Leaderboard

Results time TheVideoGamer did a bonus song which couldn't win. Bundeslang gets another last place wooden spoon with 7 points.. And the winner of PRC416 is Wassup Thunder with 9 points!!. Wassup Thunder, you are the winner and may pick a source for PRC418. Send the source to me (with a MID/MP3 file, otherwise send a second source with a MID file) by PM, other options are PM me @ ThaSauce or by e-mailing to bambombim@gmail.com (I prefer a PM @Ocremix). Send your sources as fast as you can, but before next Wednesday (18 November 2020), 11:00 AM ThaSauce time (18:00 UTC, 19:00 GMT). You may select any source from any game, but not a source with an OverClocked remix or a source which has been used in PRC before. An overview of the past PRC's can be found in the following links (I recently updated this site): http://sites.google.com/site/bambombim/prc http://bambombim.googlepages.com/PRCRemixList.doc (also downloadable via the link above). http://compo.thasauce.net/rounds/view/PRC416 for the votes and comments.

A (really) late welcome to the composition scene! I'm not too familiar with the fine points of this kinda genre, but here goes. On my first listen through, I felt like some of the transitions were a bit jarring as you shifted between the moods of the piece, such as it starting out with the ballad-esque intro followed by applause. That may be due to my lack of experienced appreciation for the style, though. I did enjoy the buildup from 0:28, and you used the brass quite nicely in that segment with the swells. There's a refreshing organic vibe in most of your piece. The transition of 1:50 is a bit odd to me. You had a nice and energetic groove going up to it, then it seems to lose a bit of it's energy and fulness. Maybe I'm just missing the bass there. The vocal bit is just a tad shrill and loud, maybe try variating it's volume for that segment to keep it fresh (few measures at normal volume, a few lower, that kind of thing). Once it hits 2:35, though, it's really smooth and enjoyable. I feel like the transition of 3:25 to the vocals alone is a bit sudden. The part sounds good, but I think it needs something of a herald to the change, you know? A good cymbal crash with 2-4 beats of silence, for example, could punctuate the shift. Similar situation at 5:00, feels like it wants an exclamation point for the sudden silence. Try a few different effects, find your groove. All in all, this is real entertaining song to listen to, nice work. Keep at it. I understand the feeling of working in a vacuum, hope other folks will be willing to give ya listen and some friendly direction. The best advice I can offer you is to keep mixing, share things here, and join the conversation. Comment and help other mixers, and hopefully they will reciprocate. Keep making this cool stuff.

Happy to help. Again, I lack knowledge of the genre style, so find what fits best for the intended approach.

Man...this is the kind of shit I'd listen to if I was playing Subnautica, frankly. The simultaneous vibe of wonder and awe of the depths of an ocean, clashing against the sheer mystery and fear of being in it is well-encapsulated here. I really love the background 'bubbling' and 'swirling' sfx lying behind the melody. The piano and harp are beautiful, and I'm not saying that facetiously. Honestly can't tell what's a midi and what's a possible loop here, but it's all melding pretty well so far. However, here are my quibbles, as I call 'em: 1) Jesus Christ, did I want more choir, damnit, lol. As much as I think the song does benefit with brief pauses of silence from the vocals, I think some areas could benefit with a continuation of the chorus (e.g. 2:23 to, say, 2:55). 2) That said, I think also some places could do with moments of just the background sfx (e.g. 1:05), albeit extremely brief, like maybe 4 beats or something. Just something of a pause, like, the bathosphere stopping its decent that brief moment, before you cross the threshold of going into the Mariana Trench (and it kicks up to the main bridge of the melody.) Some people would disagree, but I like some pauses, rests and transitions I guess. I feel they round out a song better, but it might not work here. 3) The very reedy, dry flute (@ 3:00) suits the song. I do agree with Soup, but I think more reed instruments could either be included, swapped out between or layered somehow. I feel for contrast, a wet-sounding clarinet or oboe would work well juxtaposing the flute at some point in the song. Or, perhaps, a violin. But I'd stick to woodwind instrumentation. Maybe instead of the flute continuing @ 3:52, try the oboe. 4) The harp (when it's in tangent with the flute) is a bit fuzzy to hear, yes. I think what it might need is a means of 'letting the strings settle' (reverb), I think that's how they call it when accentuating with string instruments. Let certain notes flow a bit rather than constantly being plucked, because unfortunately the plucking sounds like the flute when each note is tongued, and it's stablizing to the point they sound alike, or too layered. Just have a play around with it, see what works. 5) The triangle 'dink' with the flute and at the end is cute. Sorry had to say it. That's all I can think of. To be fair I can't really fault this piece much, as the original is extremely beautiful even in chiptune, and this as a more ambient orchestrial piece is as well. If this isn't the final draft, I do look forward to when it's finished. :3 Please prod me when it is. ♥

