Emunator

I'm not quite as sold on the execution as Gario, but I will solidly agree that this is a unique, atmospheric electronic track that captures exactly the feel you were going for. When you go for a more explicit dubstep style at 1:34, it all comes together. Very tastefully done. I love the saw chords going on at 2:03, but I can't shake the feeling that simply automating the volume to make it more prominent in the mix (which is what I'm assuming you did) wasn't the right approach, since it currently sticks out as unnaturally loud. A filter sweep with a high resonance or a riser sweep would likely achieve the same effect, but sound more natural. I'm also not in love with the snare sound in the first minute of the track; again, it simply sounds too loud and dry and it feels mildly distracting. Also seconding the notion that the track should probably cut off at 2:50. All these things aside, this is clearly above the bar, but I did want to note some of these small details to keep in mind for future submissions. Nice work! YES

Props to you for pulling something out of the vault and sending it our way! There's always a risk of something sounding dated, but it's also really unfortunate when a great arrangement languishes in the vault, unheard by anyone. I am fond of this throwback style of trance! Your production is pretty good across the board, although there's a few builds/transitions that are noticeably slammed against the limiter and causing some unwanted distortion (for example, :27, 1:23, and 2:58, it sounds like you have a kick that might be double-layered and not balanced correctly.) The ending also cuts off extremely abruptly and would need a clean fadeout. My bigger gripe with the arrangement is unfortunately the repetitiveness of it. Listening to the source, I understand that there's really not much to work with - the original essentially rides the same bass note for the entire duration. Unfortunately, I feel that this works better for a short looping track than a full-fledged arrangement. When I scan through random points in your track, no matter where I click, it always seems like most of your instruments are doing the same thing at any given point. The breakdown at 1:50 was an excellent reprieve, but for the most part, the meat of this track feels like it's based around a few simple loops without a lot of growth or dynamics throughout the arrangement, bookended by some traditional trance intros/outros. With the drums staying fairly static outside of major transition points, this ultimately feels like it was built as a short loop and not fully realized as a standalone arrangement. Great work in a bubble, and I'm glad that you chose to share this, but for the standard of arrangement and interpretation that we're looking for at OCR, I don't feel that this quite hits the mark. NO

I have to agree that the mixing comes across as unfinished on my first impression. As you start to add heavier guitars, the choice of patch for the bass and drums makes a lot more sense, but for the first minute and a half, the tone of the bass and drums just doesn't match with the rest of the instrumentation. Because you're using the same drum pattern throughout the whole track, it also feels very repetitive and by the time you actually bring in the rhythm/lead guitars, the pattern starts to feel extremely stale. I would consider revisiting your drumming and adding in variation/fills throughout the track, rather than just at major transition points, and developing some new base patterns that are better suited for each point in the song (more relaxed/ethereal for the first half, and more intense later on when the guitars kick in.) My overall impression is that this is a pretty strong concept once the guitars are introduced, but up until that point, the soundscape feels underdeveloped. Gario has some great feedback on the mixing side, but I would also like to see more sounds and textures added to keep the first part of the arrangement more engaging and cohesive and give the listener more to latch onto. Love the bold concept, but the execution needs another pass or two to get it up to par. Keep at it! NO

I love what you're going for overall and think you picked a perfect source to execute it with. This melody adapts perfectly to synthwave, and I appreciate the decision to go with a less-common Mario World theme. I hear where Gario is coming from with regards to the back-half repetition, and I will say that I think the track is weaker for it. I think you could have ramped things up in the final section a bit more with some additional countermelodies or even some original writing to close things out in more dramatic fashion. The shift to double-time prevents this from being a straight-up copy/paste scenario, but once I noticed it, it did sour my overall impression of the track. It seems like an especially curious choice when you already have an alternate melody/chord progression at :57 that would fit right in and offer a counterpoint to round the track out more wholly. On the mixing side, there's a bit of muddiness that's endemic to the synthwave genre, but aside from that, the production does feel slightly sterile. Some of your individual synths could use more bite, possibly by way of saturation or very subtle distortion, as well as some overall compression to glue everything together better. This is more of a "want" than a "need", but I felt it was worth mentioning anyway. Ultimately, I think the repetition could be forgiven if there was more content in the track overall, but when it's such a large part of a short arrangement, it sticks out like a sore thumb and leaves things sounding unresolved. It's very close and I wouldn't be torn up if this does eventually pass, but addressing it would certainly make this a much stronger package. NO (borderline, resubmit!)

