Harmony

Klutz's piece is a fairly straightforward interpretation of the theme. It's hard not to compare, but the drastic differences present themselves at the very outset. Understandable, but I don't think that the differences are drastic at all. The pieces are similar enough imo to directly note that the problems that Zircon mentioned aren't there in the kLuTz mix. In any case, my vote won't hinge on the comparison of the two since that really wouldn't be fair to Christian, and as Gray points out, isn't my job as a judge. On with the voting... There’s much to enjoy here. The arrangement is wonderfully lively, the performance is masterful and there are tons of melodic variations on the theme packed into just under 4 mins. No section feels underdeveloped, the build, climax and resolution are all very pronounced and well executed, and as a result I actually think that this mix benefits from its brevity. The problems that Zircon mentions are all dead-on though. I think this piece, especially the first 2:50, suffers from the poor velocity dynamics of the sample. While the piano sample is beautiful on it’s own, the lack of softer notes keeps the quieter sections brighter and more harsh than they should be. This contributes to a feeling of limited expression from the pianist and restricted dynamics of the piece as a whole. This is evident by comparing the performance to kLuTz’s remix of the same theme “600 A.D. in Piano.” Although the two are not entirely stylistically equivalent, it’s still noticeable that sections of the present mix are lacking some of the warmth and emotive power of kLuTz’s mix. This mix makes up for that however in it’s powerful forte sections which the piano sample is perfectly suited for. I have to say that the final note that hangs for 13 seconds feels odd and should be faded sooner. In the end though, my gripes are not enough to warrant a NO. This mix will make a fine addition to the volumes of Chrono Trigger mixes and will add one more solo piano performance to my personal collection. Great work as usual Christian. YES

I’m totally disoriented coming into the piece after the no-nonsense 1 second intro. That’s not a bad thing at all though and after I catch the groove and the harmonies I really enjoy the vibe. The rearrangement is pretty straightforward but the instrument additions and pleasant composition are certainly creative expansions on the theme. After more than a few listens I’ve come to enjoy both of the cutouts (0:45, 1:57); even the dirty one at 0:45 which I think works really well as an end to the e. piano solo. The breakdown at 1:37, with its flowing guitar, hand percussion and freestyle work is really beautiful and I think that it fits nicely with the rest of the piece. That section defies the few but important problems that I have with this mix… My fellow judges have already hit the issues that most concern me: the sparse feel of some sections that should have a fuller sound, the lack of bass in the percussion and the track in general, and the slightly repetitive percussion. Fixing the last two would do wonders and I think that would easily put this in YES range. Fix all three and well, yeah, you’ll be golden. Good stuff Navid. I’m looking forward to the resubmit if this doesn’t pass this time ‘round. NO (Please Resubmit)

Hmm...This sounds great but kLuTz's 600 A.D. in Piano has already set the bar for this piece in this style. Unless someone tells me otherwise, I'll be judging this mix with that in mind.

Haha!, this is hot in a goofy kind of overgrown chicken kinda way. I love it. The rap is pretty tight (both lyrics and performance) but is mixed too loudly. Yeah, but the major issue with this is its lack of remix prowess. The beat is Casio simplistic, the theme isn’t arranged at all and it’s way too short (1:09, c’mon don’t tease us). Keep working at it though Daniel as I (and probably the ‘omgblackculturebias’ wingless) would love to hear more of your stuff once it’s better developed. NO