Hey Souperion, Thank you so, so much for your input. ♥ Ah yeah, I just had a listen to the places you've described and their associated issues. 1:50 (and it's similar transitions) were kind of inspired by '90s R&B, where they started mixing a bit of lo-fi / rap / hip-hop-style vinyl scratches and skips to separate segments of the song, especially when the tempo or beat had a change-up (e.g. groups like Toni, Tony, Tone and singers like Kool Moe Dee and Tone Loc used to do that in some of their songs. It's a very hip-hop thing to do, by comparison to the jazz / funk melody.) It can be jarring, especially if people aren't used to the genre, and it might warrant another look at it--either to remove it completely, or rework it somehow, if it doesn't fit. Loss of energy in the groove is a problem. Would have to mesh the bass line with it to keep that 'pumping' sensation going. Yeah I do see what you mean about the vocal chops being a bit loud by comparison to the twins singing. Volume modulation... I'll keep that in mind if I am able to have another go at this piece, dependent on what the judges say about it, if it makes it to that point of the submission process. Yeah the transitions to lone vocals in 3:25 & 5:00 were done purposefully, but I can sense--between what you've said and some comments I've had from others outside of OCR--that people want a continuation of 'grooviness', with no stops or silences. Unsure why, exactly (moreso cause I'm curious, not because I am doubting the critique.) I tried to envision a cymbal crash or tambourine mix-up for a full count before the vocals, and it seemed off. Might need to play with it as you say. Maybe something more subtle would work with it, rather than something loud and rambunctious (and I only say that because, in jazz, there's a lot of [sometimes very quick and short] high and low periods throughout a song. Sometimes there's silence except for the upright bass or some piano plucks. Sometimes a whole measure is quiet before the sax or trumpet builds up again.) Am trying to give the song 'breathing room' with highs and lows and pauses. It's a quandry... I need to revisit those sections. Once again, thank you very much for your comments. I do look forward to more discourse, see what might need fixing, and how I can improve. I'll try my hand at commenting and helping others, I just get a bit nervous about it because I don't want to seem mean or virulent in doing so. ^^;

The opening bell synth... It hurts so good. And the ambient sfx just hiding behind the song. But when the choirs came in, it really hit me. Wondrously ambient and hauntingly serene. I wonder if the piano has a bit too much reverb on it, though. Is that a flute that comes in at 3? I rather like how it's almost dry effect from lack of reverb contrasts with the wet sounding of everything else. The harp thing (can't tell if it's a sample or synth) sounds like it's straining a bit at the higher notes around 4:00-4:10, makes it sound a bit fuzzy, which is sad because it sounds real nice otherwise. Good luck, really enjoyed this piece.

Pledge received and appreciated! Thanks @HoboKa!!! Also wanted to share that some WIPs are available for listening: Genesis 1:2 Orchestrated (w/ live violin): Chiptune draft version: John 14:2 Orchestrated (w/ live marimba, vibraphone, and piano): Chiptune draft version: Enjoy! ~ Mazedude