YES! I wasn't sure if this would ever see the light of day again. I love this, you have at least one person eagerly awaiting this track's completion!

The two J's above absolutely nailed this and hit on a few specifics that could tighten this up, as well as the assessment that your orchestral sequencing is steadily improving with each submission. The mixing and mastering during the main section of this track, aside from the rumbling in the atmospheric effects that can easily be highpassed out, is quite good. However, the lack of any game-related content late in the arrangement is more of a dealbreaker than the length of the outro itself. In fact, I like the very slow wind-down, but if there was a bit more of a connection to the source, or any Zelda tune for that matter, it would seal the deal for me. NO (resubmit)

I can fully sympathize with your difficulty keeping a Celeste remix to just one source - the songs all weave together so easily that it's hard not to turn every arrangement into a full-blown medley! I personally think your arrangement is all the stronger for it though, keeping things fresh and dynamic over the course of 6 minutes. The mixing is loud, but thankfully nothing gets lost in the sauce at any point and all of your instruments come through clean. The Scattered and Lost breakdown provides a bit of a reprieve before jumping back into full force with some of the heaviest metal riffs I've heard in recent memory on the panel! My only nit, and it's a VERY small one, is the artifact at 1:35 when the song cuts to silence, there's a slight echo from the guitar that sounds awkward. I'm not going to go conditional on it, but if that could be ironed out before posting, that would be much appreciated! YES

This is a fabulous example of a resubmission done right! While the humanization still isn't perfect on the piano and some of the more exposed legato leads, it's more than enough to get the job done! The orchestration is still lush and dynamic on the mixing side, but your sequencing is far more lifelike now. This reminds me strongly of Nutritious' grandiose orchestral arrangements, which I consider the gold standard for full-ensemble orchestral arrangements. Excellent work! Excited to hear more from you in the future YES

I love what you've attempted here, I feel an incredible amount of ambition and intensity in your arrangement. The variety of instruments, moods, and colors throughout the arrangement absolutely justify its length. Before I dive into any of my critiques, I want to offer my admiration for the work that you've put into this already. I'm sure it was a monumental effort to arrange and I don't want any of my crits to suggest I didn't enjoy this, because I genuinely did. However, I do need to highlight a number of small production/sequencing issues that I picked up on during my first listen that, while insignificant on their own, definitely compound and leave this track feeling underwhelming and in need of another round of polishing before it's ready for the front page. Right off the bat, you have some really cool ambient sound design and pads that feel very organic, but the piano sequencing is clearly more rigid and locked to the beat. Some minor velocity and timing adjustments, and perhaps a sustain pedal, would smooth this out and make the whole section sound more natural. With the sampled vocals, the tone is perfect for the track, but there's some very noticeable sequencing artifacts that take me out of the moment. For example, 1:25 has an extremely abrupt cut during the middle of a phrase, which needs to be ironed out. 1:06-1:08 has a similar set of issues, where the final note ends unexpectedly and then the next note fades in rather synthetically. Right now, the vocals are in this uncanny valley, so some extra TLC to smooth out those transitions would go a long way. This issue is unfortunately present later on when the solo vocals return for a second time, too. The drums that come in at 2:42 are incredibly thin, and generally feel like they should be more dramatic. That whole section has a huge gap in the low end of the frequency spectrum that just sounds unnatural, compared to the lushness of the rest of the arrangement. Layering in a bass drum would help fill that out. Alternatively, you could also go a different route to provide more contrast as you bring in the full orchestra, and put a high-pass filter on your master track that sweeps out when your brass finally comes in to make things extra dramatic when the bass frequencies return. There's a few ways you could tackle this problem, but right now that section sticks out like a sore thumb because of the frequency imbalance. The strings and choir sound pretty great to me, but the prominence of the ensemble brass does expose the weakness of the samples. When you write longer legato lines, there's not a lot of articulations to help smooth out the note transitions, leaving you with sequencing that still feels lifeless to an extent. I also want to touch on some of your transitions. The transition around 3:03 stood out to me on my first few listens as abrupt. A bigger problematic area would be 5:29, which really needs some sort of upsweep or some sort of transition sound to help smooth out the impact hit. It's simply too abrupt in its current form, and the dead air between sections comes off as awkward. These are a few of my preliminary thoughts, and in my book, resolving even some of these would leave you with a much stronger product that would elevate your concept to new heights. Again, I need to stress how much I enjoyed what you've put down, but the unnatural sequencing on many of your instruments and frequency imbalance/dead air during some parts of the arrangement are preventing this from reaching its full potential. Happy to talk more in detail offline if you'd like clarification on any of this or would like to bounce revisions off of me. I'd really love to see this posted in some form! For now though, it's not quite ready. NO (resubmit!)

