Liontamer   Judges ⚖️

I counted the marimba base as a rhythmic change to the melody's opening chords, so all of that counted and there wasn't a need to timestamp anything. The pan flute was stiff, but no big deal. The marimba pattern did feel repetitive and lacking dynamics over time, like Gario pointed out, so that was a a great point; other than that, I didn't have a problem with most of the minor criticisms other Js had. Really strong work, Ad, and I didn't feel like the arrangement plodded or lost its focus; I thought it evolved nicely. Cool stuff! YES

I was pretty meh on the blocky-sounding piano that opened things up; it was brief, but sounded very unrealistic. Having it come back at 3:00 was unfortunate too; for your future tracks, try to make the piano sound more humanized. Nice beat at :17, and I'm really digging the transformative take on the BotW main theme. The synth timing at 4:12 also felt too blocky, and the synth could have used some more creative processing, because I felt like it was pretty lonely sounding and droned some, but we'll live. Smaller crits aside, really strong arrangement, Ad! YES

When the theme kicked in at :31, the texture and structure were pretty much verbatim with the source aside from no percussion, so there wasn't a substantial enough difference compared to the source. There was some accenting instrumentation going on, but this was still very similar to the source until 3:01, which was nearly halfway through. For the arrangement/interpretation standards, this needs to stand apart more from the original source tune much sooner. Pretty fake-sounding strings, perhaps throwing back to A Link to the Past or Ocarina of Time in some respects, but I don't think it works. The attacks and decays for the strings from 2:01-2:54 (especially from 2:17-2:23) just sounded awful and greatly exposed the samples too much. Then the strings and brass at 3:27's more forceful section were also very exposed. You've got to make sure the attacks sound more realistic & human; it's silly at that point. The writing there was otherwise energetic and more interpretive. When you have more instruments in play, the fuller textures did mitigate the sample realism issues some, but the parts still sounded thin and exposed, so you'll want to see where you can thicken up some of the parts for a richer, more realistic sound. Decent base here so far, Ben, and it's a very nice theme choice to arrange. Do what you can to make the first half more interpretive, and you absolutely need to improve both the humanization and fullness of your instrumentation; if that can't be done, it's a dealbreaker. While the production needed more attention to detail, you showed some good arrangement ideas in the second half; even though that half was also structurally conservative, you managed to have it feel more grandiose than the original song in terms of your part-writing. See what you can do to make the first half more distinctive and different from the original as well. NO (resubmit)

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Thanks for the catch! We'll fix it on the main site soon, and a torrent fix will have to wait.

That's "Title / Password" from the NES game IronSword: Wizards & Warriors II, composed by David Wise. http://ocremix.org/song/10178/title-password

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Of course!

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I had a similar issue with this as I did with Jari's Darkwing Duck mix, i.e. the lead's too quiet relative to the pumping beats and other instrumentation. After 1:15, the balance was tilted more toward the melody being in the foreground, so that was a positive, but when things really picked up at 3:00 with a lot of original writing sprinkled in, the soundscape just felt cluttered. 3:26's section went back to being less crowded toward the finish, but I felt this otherwise solid enough arrangement needed another production pass. Good stuff so far though, just clear up the mixing to some extent. NO (resubmit)

The tempo increase right from the start definitely got my attention. The melody being buried during the intro seemed like maybe it would lead to it being more prominent later on, but that's not how it turned out; the track's just mixed in a way where the lead doesn't really occupy the foreground, and that needs to change or the track's going to remain sounding cluttered and unfocused. It wasn't until 1:54 where the melody was at least more prominent, and even then it was competing for space. MindWanderer also mentioned this as a problem, and to me it's ultimately a dealbreaker. The other instrumentation was also piercing in places, but that wasn't a huge deal, so I'm not even going to timestamp anything. The arrangement is golden, this would just need to be mixed in a way where you don't have the lead so low in volume relative to your supporting writing. Around 3:35's section, the usage of the saw lead got stale, so I see what Gario was getting at in saying things felt repetitive; it didn't bother me as much, and I felt the dynamics of this were fine, but he did have a valid point to some degree. IMO, Jari, all you really need to do is make sure the melody isn't buried and that the track is better mixed, and this would be good to go. Really nice base here, and good luck with the rest of the vote. NO (resubmit)

Gario had a good point re: the lack of realism for the high strings; I agreed with him that they were lacking but not a dealbreaker. Another great example of a structurally conservative but creatively arranged interpretation. Rebecca's ornamentations always add that extra level of personality to the mix. Good work, and glad to hear an arrangement of this theme on OCR finally; been a low-key fan of it for a while. YES

