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Showing content with the highest reputation since 04/09/2024 in all areas

  1. I'm happy to announce a couple of staffing changes here at OCR. First up, I wanna welcome @Hemophiliac to our Judges Panel! Hemo's been putting in the work for the last few years as one of our Workshop Evaluators, and has also stepped up in the past few months to handle a lot of the visualizers for the remixes you see on our YouTube channel. He's an active presence in our community and has a lot of helpful advice in the Workshop. We're glad to add him to the panel. Look forward to getting some fresh new NO votes on your tracks! Speaking of Workshop Evaluators, a few months ago we retired our Ready for Review process in the Workshop because we felt that it was a cumbersome extra layer of evaluation prior to submitting to the Judge's Panel. Our Evaluators did a lot of great work over the years but we're retiring that role. In it's place, we're introducing our new team called Sages! Sages are active artists in our community who'll be in the Workshop giving feedback on remixes, posting tutorials, and coming up with their own ways to revitalize and energize the Workshop. Our three new Sages are @Xaleph, @pixelseph, and @paradiddlesjosh! We're glad to have some fresh faces on staff, and I'm personally looking forward to seeing what these folks have in store for us. -- DarkeSword
    6 points
  2. Starting today, the sharing of music generated by feeding a prompt into AI-software is prohibited on OC ReMix, both here on the forums and on our Discord. LLMs, AI, and other machine-learning technologies are both interesting and impressive, but the implementation of these technologies in popular usage rely largely on unethical training practices. Copyrighted works are used without artist consent to train commercial AI-models. Moreover, OverClocked ReMix has, over the course of over 20 years, established itself as a place for artists to learn about the composition and production of music and hone their craft. We ask artists to pay tribute to VGM through the art of interpretation; we're looking for the personal spin, the human touch. I, personally, don't believe audio generated by a machine-learning algorithm is doing that. There are ethical implementations of AI-technology in the music sphere, such as sample libraries, physical modeling software, and audio production suites that use machine-learning to perform complicated tasks that an artist can use in the production process. Sharing music that uses this kind of tech is absolutely fine. But tracks generated wholly or in-part by services like Suno and Udio (among others) do not belong here. And just to clarify, the discussion of machine-learning, LLMs, and AI here at OC ReMix is not prohibited, but should be tempered by an understanding of the goals of our community, which include artistic development and education and the appreciation of VGM through thoughtful exploration and interpretation. Thanks. -- DarkeSword
    3 points
  3. Awesome to see this Sage business! This is important stuff. Just yesterday I was talking about OC ReMix's rare feedback culture to a musician friend of mine. Can't wait to see what you come up with.
    3 points
  4. I'm really excited - we have some cool stuff planned ahead!
    3 points
  5. It's a huge pleasure to be fulfilling this role! Over the coming weeks, you'll be seeing my mug replying to your posts in the workshop and (if I'm doing things right) I'll be providing you with means to make improvements to your writing, arranging, and/or mixing. Can't wait to hear more of what y'all have cooking out there!
    3 points
  6. JUM jiggity JUM jiggity. You really feel the triplet meter in this one. I enjoyed the bass in this a lot. Great energy and remix overall! Props to you!
    1 point
  7. This one definitely caught me off guard. I had to really listen to try and decipher what was happening most of the time. Definitely felt very experimental, kudos for the creative decisions in this!
    1 point
  8. I knew I was in for a treat within the first 30 seconds. This was one of those storytelling remixes that is deeply cinematic and tells a whole story through audio alone. I was definitely not prepared for the ramp up around the 3 minute mark, but it was awesome! Kudos to all who worked on this, this was fantastic!
    1 point
  9. Those drums and orch hits were delightfully nostalgic and fun. This almost feels like an opening to a 90's show, ESPECIALLY when the vocals kicked in. This was a lot of fun!
    1 point
  10. We don’t want A.I. music: We don’t have a means of easily or accurately identifying A.I.-created music; if there are free services for that, let us know. The two “Red Brinstar” A.I. prompts that you linked as examples didn’t spit out any actual arrangements of that theme. Would have to try other VGM-related prompts to see how much of a threat they are.
