OceansAndrew

Arrangement here is great, and is different enough from previous mix to stand on it's own. There were a few slight intonation issues in some spots in the cello, but the small rough patches were smoothed out overall by a collection of good performances, and the whole ensemble gives the piece a languid-yet-alert vibe that just sounds sophisticated. I can imagine this track being played in a posh hotel filled with movie stars from the 50's. Production is a little too far back, I agree, but the room sound is consistent, so it all works for me. Balance is nice, and I actually prefer the way it was panned, with the instruments all in their own space. It's a classy way to handle a small combo like this. yes

I can totally hear the chord progression, and the melody comes out very strong as the source some of the time, but I have to agree with AnoSou in that I wouldn't be able to discern the track except for a few segments, and I have spent more time with KK than most. I absolutely love your production, and there are a lot of great additions and details added to the track, super strong execution. The track owns, and I am really excited for the project, but it's a bit too far out of the realm of OCR. Sorry dude. no

I'm torn on this one as well- there are some really cool moments, the arrangement is true to the source but is distinctly your own, and for the most part I was feeling this, but that piano really killed the mood for me. I'd love to hear the story behind that decision. I dig the shred section, and I actually LOLed IRL at the brass stab- it's a really cheeky end to some pretty technical playing, and i think something that lighthearted is just fine. What's not fine is that string articulation though, and something like that shouldn't be a huge hassle to fix. I'm cool with the guitar tone, it's definitely gritty and angry, but it suits the track. I think the reason the drums sound like they are being drowned out isn't the guitar sound as much as it is the weak drum sound. Kick has almost no beater, and the snare is wimpy. They sound ok, but they don't really cut through. I'm not sure how old this track is, because of the Tales project timeline, so you may not feel like updating some of these issues, but I do think they need to be fixed before i'm comfortable passing this. no, please resub

Yeah, this is nice. It certainly is distinct, with a lot of chippiness, but I think the amount of modern sounds makes it passable, with a deep soundscape, and some nice strings later on. I really like the progression on here, and there are a lot of great details throughout. Excellent textures and a well chosen source. Nothing holding me back from a yes

Just got word back- they are going to update it this weekend and then we shall have a beautiful track!

Epic stuff- PoD is one bad mother.. *shut yo mouth* Just talkin' bout PoD... Adding Sam's soloin makes it even more awesome, great work.

great dynamics and phrasing. I remember loving the art style to this game, but I never really remembered much of the music. This is certainly memorable, though, and really is a moody and a bit lonely. I really like the performance, as it really brings the arrangement to life; this wouldn't be near as wonderful sequenced. Well done, I can't wait to hear more.

After a nice and interpretive intro, it got overly locked into the source, but just when i thought it was straight up cover time, it started to deviate a bit near the end into your own. Once it gets heavy I was really feeling it, but the rhythm guitar sound is taking up a lot of the same room as the lead, making it a little harder to hear. Nice lead guitar harmonies in here, and holding out some of the notes really played with expectations. Classy stuff, and good soloing as well. Nice atmosphere, this would really be awesome to jam to live, and that is actually what this sounds like, is a live mix. There is a distinct give and take to the performances here, and it feels very off-the-cuff. Production isn't blowing my mind, but it is definitely above the bar. Piano at the end could use some additional velocities, i am guessing the keyboard sample just doesn't have them, as it sounds live otherwise. Some nice touches, and everything checks out. I'd have preferred a little more arrangement with the melody, but it still rocks. yes

Damn, this one is cutting it super close. I've been listening to this track on and off with the source just to make sure it's all in order, and for me, this is about as liberal as I feel comfortable passing. It definitely is well performed, so that's a plus, but this despite this vote being short and to the point, I thought on this one for several hours. Some of the subtle parts of this are actually my favorite moments, like the two chords at 1:55 and 1:59; it strikes me as all that needed to be said at that moment, and with the resolution at 2:06, really digs into the essence of the original.. and then NO ONE considers it source, including Bobby? The track is beautiful and meets the arrangement standards, but coming to a decision certainly was a lengthy process. yes

and there's your answer

Overall this is a completely awesome arrangement; both creative and true to the source, but has a few minor details about it bugging me, most notably the production and the repetition of the beats. There are some sick ideas and excellent additions, as well as creative uses of the existing source, and the synth solo was excellent, so no issues there. There are well chosen and processed synths and effects, with some great gates and all kinds of other trickery. Synthwise, this is a super fun track to listen to. The vocal sample wasn't my favorite, but it was well used and chopped. I wouldn't shed any tears if it was either cut or distorted a lot. The beat was great, but could have been varied a bit more earlier on, even some layered stuff in select areas or some rockin fills would make it feel fresher throughout. The balance could have had a little more clarity- it seemed to be missing some mid highs, and volume overall was a bit low. The drums were good but seemed a bit too quiet. Comparing it to Mario Paint - Intense color, which is similar, the highs are completely downplayed. They appear sometimes, but it needs to be more consistent. I'd also like for the drums to hit just a little harder, and i think that'd actually help the high end sizzle a bit more. It's super close for me, because the arrangement is so strong, and I still think the production is ok, but this style of music really needs production that goes to 11, and I think it'd be an easy enough adjustment to make. no, please resub