I have to agree with both gentlemen above, who covered the issues with the track quite a bit. There's a lot of strength in your textures and the way that they evolve over time, but things get pretty muddy and compressed due to the pads. The buildup around the 2:30 mark, for example, should have a lot more impact but because everything is pushed against the limiter so hard, it just sounds like a wall of mud instead of a dramatic final sweep. There's simply not a lot of dynamic range in the mix, which is hurting this quite a bit because your arrangement itself really has a lot of movement to it. I will also note that the outro didn't really add anything to the arrangement in my opinion, and didn't offer much in the way of resolution. The fadeout just felt lazy to me, and given the drama of the section preceding it, I was hoping for something a bit more to close out the track. Excellent sound design and dramatic tension here, but the mixing is not doing full justice to the approach you took. Another EQ/compression pass, and possibly something more in the outro to leave listeners with a stronger final impression, would seal the deal here. Good start! NO (resubmit)

This track starts off rather understated and sparse, but with each instrument and tone standing out in its own way. For example, I thought the drumming was a ton of fun with some excellent use of fills throughout, and I appreciate the back and forth between the bubbly synths and the vintage guitar lead. The guitar tones were adeptly chosen and extremely vibey across the board as well. I see where the other judges are coming from regarding balance, but I felt like it was overstated in terms of how much it impacted the quality of the final product - overall, this is definitely above the bar in my book. Well done! YES

Wow! This is my first time hearing the version with updated mixing. Tremendous job improving an already-great track, you really knocked this out of the park with one of the strongest debut mixes I've heard in quite some time.

The arrangement is just as dynamic and vibrant as I've come to expect from Guillaume, so that aspect is firing on all cylinders as expected. However, the instrumentation is definitely something different than expected. I've always suspected that many of your piano arrangements might function really nicely as a full ensemble, so this validates that theory quite nicely! I will agree that the mixing is overbearing in a lot of places. The flute cuts through nicely, but Chris' violin unfortunately gets almost completely lost in the sauce a lot of the time. The percussion and overall master compression is definitely the culprit, making the end product harsher on the ears than it really needs to be. At the end of the day, I fell in the same camp as my fellow judges that this is carried by the strength of the arrangement. In the future though, a less heavy-handed approach to the final mastering would definitely suit you well! YES

I agree with the rest of the team here - this is not your most polished submission but I admire the ambition put forth, even though you had to cut it short from your original vision. The accordion timing in the intro is particularly egregious, but I feel that it's too significant of a change to qualify as a Conditional YES, but also not enough of a dealbreaker to warrant a NO, either. C'est la vie! Aside from that, I also found some less-noticeable timing issues in the metal section that followed immediately after, and the ending was anticlimactic for sure. All things considered though, I think the track's strengths - skillful integration of Celtic instrumentation with a standard prog metal band setup, and slick fusion of multiple themes - are good enough to pass this even without any revisions. Good work! YES

This checks out! Not a ton to say here, but I do appreciate the frequent rhythm changes and how that was executed. The ending sections are heavy as hell. This feels way more seamless than it really has any right to be. Production is crisp and clear and carries a lot of punch, if a bit bassy as others have pointed out. To the front page with you! If we're contacting the artist about a new track title, we should also see about getting a render that trims off the silence at the front/end of the export. YES