    1 point
  11. Oshit it's dj carbunk1e! I had your tales of phantasia thor remix on repeat on my summer workout playlist some 20 years ago, haha. Good stuff! The idea of this track is that someone wakes up to their alarm clock on turbo mode and they have a total mental breakdown from having to wake up to the same obnoxious sound every day of their wretched life so they can waste their existence grinding away at a soul sucking job. So today, they make a very rational decision to pull out a gun to shoot their clock but miss every shot and have to deal with the ear-splitting repercussions of their insomanical actions as the alarm clock continues to taunt them while they're half-deaf until they finally kill it with the final bullet (Inspired by the first release of the Turok comic but with a gun instead of an ax, lol). The main "synth" in my track is the 808 cowbell sample. I was really minimalist on this track and besides a sax synth most everything is just FL drumkit samples. Not sure how much more range I can get out of a cowbell but you were right in the comparison that it's lacking midrange umph. Maybe some more EQ with reverb could pull it off? Also, I doubt I tuned any of the drums. That's something I totally neglected. Thanks for the reminder. The extreme rapid panning on some of the samples is deliberate and I made automation pulse waves that more or less matched the waveforms of the samples that were panning to make the listener feel somewhat disoriented while the main track continued unchanged (gotta take any excuse I can get to deliberately screw with people cause that was the whole point of the original LISA game, lol). I don't think the main drums and percussion moves much in the stereo field though, I'll have to doublecheck. The idea for a rumble in the beginning is fire, I'll have to take your advice on that. Thanks for the inspiration! I've been living under a rock for the last decade and a half, so I don't have a discord let alone even know what it is but maybe I'll get with the times and check into it. Thanks again for the input!
    1 point
  12. This was the original above Below is the remix The original track has a lot of room to breathe, very specifically tuned drums to match the synth, and the synth has some mid/low EQ to really fill the space coupled with some noticeable reverb. What you've added, especially around 0:48/0:49 with the bass really grounds the song, making it feel a lot fuller. You'll need to make sure that the song feels full of energy and not just "busy" by adding a little more room for the melody to breathe. Additionally, I would tune the drums in the same keys that the original song is to get a similar effect/feel. Also - if you listen to my songs, I love panning drums - but make sure you're not over doing it. We want it to feel frantic and full of energy - we don't want it to just feel busy and cluttered. To do this, you can pick and choose what's panning, usually you'll want your drums to have relatively set panning locations maybe with the exception of closed hats (as you'll see often that there are 2 to 4 closed hats in this style music each with a preset pan to give the perception of movement, usually between 20L and 20R). I think having the synth pan is fine, especially if the percussion is grounded - again the goal is chaos while avoiding clutter. As a style recommendation, having a low end drum or rumble would really add a semblance of stability in the first 30 seconds to foreshadow your bass entering later. This way it kind of teases that it's more than just this tension you have built up in the beginning. If you want to jump in the #workshop discord channel - feel free to @ me (@Xaleph) if you want to share screens to go over any of this, would love to see this song in a finished state!
    1 point
  13. I only now realized I got another wooden spoon to my proud collection in the final round
    1 point
  14. I really enjoyed that saxophone, very cool. I enjoyed this remix overall, it was very funky and drizzling with drip!
    1 point
  15. This is a solid bop! Great vocals and great production, I particularly like the drums on this. Stellar stuff
    1 point
  16. A lovely remix! Great vocals and vibe. I don't have much else to say other than: AWESOME job! :D
    1 point
  17. Thank you! It's an obscure game with an even more obscure soundtrack but you can find the full OST here: p.s. if you happen to find the original vinyl release of the soundtrack, be sure to buy it. It's worth it's weight in gold (no joke).
    1 point
  18. Gario

    Lufia II: Of Gods and Men

    Not bad at all, you'll be hearing an update in here before the end of the month.
    1 point
  19. I do enjoy me some chippity boopity and this remix was chock full of it with style to spare! Those crunch white noiseish snares were fun. Great job on this remix!
    1 point
  20. Pretty banger stuff going on here! That down-pitched tambourine-sounding cymbal at 1:27 works well in the drop. Any chance you have a link to the source for this one? Trying to find it for comparison and not having much luck. :)
    1 point
  21. This feels VERY fitting for plants vs zombies instrumentation and arrangement wise. Are you sure this isn't ripped straight from the soundtrack? That harpsichord was great, this remix is great! Great stuff.
    1 point
  22. Hello! I have been an OCRemix listener since around 2000 and my favorite shirt I have is my OCRemix hooded sweatshirt I got like a decade ago. I saw an ad for the OCRemix patreon when I was on the site tonight and went over to take a look. It looks like it hasn't been updated in five years when the Chronopolis album was about to come out. Are there any plans to revitalize it and start actively using it again? Personally, I'm more of a one time purchase kind of person, so if you do hooded sweatshirts or t-shirts again I'd be up for supporting that way. Thanks!