Aside from the wishy-washy last minute or so, the arrangement ideas in this mix are definitely serviceable. The use of the theme from 0:31-1:08 is awesome and I love the subtle phat bass hits that fill out the low end. The original material from 1:23-1:44 is vaguely reminiscent of the theme, which is cool, and we are then launched into the drum n’ bass section (1:44-2:36), which features some decent arrangement of the source as well. I’ll buy the arrangement of the theme with the altered chord progression from 2:47-3:10, but after that I’m having a hard time picking out the theme and I fear that Zircon is correct in making out this last section to have little connection to the theme. Portions of the arrangement are questionable for sure but compositional and sound quality issues tip the scales against this mix. The percussion is horribly weak during the DnB section. It gets smothered by the brass in many points, the hi-hat at 1:51 stands out as annoying rather than driving and the kick and snare are so similar in EQ that they blend together rather than providing a sharp thumping rhythm. This wouldn’t be so much of a problem except that OCR has seen stylistically better versions of the same theme. The drum n’ bass section is also conspicuously lacking a bass during much of it, leaving it feeling very hollow. Sounds like the left channel is clipping at 1:24...I could be wrong. I agree that more can be done with the samples but they are ok as-is in my book. This mix has plenty of things to enjoy about it but I think it needs some more polish to really live up to its potential. Improve the arrangement value of the last section, fatten and fill out the DnB section, and a YES from me will be a lot easier to justify. NO (Please Resubmit)

Wow, I’m going to have to hold this one up even longer. I agree with Zircon that the interpretation just doesn’t cut it. I hear a well-produced, skillfully executed, guitar-driven cover until 1:54. Immediately following this, 1:54-2:56 is a near-exact copy of the cover from 0:00-1:54. The last 30 seconds are another near-exact replica of 2:29-2:44. Apart from the cover-ish nature of much of this mix, the repetition in this mix doesn’t sit well with me either. Mucho props for the organ solo. Realistic or not, it rocked the house and is only outdone by the amazing guitar work that follows it. 2:56-3:44 is great, creative stuff. Unfortunately it’s only 48 seconds of a 4 minute mix. Although there are bunches of synths, layered guitar work and a more full percussion track than the original, none of these additions really do anything that the source doesn’t do; on some level they are simply sound upgrades. This is a great song on its own and I know that whether this passes or not, tons of people out there are going to love it. Great work Sixto but for me to pass this I’m going to need a more creative interpretation of the original during the 3 minutes that I currently see as a cover. NO (please rework/resubmit)

somewhere, Mazedude sheds a single tear...

Yeah buddy, fun stuff. In spite of the near verbatim melody usage of some sections, the arrangement maintains a creative edge with a fresh drum track, a good number of breakdowns and plenty of instrument variations. Six minutes is pushing it a bit but the later sections bring some fresh ideas to the table which helps in this regard. The jazzy grooves from 3:50-4:38, for example, are a great break in the drum action. However, they’re a little lifeless imo. The chromatic lead after 4:10 sounds very ‘sequenced’ and the flute is in need of some modulation, breath noises or something along those lines to give it some character. The subtle snare is repetitive and doesn’t contribute much as well. Although I like the contrast that the sparseness of this section provides, you might try a ride cymbal to bring some high frequency action and additional groove into the picture. I’ve got few problems with the first 4 mins; some truly pimp stuff is pulled off in that time. The break at 1:53 is especially nice. I understand Larry’s drumset concerns but I honestly wouldn’t change it much. I like the thick dirty snare, dull hi-hat and solid kick combo that you have. If anything, some of the hi-hat work could be made a little sharper with some EQ and some of the lows from the snare and kick could be subdued to give the kit a cleaner sound. I really don’t find anything objectionable enough to NO this mix except for the clipping. It’s especially bad when that thick drumset is pounding away. Yep, so fix that and while you’re at it, implement some of the suggestions that we’ve given, give us a real ending and you’ll be good to go. NO (Please Resubmit)

I play this song over and over just to get that perfect silent tension at 0:50 before the percussion drops on me milliseconds later. Great stuff.

