Liontamer

ReMixer Name: bGevko Real Name: Bogdan Gevko Email Address: Website: https://soundcloud.com/bgevko Game Arranged: Legend of Zelda: Link's Awakening Name of Arrangement: "While the Wind Fish Sleeps" Songs Arranged: Ghost House / Mabe Village theme Additional Info: Link's Awakening was the 4th installment in the Zelda Series, released for the original Gameboy handheld in 1993 and later updated and re-released in color as Link's Awakening DX in 1998 for the Gameboy color. Composers for the game's soundtracks were Yoshiaki Koizumi and Kensuke Tanabe. My comments: How's it going guys? Here I have a remix of Ghost House from Link's Awakening. My original intention was to keep it somber and reflect the mood of the little house by the shore, but as the progression started to shape, it took itself into an unexpected direction, so one could say that it's a remix of Mabe village theme as well. Although the remix can be interpreted in many ways, in my mind the arrangement is symbolic to spending a day on Koholint Island, with each section reflecting the time of day. Perhaps it could be viewed from the perspective of one of its happy little residents, or even the little ghost, whom in my imagination, received a second chance to inhabit the island for just one more day before moving on (and the whole island disappearing). Anyways, these were some of my inspirations. You can check out the original here: https://www.youtube.com/watch?v=hZgTrcNlHMo

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The brass timing felt behind, exacerbated by that part being so upfront & loud compared to any other instrumentation, as well as the delay effect. The panning was also too wide overall. Otherwise, this was a good cover with nicely personalized instrumentation. Structurally, this was repetitive, but none of the performances were cut-and-pasted, which was a plus. That said, more melodic interpretation somewhere would have been nice, or at least a real resolution around 2:23 for the finish instead of just stopping. Even though it's short, this is most of the way there because the instrumentation was personalized and expanded; now you need some combination of even more dynamic contrast in the performance, more substantial melodic variation, and a genuine ending/resolution to put this over the top. Adjusting the volume and effects on the brass writing as well as not making the panning so wide would also help. Nice work so far, Cameron, definitely don't drop this one, you could definitely get it passed; it's just a combination of smaller arrangement and production issues adding up to hold this back as is. NO (resubmit)

The Mad Gear Cameron Chiles Sonic Spinball "Toxic Masculinity Caves" Toxic Caves https://www.youtube.com/watch?v=bkWUJfIotfU Originally composed by Howard Drossin

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The negatives first. The opening synths felt pretty stiff. The bell riff from the source is actually kept with some quiet, tingly instrumentation in the background, which was a nice touch although the part got buried most of the time (you hear it more audibly from :42-:45, for example, when the drums dropped out). During the chorus (e.g. 1:02-1:27), the vocals were getting pushed behind the instrumental, so the mixing wasn't the best, but it gets by. Not feeling the effects on the vocals from 1:35-2:21; I hear how it's meant to thicken up the vocals, but it was a grating effect IMO, so it could have been shorter in duration. It felt like a really basic/default effect was just put onto the vocals without much work, but that's just my reaction from feeling it wasn't used well. Structurally it was pretty conservative, but that's Alex's pocket, and he does better when he works within that space. He did a good job giving the track a denser and more driving sound, and the vocals further fleshed things out. (I hope Dom and you worked things out; I've generally liked his POV on politics, so he's always cool in my book.) I'm with Gario that the piece isn't as polished and well-mixed as it could be, but it's still solid and the interpretation & beefed up sound were above the line. Keep working on your production, Alex, but the pieces are in place here. YES

The source usage being dominant easily checked out from the primary source tune alone, so there was no need to timestamp this. Good rise in the energy level returning back to the main source after the second theme interlude was done. Not much to say beyond "nice work" in terms of fleshing out these original songs. Nice job to Jorrith and the entire team! YES

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I don't have my headphones on me at the moment, so I'm not able to size up the differences in the instrumental vs. the source tune, and I'm not hearing the production quality (it's likely solid; trust but verify). That said, there's nothing inherently wrong with this arrangement approach; it keeps the source tune's melody and does something different with the lyrics; it would just be a matter of the instrumental parts standing apart enough from the original. The lyrics being comedic and risque aren't relevant. Other than all that, maybe you can clarify what's making you question it being something that would be "okay" for OCR's standards.

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The bassline turned into mud, but de-emphasizing it does help to give this a different character from the original, so I can appreciate the difference. Agreed with MindWanderer on some of the instrumentation feeling stilted; it was mostly the string sustains, but they weren't a big part and didn't stand out in a huge way. By the halfway mark, I was wanting to hear this go in a more different direction with the instrumentation and textures, and that finally came around the 2:30 mark with the next iteration of the chorus. The timing of the bassline felt behind there as well, but no big deal. I'm with MW that this was a conservative take but well-personalized with the instrumentation. Rebecca brings it yet again. Good energy here! YES

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I second that!

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Thanks! Should be fixed within the next hour.

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