The abrupt changes _sometimes_ work here. Ones I think must be improved: 0:31, 1:15, 2:00, 2:34, 3:10-ish, 3:22, 3:28, 4:13. I might have missed one, so consider all of them, whether they work for listeners or not. Sometimes, the problem is that the transitions lack signalling, sometimes that their timing seems off by a measure or two, sometimes that the change in sound or rhythm is too great, sometimes just that the next part just begins without any change to the drums (a crash is often enough), sometimes there's just a jump in levels because of the overcompression. Find the problem, diagnose the problem, solve the problem. The writing at 3:20 seems too messed up, though. You might want to go with conventional writing and glitch up the sound instead. There's a loud and annoying glitchy sound towards the end, like a mouse squeek. When it becomes a regularly occurring thing like that, it's more annoying than interestingly glitched. I think you're ending on the wrong note. It feels like the notes were just cut off arbitrarily. Ending with just the bass is fine, but I'd end on a different note, possibly at a different point in the loop too. If you really want to end on that note, write the preceding notes differently so it makes more sense. Your questions: Excessive sidechaining - Not hearing any sidechained compression, but the whole thing is too loud. Overcompression - Yes. Cluttered sound - Not terribly so (except around 3:00, which is a mess), but you should probably separate the instruments with EQ,. Consider which ones are foreground and which ones background, and process them accordingly. Make subtle (or not so subtle) EQ cuts in the background instruments so the foreground instruments have more room to play. Not ready for ocr yet. Seems like you've got all the right pieces for it, in sound design and arrangement, you just gotta shift them around a little. As for mixing, the best advice I can give is to listen and compare.

eval I think you're right about the samples. If the original samples are cool to use, there shouldn't be a problem. Let's hope the panel agrees. I'm normally the guy complaining about voice clips and sound effects in tracks, but this is tastefully handled and they're integrated into the track well. It all makes sense. Check their levels though, the clips seem rather loud at times, and there's sometimes a noticeable different in level between two clips. Not much else to say. Source is there, handled creatively. Nice groove, cool sound design. I'm sure there are nitpicky details go hunt down, but I don't have any. I wouldn't be surprised to see this posted. It hinges on whether the use of the samples is cool with ocr or not. And of course, the ending silence. Nice work.

Although it's written in the rules that remixes must have normal levels compared to average recordings, we don't have a written rule on how loud or quiet a track needs to be, but there are issues when you go both extremes: if a track is mastered too loudly it will usually get rejected because many times this will cause distortion, lack of dynamics and also obscures details. On tracks mastered too quiet, or with very wide dynamic ranges, this causes some issues with the listener's ability to appreciate the details without cranking up the volume, or in the case of tracks with a very wide dynamic range, it causes the listener to have to change the volume during playback in order to appreciate some sections. As for myself, I can't tell you if I will accept a -16 RMS track because there are other factors at play such as genre, and well, the nature of the arrangement, but unless the dynamics are interfering with the listener's ability to appreciate the track I don't have an issue with it. Personally, I appreciate tracks with wide dynamic range, but it has to make sense why they are that way, it can't sound like an oversight.

On topic with this, I blasted out some reviews today, typos and all, but my message limit is 5 per day. So if someone WANTS me to review their new wip, let me know and I'll do it next.

Battle to the Grave: This is full of seriously clashing notes. Timing seems out of sync in a lot of places, too--part of this is due to a lead with a really slow attack, which is really obvious with some of the quick notes that never get the chance to fully form. I'm having a hard time picking out Mercury's theme, but that's not surprising given that what I can hear of Spectre Knight's theme is greatly distorted. The Siege of Venus: Pretty slick concept here to start off with. The jazz works better than after Wandering Travelers starts, though--it tries to be big band, but it's a small band. Panning is also unbalanced--it makes sense to have instruments have a "place" in the audio space, but that can become an issue when all the instruments playing at a particular time at a particular frequency range are on one side. The arrangement was just Venus->Wandering Travelers, no integration between them, and even the genre changed. Four Against One, Sounds like Fun: Interesting take on Wandering Travelers, focusing on the late part of the song. Arrangement is pretty good, mostly the usual production issues here--balance, overcompression--which are secondary concerns for this compo and can always be fixed given time.