I really like the low-impact groove executed with some sparse hand percussion (wish there was more of it) and a soft drum set that sits well with the other instruments. I could have gone for plenty more variation but it’s not bad. The bassline is simple and low-key and the supporting pads do their job of filling in the holes. With all of these non-intrusive elements though, the lead just isn’t bringing any presence or direction to this mix. One problem may be that the lead is playing in the same register as the other synths, and not always doing a good job of harmonizing. The tone of the synths are also very similar to each other making it more difficult to maintain clarity and pull off a distinctive lead. These gripes are apparent during 0:39-1:15 where the lead is only noticeable because it is louder than everything else. The sustain on the lead synth lets notes bleed together more than I would like so you might want to take a look at that. The piano at 3:30 is a nice touch but I think it’s a bit loud. As has been said, the mix lacks direction. This would probably be improved with a stronger lead but the composition needs to be varied as well. The repeated section at 2:57 is disappointing as I was looking for some new ideas to crop up. You might want to check out Zircon’s synthesizer tutorial for some help with improving the separation and presence of your synths. I agree with you that there’s nothing wrong with Plucked! if used creatively, but there’s still plenty that can be done here to bring it beyond the accurately dubbed “anemic and flat” level. All of this aside, this jam got my head bobbin’ while judging this. Fun stuff but with room for improvement. NO

This one's still on the playlist man. Catchy catchy catchy.

I’m with Larry that the arrangement, though conservative, is decent. For essentially a guitar piece though, I’m a bit worried about the performance. The sequencing is very natural for the most part and at times that guitar really sounds wonderful. The harmonics from 0:40-0:50, the rhythm guitar/oboe combo from 2:30-2:56 and basically all of the rhythm work after 3:00 are beautiful. Much of the solo guitar work strains believability however. In some sections, especially after 3:22, it sounds more like a thin harpsichord. You need smoother sounding notes as you approach the limit of the acoustic guitar’s register like that. The faster rhythm guitar (1:50-2:17, 3:09-3:21) is exciting and well sequenced but the lack of realism comes in the lack of string noises such as mutes, string/pick interaction sounds and chord change scratches. I know you have these things in your arsenal because they are gingerly placed about with great effect. Work on that and you might have a hard time convincing someone that this guitar isn’t the real deal. It would take a good guitar player to pull off some of the wizardry you’ve sequenced here and I mean that as a compliment. Work on interpreting the themes a more creatively and/or improve the realism of the performance and I can make an argument for the YES. For now, good stuff but please resubmit. NO (Please Resubmit)

Not a bad improvement. I don’t have the original to compare against but from what I recall, in this latest version the clipping is gone, the choir is subdued, the arrangement is more creative and the soundfield is less sparse. We still have the low sample quality though and I think that this is what’s most hurting this piece. There’s no low end to this mix as the bass and kick remain minor players where they are desperately needed to fill the sound out. I don’t know what you do with the bass at points like 2:13, 2:27, 2:37, etc. but the bass should have that same richness in the longer more melodic sections. There are a lot of neat percussion ideas here however the kick and toms sound bone dry giving them zero depth. Try adding a bit of reverb, possibly a chorus or distortion effect and pumping up the lower frequencies to give them a more expansive, less GM sound. I love the SFX peppered throughout, especially the water intro and scream around the 1:00 mark. Overall however this piece feels overly cluttered and unfocused. Try a few of Shna’s compositional suggestions, work on thickening up your sounds while maintaining clarity and this piece will be even more enjoyable than it already is. Keep working at it. NO

Well the good news is that there are decent samples in play and the arrangement is good as well. The bad news is that, as has already been said, the interaction between the instruments is generally sloppy. I’m with Larry that a darker, shorter-tailed reverb would help matters but some significant restructuring in terms of panning, EQ, etc. is also in need. Compositionally I don’t think that the piece jumps around too much but a stronger development of each section (that would probably be the result of tighter production and better instrumentation) would help make this much more satisfying. I’d like to note that the piano roll to the chimes and strings at 2:10 is pretty cool. Good work but a lot of loose ends need to be tightened. NO

Arrangement and groove are rock solid. Come the end at 3:15 my ears are begging for more but to leave us wanting more is infinitely better than to leave us wanting less. The piano sounds wonderful. I think the quantization is a little tight but it’s well within acceptable limits and a looser performance is only a matter of personal preference. The excellent guitar performance that I’ve come to expect from Ty is incorporated sparsely but with great impact. From the crunchy intro to the thematic pad/guitar solo at 2:30, the guitar adds a hint of that monster ballad vibe that children of the 80’s might especially appreciate. I’ve got a few minor gripes here and there. Most notably is the simplicity of both the percussion and the synth design. While I would like more original sounding synths at 1:52 or more robust drum sequencing throughout, I’ll chalk both up to a successful attempt to remain somewhat true to the feel of the original. Also, as Larry mentions, I think that the pads are mixed a bit loudly, especially past 2:20. They give way to much presence to the outro in which a softer approach would yield a smoother resolution. Good stuff all around though and a favorite of mine from RoTS. Congrats on your successful work on that project and on another posted ReMix. YES