The concept of this is awesome, and the arrangement is really nice as well, though some of the execution details are where it stumbles a bit. The guitar is overpowering the piano something fierce, it sounds like the piano is at a reasonable distance while the guitar is right in my face. This is something that doesn't feel right to me at all; it's unnatural, i tell you! The arrangement is classy with both some subtle changes to the original and several cool original sections. Besides that exceptionally painful flub early on, the playing for both instruments was great; that flashy run at 2:08 wasn't pristine, but was still well enough executed. No major complaints at all in this department. Note that i'm not comfortable passing this based on the current sound balance, but if we can get a new version with the guitar volume more in line with the piano, i'll change my vote in a heartbeat. Either a simple volume adjustment, or Palpable's reverb suggestion would do the trick. I'd love to hear 0:21 re-recorded, but I realize that it might not be possible, and would still pass this even if it remained. no, please resub

One of my favorite tracks from the SoS project, i'm happy to see it hit the panel. Drums I thought were great, much more interesting than the somewhat boring snare rolls or super basic beat from the originals; though I wish that early on an element rose up to their intensity. For the first section they seem overly dominant. Once The cello comes in, however,it completely clicks; fantastic performance and recording, and everything supports it. The piano is a bit rigid, but it plays such a small part in the overall scheme of things that I don't see it being an issue. I can hear Starla if I listen really close, but i think she could have been brought up a bit more. At least it's in a breakdown section where she first appears. Arrangement is a great blend of the 2 sources; it's cool how you've picked the best of each official arrangement and further expanded on it. It has some very nice moments and it's very ear catching. Nice work everyone, a group effort that really is more than the sum of it's parts. yes

While I agree with the others that the brass samples won't be fooling anyone about their realism, they do have a certain charm, and they blend well into the track. A/Bing it with some somewhat similar style tracks, like old school Chicago or Earth, Wind, and Fire, the scooped bass sound is actually pretty authentic, and though i'd prefer it a bit phatter, I can totally roll with it. As for mixing I just wish that the organ in the background was brought up a bit. Otherwise it's a good clean sound that does't try to smother; it's all about jammin' rather than face melting, though there is a solo section where things do get pretty sizzling. Playing is very strong throughout, and the variety of sections and flow really gives everything a chance to shine. There is a lot of excellent personalization, and the small add libbed runs are hot. Arrangement emphasizes all the good things about the source and adds even more. This is nice stuff. yes

I absolutely adore the soundscape on this track- it's deep and rich, much like Anso's love. The bell harmonics at the beginning can be a bit harsh depending on your listening setup, so beware, but on most rigs it's fine. Ones that hype that specific frequency could end up getting pierced. I could only hear it on one of four setups. Besides that, production is spacious, there is very little toe-stepping, and a there's a full range. Arrangement is a very good mix of old and new, IMO, with the arrangement being subtle and nuanced. I am very thankful that you were receptive to trying the hand drums, as i think it adds a ton of interest and texture with no downside. Variation and ideas throughout worked for me, and I think this mix is your best work yet. Nice work. yes

I love how this starts out intense from the getgo but with a lot of expectation on how it'll just blow open, and it certainly doesn't disappoint. This takes the energy and mood from the original, feeds it some sort of unholy cocktail of Bawls and gasoline, lights it on fire, and lets it run loose. It adds a lot of additional melodic elements to a source that was pretty much a rhythmic exercise, and I think it comes out ahead as a more interesting and listenable than the original. I wasn't totally sure about the modulations at first, but with the frantic beats and the mode used for the solo, it clicked for me your intent, and i think it fits very well. The beatwork was relentless- the little breaks that allowed for a single breath before plunging back in were very cool, and the transitions and buildups were amazing for building up tension. I especially loved the gradual filter build followed by the bass drop. Awesome. I dislike the laugh, but it's a personal preference, and it fits well enough that it's not an issue to the mix. Production was pretty packed, but everything was audible and well balanced, and there were plenty of (very brief) chance to get my bearings aurally before getting knocked back on my ass. The only issue I had really was clarity, but as you were specifically going for a heavily distorted sound and the rest of it adds up, i'm not gonna hold you back. yes