Welcome to the voting stage The mixing stage is over. This round has 2 songs and 1 bonus mix by PlanarianHugger. The following people compete against each other Dewey Newt GCJ (if you want a different color, let me know by replying or sending me a PM). I won’t use the pictures anymore since I have issues by getting them at this page). To vote, do the following: · Visit the stated ThaSauce Page and listen to all the entries. · Scroll to the form at the bottom of the screen or click PM. · Fill in the entries from first to second in the ThaSauce form (leave the third box empty) or fill in your top 2. Participants only need to fill in the first box. Do not vote for PlanarianHugger · State a reasoning for it. · Participants are encouraged to vote and leave feedback. However, they may not vote for themselve, they get a free first place if they vote, so it doesn't affect the results. Non participants are encouraged to vote to decide the winner and leave comments. · Always look in this thread to find out who's the winner of the round after the voting stage instead of only looking at ThaSauce for the results. Especially since some people might vote by sending me a PM. You have until THIS Monday, March 27th 10:59 AM ThaSauce time (18:00 UTC, 19:00 GMT) to vote. If you vote by PM make sure that your top 3 (or top 2 for participants) is clear. I prefer something like this: (To) Bundeslang (if you follow the link you won’t have to add my name). (Subject) PRC ### Vote (Message): 1: (remixer A ) 2: (remixer B ) 3: (remixer C ) (reasoning) I will post the feedback given in the PM’s and the votes in this thread. The winner may choose the source tune for PRC342. PRC341 will start before saturday. Check the ThaSauce Page to vote or click here to send a PM.

Thanks for uploading my song, but it should be labeled as a bonus song so no one votes for it.

Review time! El Polar Enker: This is kind of a textbook example of a static arrangement. There are only two leads, the guitar and the piano, and their thin and artificial character makes them sound very similar to each other. The percussion is a simple loop that's varied very little from beginning to end, and there's very little other accompaniment; the Enker section has some mid-range piano playing a simple loop, and that's about it aside from an extremely quiet bass. As for source usage, it's a straightforward A-B-A pattern, which works but isn't very striking. Arctic Robot Dance Party: A good effort at integrating two sources that don't lend themselves to integration in any obvious way. Some good ideas here, although vanilla synths and simple beats do bring it down somewhat. Some of the transitions are a little awkward, and the ending is a little abrupt. King of the Kuiper Belt: I had a very hard time identifying the source usage. On the second listen, I caught some suggestions of both themes, but they're really far afield. Nice approach with the style, although there was an awful lot of the organ lead that could have been switched up a little. Bass and highs were both a little light. Pridemoor Cat: Not bad at all! A little slow and repetitive, but it's trance. There's an odd effect in the first main section and again at the end where the lead is pushed back a little, which almost works, except that the mid-low arp is supposed to fill in the pauses in the Pluto theme, but isn't quite beefy enough to pull it off. I was worried about a simple A-B-A arrangement here, but then you started doing the layered thing, and it worked really well! It was kind of disappointing when that section ended, since it was easily the best part and there was a full minute left. Solid approach overall though. Fellow Knight: Odd how this gradually grows less melancholy and more trancey as it goes, until the end when it reverses. The lead is a little static, but it's a good arrangement. Nice, if brief, layering of the sources.

El Polar Enker - Pretty nice Spanish flair to the track. Definitely a opposite of what comes to mind for me when thinking of Polar Knight, but you did a good job with a tough source. Song is a little static, and the ending is a little abrupt. Arctic Robot Dance Party - Blegh. This dude should have worked on his mix much more, and the intro is a little underwhelming/sounds off. He also took a lot of liberties with the Polar Knight source. King of the Kuiper Belt - Herbie Hancock's Chameleon says hello. Love what you did with this track. Everything comes together very cohesively, and that bassline is crunchy peanut butter goodness. Pridemoor Cat - Really nice, clubby track. Leads sound a little weak at times and could create better separation, but overall still a really nice track. Good job from a fellow Robot member!

https://www.dropbox.com/s/d7gufxvufkkwawm/Mega Man %26 All Stars Team Kart 64.mp3?dl=0 Just finished the bonus song so I can't upoad it to ThaSauce. I'll just put it here. This includes part of Escape from the same game and allowed me to look in to the weird world of mascot kart racers for inspiration of the song title.