Beautiful work, David. Nice theme cameos as well, which help break up the (relative) monotony of Gaster's theme; that said, your treatment of the main source was excellent as well, and I see why MW got goosebumps; it's a very emotive performance. Didn't have any meaningful production gripes either. Very cool! YES

Nice work, Mike! Loved the interpretation here; never thought I'd hear an approach to this source like this either. YES

Listening on headphones, the panning felt too wide, but it wasn't a huge issue. That said, the soundscape did get cluttered from 1:15-2:10 & 3:45-3:55, when it seemed liked the gliding synth was too loud and creating some distortion; I'll live, but I didn't like it and would love some tweaks there. The rhythmic changes to this theme were a cool idea, and I liked that once Ilari moved from the restriction of holding to the same mood as the source, he was able to really present something interpretive. 2:40-3:01 was another iteration of the arranged main verse in a higher key; MindWanderer said it was too repetitive, but just because something repeats doesn't make it overly repetitive and I didn't agree with the inference that the arrangement was underdeveloped. Being too static is another thing entirely, but the interpretation was creative enough to bear the repetition, IMO. Let's go! YES

DA's right about the vocals being dry; they're treated, but still too dry. I didn't feel like anything sounded super out of tune though. The instrumentation sounds like all the highs have been cut, so there's no clarity/sharpness to the soundscape anywhere, and there's a weird balance where the vocals and instrumentation seem to occupy the same frequency range and dull the overall sound. If you were able to improve the mixing, Connor, this would be set, with the arrangement left as is and untouched. I wouldn't be mad if this passed as is, but to me there's a quality disparity with a strong arrangement and rough mixing. NO (resubmit)

This was mixed too quietly, IMO, but it wasn't a big deal. MindWanderer's not wrong to ding the humanization, but I wasn't bothered by it as much as he was and felt the the samples were reasonably realistic-sounding and above our bar. It's a medley, yes, but the level of realism was good enough for our bar, and the arrangement was personalized per Rebecca's usual instrumentation and textural changes, along with some tempo changes. The transition to "Fond Memories" at 2:20 did feel disjointed on some level, although the tempo slowdown at 2:08 was clearly and purposefully used as a lead in to that. To me, it's still not a great transition, but the effort was there and it's a brief blip in the grand scheme of things. The interweaving of the source themes around 1:20 was very smartly done, so that counterbalances any issue with the latter transition for me. Yeah, I just can't say I fell on the same side of the coin as MW. Count me in! YES

Love it! Dunno why you said one of the sources was BGM 3-1, when the main source was really BGM 1-1. In any case, nice combination of the 1-1 and 0-1 themes, with lots of energy. YES

For the opening, I felt like the source melody was buried in the background, so I was waiting to hear it be put in the foreground and that finally happened at :26; nothing wrong with that approach, I just was hoping the balance of the parts wouldn't be an issue like last time, and that concern was quickly put to rest. Nice work by Peíorele on the trumpet, and you can really feel the fun come through from Guillaume's arrangement. Really nice personalization of the theme and a great addition to the SoA album. Lovely! YES

The sound design was pretty plain, but the combinations were unorthdox and interesting, so we'll see where it goes. I completely agreed with djp on the strings being in uncanny valley territory. I actually didn't have a problem with the pitch bends, but I can understand how they could appear unintentional rather than purposeful; they didn't bother me in any meaningful way and you get used to them over repeated listens. The boom-tss beats at :44 were very generic along with the synth fading in around :52. Not really getting much synnergy with these parts as far as the buildup. 1:10 moved onto the main melody, then brought the plain beats back at 1:22, only couched much better in the soundscape; the writing underneath the lead was pretty plain and could have used more creativity, but did fill out the background space well. There was crowding, like Jivemaster pointed out, but I didn't feel it was bad enough to meaningfully detract from the listen. 2:09 dropped out the beats only to bring them back at 2:12. The lead was already feeling samey by this time, so the drop at 2:27 was very welcome. The strings and pads for the close were a decent change of pace for the final section, although (and it's strange to say it), but the padding felt too dry/exposed from 2:42-2:57. To me, this arrangement felt underdeveloped and didn't evolve quite enough, BUT it was very well in the right direction. Dynamically, there's obviously a build between :44 and the beats returning at 1:22, but once you hear the beat at :44, you've basically coasted on that beat until 2:28 and it's too basic to carry this track, IMO; it needs to do something different or varied over time. That was my main issue, the beats making this track feel plain and dynamically flat. All in all, the arrangement was creative, so I don't think it would take much to tweak some things to put this over the top. The criticisms seem like a mixed bag, and I'm sure I'm not helping in that regard, but just take stock of everything, see what seems valid for you to work on, ignore the rest, and send this one back. Good stuff so far, Austin, and I'm confident you could get this one improved further just like your great Lawnmower Man mix. NO (resubmit)

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