This one starts off with some very loud synth melodies that I definitely wouldn't have mixed that loudly. In general, I found the lead synths to be lackluster and too clean for the texture you were going for. I think a synth sample with more bite and distortion would have set the stage a lot better. Later on, they're not as noticeable because there's more supporting instrumentation and the texture has more to blend in with. The samples used for the choir/orchestral instruments aren't the most sophisticated in terms of articulation, but I'd say they get the job done in terms of adding texture to the track. When we get to the guitar, that's when things really kick in for me. Both the rhythm and lead guitars sound ridiculously heavy and have an excellent tone to them, so I really dig that part of the arrangement. The solo rips, though there's some times where it almost sounds like it gets too ambitious for its own good and trips over itself on some of the faster runs. I will say that, musically, the section of the solo from 2:48 - 2:58 didn't jive quite right to my ears. I can't tell if it's explicitly out of key or just playing odd/unexpected notes, but aside from that, it was all pretty good to me. The ending fizzles out unexpectedly; I can't say I'm a huge fan of how that was executed. This is a tough call - overall, the arrangement is very strong and the guitars add a lot to the final package, but the synthetic instrumentation is not as strong. I'm inclined to say that the strengths here outweigh the detractors, none of which are absolute dealbreakers in my opinion, but it's a borderline call for me. Best of luck with the vote either way, I hope to hear this on the front page either in this form or a revised one! EDIT: Upon relistening, I do agree that this could benefit from one more pass before posting. No need to hold this up - hope to hear this back here soon! NO (resbumit)

Not all of us have the luxury of pulling old project files from 13 years ago (!!!) and still have them be worthy of submission, but I'm certainly glad you did! I actually remember this from the WIP forums and even saved it to my library in its incomplete form. I always felt such an intense sense of warmth from this arrangement, like basking in golden sunset light. This new iteration only improves on the foundation that was put down so many years ago. The few minor quibbles I had were neatly ironed out through the revision process, so I think this is ready to go. Better late than never, Brad! YES

Oh, this is pretty slick! I'm picking up all sorts of retro R&B and adult contemporary vibes, especially with the DX7 electric piano, but with a hint of jazz in the solos as well. This is evoking a similar mood to some of David Benoit's multi-instrumental work. This is not a genre we really see a lot of on OCR, so you're already getting points for breaking the mold and serving up something fresh. I was initially afraid that there wasn't going to be enough to sustain this concept for nearly 5 minutes with such a short source, but you really went the extra mile to continually adapt the phrasing of Zelda's Lullaby so that it never feels like you're treading water. The final chorus key change, in retrospect, was practically an obligatory decision given the genre, but the way you executed the chord change at 2:16 caught me totally off guard in the best way. From that point on, you keep building up layers and riffing further off of Zelda's Lullaby until we finally reach the (also obligatory) guitar solo, which ties everything together in perfect form. The only complaint I can really find is that the fadeout actually seems too abrupt, I wish the end of this track had a bit longer to simmer and wind down more gradually. But that's just nitpicking. This is an exceptionally-written, intelligent, and wholly-unexpected arrangement that filled me with endless joy to hear YES

This is absolutely magical! The glassy, plucky soundscape gives this a very spritely feeling, and Steven's ocarina adds a central focal point to carry the track without being overly-dominant. I think you're at your best when you're working with this kind of palette, Rebecca! I'm happy to sign off on this unconditionally; if we can fix the pop in the render, cool, but if not, I think this is good to go anyway! I actually didn't have any issue with the volume level or compression and thought this was reasonably appropriate for the genre. Well done, this one's a keeper for me!! YES

Are those opening chords supposed to be riffing off of the "SEGA" jingle or am I just imagining it? Right off the bat, there's a great amount of warmth present in the mixing, which is subtle and subdued while still allowing all the parts to be clearly heard. Panning and reverb is on point to give everything a sense of place. The clarinet is a wonderfully unconventional choice of lead instrument that I loved, Joseph nailed the performance there. All of the solos are great, in fact! However, therein lies the problem I'm hearing with this track, at least in context of OCR's submission policy. It's pretty much all soloing. The explicit usage of Green Hill Zone, to me, feels pretty minimal outside of two sections. :14-1:07 - 53 seconds 3:17 - 3:37 - 20 seconds Out of a 4:45 track (285 seconds) I'm only getting maybe around 25% of the track actually being directly tied to the source. I'm also willing to give a bit of credit to the ascending clarinet run at 4:29, which seems like it might be loosely adapted from the opening riff, but even still, we're not even close to considering the usage of Green Hill Zone as "dominant." I'd love to be proven wrong if I missed something - I love the track and the synergy between your band, but this type of arrangement isn't quite what we're looking for here. I would love to hear another submission from you guys that had more dominant source usage! NO