First I'm the least sexy judge and now I've got Wangs & Hooters "working" in me. Aye me. I give you remixes, I give you reviews...are you not entertained!? Oh OCR, why hast thou forsaken me? [/melodramatic shakespearian, film, and biblical references]

I've reviewed the latest version and I'll be sticking with a YES. I appreciate the concerns that are being raised about the sparse nature of much of the mix. I certainly consider the suggestions that have been made to thicken this mix up, especially Gray's mention of more reverb and delay, appropriate. As is however, I think the subtle pads and FX adequately hold this mix together for just under 4 mins.

This has the potential to be great. The tons of melodies that get layered with each other are individually awesome and also fit together nicely. The two themes are neatly incorporated with each other and the breakdown at 1:04 is pretty sweet. There’s just too much clutter. The melodies aren’t panned away from each other, they are mixed pretty low, a lot of the synths have a very similar sound and as Shna mentioned, too many elements are fighting for the same register space for too long. These issues all become more relevant during the crowded section from 2:08-3:12. Other points of concern for me include the punchy nature of the synths at 0:00 and 1:38. Although the velocity oscillations were probably intentional in the intro, personal preference would want a smoother synth line. At 1:38 the lead synth is too loud. I love vocal samples to death but Duke’s cameo at 1:34 doesn’t fit. If you leave it in you may want to try some chorus+reverb processing to thicken it up and better blend it into the mix. The song is short enough with enough variety that I don’t think that the dance beat gets overused but some of the samples could be more interesting, i.e. the hi-hat. The composition gets repetitive towards the end but I can hear an increasing harmonic complexity that if properly realized could turn that repetitiveness into an energy packed finale build. Unfortunately as elements are added, they all get muddled together as has been mentioned. Good stuff so far but aim for more clarity in this mix and you’ll be headed in the right direction. NO (Please Rework/Resubmit)

Beautiful vocals at the onset of things. Sadly when the supporting instruments arrive at 0:49, I can’t help but feel underwhelmed at the sparse beat and synth guitar. To take some of the edge off, it might be nice to hear a more distant vocal entrance that builds to the incorporation of the synth elements. All-in-all the groove in the first section isn’t bad but its lack of variety is something that needs to be addressed. I love the vocals on lead through 3:24. There’s a tantalizingly light reverb over the otherwise clean recording that helps fill in some of the supporting sounds' shortcomings. I wish that the vocals were mixed a little quieter however as they obscure the rest of the instruments at points (2:00-2:09, 2:20, ...) From a creative standpoint I’ve got no problems with the level of interpretation as I hear great arrangement ideas throughout. However I think significant compositional problems exist in the repetitiveness of 0:49-3:24, the lackluster transition at 3:24 and repeated repetitiveness in the supporting instruments from 4:00-end. I especially can’t let the 2+ minute run of the unvaried beat from the first section slide. I like the industrial sounds but the groove isn’t engaging enough to hold things down as long as it attempts to. The metal section was a lot more dynamic with drum fills galore, sultry lyrics, guitar solos and a pretty decent sounding rhythm guitar rounding things out. The power chords get pretty stale though with a very repetitive pattern from 4:00-5:12 and the drums are really too weak to help out. I think a well developed first half would eliminate the need for the metal section altogether but as is, both sections need to be fleshed out and polished off a little more before I can pass this. More variety on the beat through 3:24, better tie between the two sections, and more variety in the guitar/drums during the last minute and you’re good to go. NO (Please Resubmit)