    1 point
  23. At 1:33, that synth line's pretty shrill. From 1:51-on (arguably 1:33-on), the way this is mixed, I feel like I'm hearing the beats and claps being the most forward instead of the melodic elements, and then you also have leads and supporting lines competing to be heard due to being in the same frequency range. For example, the lead at 2:07 is too subdued compared to the percussion and industrial sounds (even though I realize it's meant to have contrast with the louder instance at 2:41), then you have stuff like the plucked strings and bassline just adding mud. Very busy sound without clear enough mixing to know what should be focused on, resulting in nothing having a direction. I like the overall arrangement concept, Eino, but the overall texture is too messy and cluttered. NO (resubmit)
    1 point
  24. Tons of interesting textures and patterns in this one. I really like the industrial percussion, with the reverb on it, giving it a spacious and metallic feel. The changing time signatures make it hard to pin down the track, and as such the melody/arpeggio is used as more of an anchor. Given how busy the upper-mids are in the later sections of the track though, I think the mixing does this a disservice. Around 1:35 is where things start to get hard on the ears, with that string pad, and all the resonance on the melodic synths. Things become altogether too cluttered, and it's difficult to get a sense of direction. I think the arrangement could be improved, however the main issue is that of imbalance and lack of focus. The first minute or so is very engaging and intricate - I'd like the arrangement to progress at this level of textural depth, without losing itself in the process. Toning down some of the resonance may help, or dropping a synth down an octave in the busier parts. There's a great track in there, but this one needs another pass to highlight the details. NO (resubmit)
    1 point
  25. intro has a lot of sfx and random-sound sounds that come together to make a rough beat under the ghost arp. we get some melody at 0:30 or so, very chopped up and strange-sounding intentionally so. layering in some plectral instrumentation as well on top obfuscates the melodic material, and the percussion is pretty loud through here. 1:16 is a big stylistic shift, both in terms of time signature and in terms of instrumentation. the heavily filtered strings here are pretty grating and really loud, and it's hard to differentiate between them, the treble content in the very weird bass synth, the ghost arp, the melodic stutter synth, and the plectral instrument that you've had going. it hits more of a groove later on, and around 2:00 has kind of settled down, but it's still confusing to listen to. 2:07 is another shift, bringing back the industrial percussion under a 7/8 groove with more of the very intentionally overtoney bass doing stuff under the stuttery synth. the hard break at 2:40 was confusing to me, as i didn't get why you'd want to just shut off the track in the middle without there being a clear resolution or build section around it. there's some more ghost castle lead played as the melodic content and then it's just done very suddenly. looking at the freq analysis confirms what i felt was confusing to me from an auditory perspective - the bass instrument (which doesn't really ever venture below about 100hz from what i can hear) is by far the loudest element in the mix, both the fundamental and the first overtone. it's fairly confusing from an auditory perspective to listen to something that features such a high fundamental, especially with the heavy variance in styles throughout the track. the section at 1:16 is a good example - there's nothing to ground the track, and so many elements are in the same aural area that it makes it hard to differentiate and really listen to them. it's very tiring on the ears. i really want to like this track. the creativity in choices of synths and approach is really neat as expected from eino, the sources are a fun combo, and the arrangement is interwoven nicely. ultimately though it just doesn't sound good - the heavy layering of instruments in the same freq range is intensely tiring. i was only able to get through two listens before my ears felt quite pressured, and the middle section is most of where that came from. the track also is meandering and lacking cohesion, which combined with the lack of real dynamics throughout makes it difficult to follow and stay with what's going on at any given time. there certainly is a ton of source used in creative ways, but the track still manages to feel inchoate. i think you need to spend some time breaking up the blocks of instruments in the same freq range, and then re-volumize everything so that the instruments that are the loudest at any given time are what you want the listener to be listening to. right now the melodic content is never the main thing, which isn't a great result. also consider adding more to the bass end of the bass instrument while still keeping the weirdness of the upper overtones so as to ground the mix more. NO
    1 point
  26. I've listened to this a whole bunch of times, over two days now, and there's just something about it that doesn't jive with me that I've been having a hard time putting a finger on. Part of it is how rambling and aimless it is, which is partly due to the sources doing some weird things, but when you slow them down they just sound like random notes in a way the originals don't. However, is that an objective criticism, or something I just don't care for? I honestly can't say. I'm going to put a pin in this one. ?
    1 point
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