Brad hit the nail on the head here - the lack of sustain and some very unconventional/unrealistic arrangement choices with multiple pianos in the low registers are causing this to sound very stilted and uncomfortable. There's not much I have to add to the feedback he left other than give it a strong cosign. There's plenty of promise in the arrangement and concept, but I just don't think this execution is doing it NO

Thank you for the submission René! Happy to hear that our community has inspired you in some way When listening to your submission, I am certainly hearing some hints of personalization to make the melody your own. However, this is a very conservative mix that sticks closely to the original material, in a style that's been done by more than a few artists before. I certainly don't want to imply that we can't have multiple remixes in similar styles of the same source - each submission can stand on its own merits, to be sure. However, Fear Factory has been done in trance style many times already, so when comparing side-by-side with these other tracks, I am hearing a much lower level of interpretation and advancement beyond the source material in this submission. https://ocremix.org/remix/OCR03732 https://ocremix.org/remix/OCR03664 https://ocremix.org/remix/OCR01009 I would encourage you to take a listen to some of these arrangements that were posted and listen to some of the subtle ways that the Fear Factory source was adapted to get an idea for where the bar would be on this particular track. You were on the right track with the gated bass and changes to the lead melody around the 1:20 mark, or the break around 2:20, but as a whole, this feels like it's built too closely to the structure and sound design of the original Fear Factory song. A few other production notes - I found that all of your monosynth leads were very dry and subdued, and not all that well suited for carrying a melody with much energy. Some reverb, distortion, or even layering of multiple synths together would help those stand out a lot more, in my opinion! I would also recommend watching the tone of your synths as you start to get into higher octaves - the synth bell at 1:14, for example, loses all of its texture by the time you've reached the top of your ascending riff, so either using a different patch or pitching that line down an octave would allow you to retain more of the textural quality of your synth patch and reduce any unintentionally-shrill frequencies. Don't lose heart - you've got strong fundamentals here and a good place to work forward from! I appreciate the enthusiasm and inspiration, but unfortunately there's not enough interpretation going on with the arrangement to clear our bar. Best of luck in the future! NO

I've wavered back and forth on this one, but I think I ultimately tip on the side of the nays here on the basis of articulation realism, primarily. It's especially noticeable since you have articulations like the panflute that are actually tremendously expressive, and it actually serves as a reminder of how rigidly-sequenced the more omnipresent instrumentation (bass, low winds, vocals, for example) is. Close call for me; while you didn't go terribly far off the beaten path, I do think there's enough going on in the arrangement to pass on that front, but the sequencing feels more like a draft than a final, polished product. NO (resubmit)

What an incredible journey this track has taken! It's been a treat hearing it evolve since its inception; I know this originated as a simple trap sketch, but your commitment to the concept and willingness to experiment with non-traditional trap instrumentation, such as kit drums, electric guitar, or brass, elevates this to much higher levels. Although it starts off unassuming enough, each additional layer, instrument, and melody introduced serves to amplify the drama. It's a wonderful contrast to the mellow new-age instrumentation beneath it. Of particular note to me are the deep brass/guitar chugs that first enter at 2:43, and the flittering that follow, and the full-blown commitment to the 4-on-the-floor trance rhythm at 3:42. When you finally reach the climax at 4:41, everything clicks perfectly into place and fully delivers on the potential that's been teased up til that point. It's such a badass, cathartic release of tension that speaks to your skills as arrangers and sound designers. Your submission letter doesn't do justice to how much work went into getting this track to this point, but I'm glad you got here! Bravo. YES

Simple and smooth, this is a no-frills melodic house approach that, despite its straightforward sound design and arrangement, still manages to check all of the boxes and craft something tasteful and vibey. The bendy bassline introduces some movement not present in the original source, and the unexpected mid-song breakdown adds some much-needed dynamic contrast before the final build. The choice to end on the triumphant Chrono Trigger melody capitalizes on the buildup that preceded it. This is a strong first submission and one I'd be happy to see on the site; I'm sure you'll be able to push future submissions further in terms of sound design, production value, but none of that should discredit the solid work you've done here! YES