This is super awesome- excellent execution of a lot of sources into something cohesive by having a distinct main section, but a ton of variation. Extra cool treatment of Route 10. The sounds used were fun and gelled well, though overall i think the volume was a bit hot. Nothing detrimental, as the sound quality is still there, but maybe something to consider for next time. I agree that the fadeout was weaksauce, but everything else was so on, that I can only shrug. It would have worked better if it was a slower fade i think, or Larry's idea of fading to piano or something would have been even cooler, but as is, there's definitely no reason to not give this a yes

I think this arrangement is hot, there are more than enough melodic, rhythmic, and tonal parallels to make it more than clear. The extended solos sections push it close to the edge, but during most of them there are tons of additional references via the bass, rhythm guitar, and to some extent the drums. I thought there were very intelligent choices made on what to keep the same, and what to expand upon, and the original writing that was included was stylistically compatible and brief enough not to overshadow the original at all. I agree that the breaks in the bass are part of the source, and that music isn't just about what you play, but also what you don't play. I think this is well over 50% considering that. Playing throughout was sick- awesome phrasing and variation, and some great shredding too, no complaints here at all. Overall i'm loving this one, the solo sections *almost* got excessive, but I guess if you've got it, flaunt it. yes ps. funny that of my first day as a judge, you got both my no, first yes, and also your debut mix posted. Kinda spooky.

hi guys, thank you all. I hope I make it at least a week or two before you are all disappointed in me.

I can totally feel the Gregorian simplicity of this one, but there are some details that need to be polished a bit before i'm completely comfortable with passing it. The piano sounds like a single velocity and is super rigid. It should be more delicate sounding, and the string sound bleeds right into the vocals. Note that this is just my suggestion, but i think it'd really clean up your mix: Bring the volume of all the choir up by quite a bit- as of right now, it's *sortof* taking the forefront, but it's too shy. The voices are well layered and balanced, but they need to be out there and audible. This would give you a good anchor to arrange the rest of the track around. I don't know the language, but it's cool to hear the theme done with a ton of layered voices, with a good singing voice as well, so this should really be in the spotlight. Your low strings are at a good volume, but there's too much bleed with the lower tones of the choir. You can scale back the mid low EQ on the strings to make room, as they aren't as crucial as the choir. There are some really excellent things about the mix though, I thought the clock ticking was super cool,and though the melody was verbatim, the way it was presented was distinctly unique, and the backing track was extensively changed. Even though there is a lot of personalization being done with the added voices and backing parts, I think an additional counterpoint line in the high strings would really take this over the top for arrangement, and would also help fill out the high end. Keep at it, the idea and the vocals are great, it just needs to all work together. no (Resub)

Compared to the original, I am feeling this arrangement a lot more on just about every level. The newer tempo feels a lot more natural, and the phrasing has a much better chance to breathe. The vocals are really well done, with a great voice and some nice harmonies. Transitions were nice and subtle, but thought out and suited to the style, and the breakdowns were nice as well. That being said, there are some production and performance issues that are holding this one back from being as amazing as it could be. Some of the acoustic guitar strumming in the choruses could be tightened up- it sounds like you are double tracking the guitars and panning them, but when you do that with acoustic guitars and busy strumming passages, you need to be uber tight. I'm cool with the bass performance generally, as there are some great personalized touches and fills there, but the sound on it is really washed out and is missing a nice low end. Trimming down some of the kick drum and getting the bass in that space will make the mix feel a lot less hollow. The strings also do well to fill out the mix when they come in, but they fill out a little too much of the mid-lows. I also agree with Anso that a bit of de-essing would make the vocals even sweeter, but it's not as crucial as the low end and some of the guitar takes. I love the song, but I think it deserves to sound it's best. no (resub)

Excellent track, totally deserving of it's 1st place win at DoD, even over some stellar competition. I'd say it's a well played and decently produced medley, with some good personalization in spots, but there are way too many sources for me to feel that it's a properly developed piece. Sections come, do their thing, and then are gone. Some of the transitions feel really natural, but others are weak (specifically 5:46). A super great medley, but not quite what OCR is looking for. no

this is true- you still can make it!

hi, i hope your birthday will rock. see what i did there?

Pretty cool stuff, the beats were great, and though i like a much more defined lead generally, i think things worked overall. I personally find extended quotes in music to be super cheesy, but everything else was compelling and creative enough for me to like the track anyways. Nice work dude.