Wow, what a wonderful change of pace. Once I got over the disappointment of not hearing a classic Shna Rare Mineral Addict-esque take on the theme I was completely drawn to the delicate woodwinds and strings that fill this mix. The clarinet/oboe work through 0:41 is a great intro before the strings and brass build to a more central role from 0:42-2:25. As tends to be the case with sampled and sequenced strings, some of the solo violin sounds a bit shaky to me (2:00, 4:50 come to mind) but this is a minor issue that is masked well here. Selectively placed lows and a vibrant snare keep the atmosphere light throughout, even during the build starting near the 4-min mark. Man I love the panning on that snare. Rolls are here, accents are there, ghost notes all around; great stuff. I can be a sucker for a decent sounding piece but the arrangement, which doesn’t lull for a second, takes the cake on this one. Sam takes the simple solo guitar melodies of the source and builds an intricate orchestral tapestry that at once feels like a natural extension of the theme and is a creative expression of Sam’s talents. Nice work and keep ‘em coming. YES

Ah, we’ve talked a lot about this mix David and it’s come such a long way from the first time that I heard it. Glad to see that you’re constantly improving it and your skills as a remixer. This one isn’t up to OCR standards yet though. There’s a lot of reverb here that clouds up the mix. This is especially true of the low taiko drums. Further adding to the clutter, not much panning is used so all of the instruments sit right on top of each other. The percussion seems to jump around and not really get into any solid groove which makes it difficult to get into the song. Try getting a solid repetitive beat down and laying that under the entire track. Then add and subtract from it as necessary to give enough variety. I wouldn’t say that this is the best way to build a drum track but I think it will help in this situation. Additionally, you’ve got a pretty cool bassline with an interesting breakdown at 1:44 but it needs a lot of humanization and variation. Feel free to keep working on this one but don’t neglect working on other projects too. A lot of experience comes in the form of the shear number of songs that you’ve tried to remix so start building your portfolio NO

Naturally, all OCR forum members will have unlimited free access to these libraries...naturally

Wow Zircon, those guitars are pretty frikin sweet. Although they sound amazing, I can tell the difference but I doubt that a majority of general listeners would be able to. Also amazing is that for only $149 you get Lyrical Distortion sample library which includes random release triggering, hammer-ons, yada yada. If that's the sound that you're after it looks like a good deal. [/product endorsement] I've always liked the pads in Big Pads Demo and Big Synth Demo available here: http://www.melodymachine.com/demo_desc.htm Some of the sounds are a little harsh but they are worth having. If I recall, Gort's synths, available at HammerSound.net, has some decent simple pads as well.

Just to clarify, it’s the General MIDI sound quality that will typically disqualify a mix, not the exclusive use of MIDI. Some ReMixers, myself included, have only used MIDI sequencing (no VSTs or fancy-schmancy processing) and still turn out great stuff. This mix, as fun as it is, suffers from poor samples. The bagpipes are the definition of wonky, the fiddles and the brass sound thin and some of the percussive sounds could be a lot richer. The snare isn’t bad but the vibraslap, the castanets and the cymbals all could be better. If you’re going to stick to MIDI then what you need, as Larry suggested, is to boost your sound quality and versatility by picking up some of the tons of free soundfonts out there. For a great start, head over to HammerSound.net. Also taking away from the fun is the close stylistic and compositional adherence to the source. It’s surely an upgrade but I’m generally looking for a more expansive take on the theme when the sound quality can’t jump in to save the day. Overall, good stuff Ronak. There’s a lot of potential displayed here so hopefully you’ll keep working on this and other projects even when summertime boredom isn’t there to be your motivation. NO

This is a wonderful rearrangement that takes the source to some pretty creative places. I wish more of the piano was scattered about rather than tacked on the end but the intermediate energetic synths and constantly developing composition round this piece out nicely. Sadly though I’ve got to NO this because from start to finish one thing after another muds up the scene. Tone down the thick bass, work on de-cluttering 2:20-3:07, shorten the reverb decays and knock off some low frequencies and my YES is ready to go. NO (PLEASE Resubmit)