Emunator

I have to agree with the others that this arrangement has been stretched about twice as long as it needs to be, considering the lack of variation. Once the 1 minute mark hits, there is no variation in energy levels - the track rides the same 808/hi-hat/snare loop for the next 4 and a half minutes, which is particularly egregious when the same 1/16th note hi-hat pattern plays almost the entire time. There's a few points where you add some light fills, but there's so much more that you could do to add excitement to the drums here. Arrangement-wise, this mix is begging for a breakdown to give it some room to breathe. On the flipside, when you hit the chorus, your melodies are more energetic but the production remains exactly the same for that section. It's like the drum track is in its own lane and doesn't rise and fall in tandem with the actual arrangement. I would also strongly recommend looking at your harmonies and remove some of that unintentional dissonance that other judges have pointed out. I enjoy the mix of chill synth instrumentation in a modern trap arrangement. It evokes a classic OCR electronica feeling, but modernized. You're off to a great start here, but more attention needs to be paid to fleshing out your arrangement and making sure that it stays fresh the whole time. Good luck! NO

I appreciate the Nujabes influence and how you applied it here. Your palette of instruments is lovely and suits this track very well! There are some critical mixing and sequencing issues that I'm picking up on, however. As others have rightly pointed out, the mixing is very busy and overcompressed for a song of this style - this needs some room to breathe. Right now, the mix feels like an oppressive wall of sound that doesn't suit the arrangement you've created. The bass is extremely loud and muddy, I feel like that should be your first target when revisiting the mixing. In addition, I would take a second look at the velocity and timing of your instruments and drums - just about everything feels rigidly quantized to the grid. The kick and bass are two notable examples of this - because your velocities are so static, your song doesn't ever seem to find a groove that sits well with the rest of the instruments. While I can appreciate the juxtaposition of organic instruments with more electronic-sounding drums, there's still a lot of ways that you could make the sequencing feel more natural. I hope you can take this feedback in stride and continue to refine your craft, please don't be discouraged! The vision is there, but this would certainly benefit from some more attention paid to the technical side of things. Good luck with your future submissions! NO (resubmit)

I'm with Larry here - the instrumentation is well-written but the sample quality doesn't hold up to scrutiny in this minimalist context, particularly the piano and the solo strings. Comparing it directly to the OST, your sample feels tinny and lacking the same dynamic range. In addition, the performance feels robotic as well. Small nitpick - the decay/release on the solo violin at the very end of the song is very abrupt. There's some really great evolution on the original source with the addition of new instruments and original writing, but when so much of the arrangement is built around piano and that particular element is noticeably weaker, the overall product doesn't click for me. Although the arrangement is short, if you were willing to take a stab at re-working the pianos, I think this would be a solid candidate for resubmission! NO (resubmit)

I find myself agreeing most with Nutritious on this vote. I greatly enjoyed the sound design and groovy lead writing and squelchy synth bursts throughout the song, this is a very solid foundation. If the production was rock solid, I would be more willing to forgive the somewhat-static arrangement, and vice versa if the arrangement was more fleshed out, but as it stands, I think there's enough room for improvement to warrant a resubmission. I have to second the comments about the drums sounding very imbalanced - right now, I'm struggling to tell whether there's even a kick drum in the mix or not. If there is one, it's getting eaten up in the mix and has almost no low end presence. If this was a stylistic choice, I can live with that, but it sounds like it was just not mixed correctly. Overall, the compression needs to be scaled back just a hair to give this some breathing room. Other judges have touched on this in greater detail so I'm not going to rehash the specifics, but I agree with their assessment completely on the overall mixdown. I sincerely hope we hear this back on the panel if it doesn't end up passing - even as it is, this is an incredibly enjoyable take, but it needs another round of polish before it's ready for primetime. NO (resubmit!)

I'm really enjoying the spacey sound design here. The balance of airy, reverb-drenched pads and leads compared to the deep, constant presence of the kick and bass actually sat very nicely with me. I had high hopes for this track based on the first minute or so. However, it simply doesn't feel like it goes anywhere. There was so much tension introduced around the 2 minute mark but the buildup that culminated at 2:34 was a total tease. There's a huge amount of potential to bust into a double-time beat or add more rhythmic variations to really bring this arrangement home. I also have to second Rexy's feedback on the filter sweep that occupies the high frequencies - that needs to be toned down with volume or EQ adjustments. I also felt like the snare roll starting at 2:15 was comparatively lacking in energy and fell flat for me, independent of my thoughts on the arrangement itself. Some additional mid-frequency risers/percussion fills would help that transition fit more naturally. I want to hear more of this - the bones of this are great but I think you can push yourself further to take this from good to great without changing the core of what you've already written. NO (resubmit)

Off the top, I appreciate the overall concept and artist notes here. I can tell that this arrangement is coming from a place of admiration for Grant Kirkhope, which is an admiration I share myself That said, as someone who has listened to these soundtracks countless times, I would not have known this had any Banjo-Kazooie/Banjo-Tooie without looking at the artist's breakdown, and even then, I really had to force myself to hear the connection over multiple listens. I see how you got from A to B, but the end result feels way too far removed from the original content to click with me. From a sound design/production standpoint, this is also a mixed bag. I like the sound pallet that you used to evoke a retro feeling, it's very cohesive and does a great job conveying the concept you had in mind. The reversed sfx and fills throughout the song are also very engaging. However, many of the samples/synths were so exposed that the lack of variation/automation really became obvious. Particularly in the bass - not only is the bass pattern fairly static (which I realize is a feature, not a bug, with this genre) but the sample itself stays at a relatively flat velocity and doesn't ebb and flow with the rest of the track and is a fairly "vanilla" sound to start with. When the mix is filled out at its busiest points, it's not as noticeable, but there are just as many sections where the arrangement is so minimal that it really highlights the rigid sequencing. I hate to come across so negative on a track that has a lot to like about it, but ultimately this just doesn't click for me as a remix. Good luck with the rest of the vote! NO

I appreciate the obvious effort to add variation to this arrangement. Although it always finds its way back to the classic 4-on-the-floor trance rhythm, there's plenty sprinkled in here to keep this fresh. Sound design, percussion samples, and overall sequencing was on-point, and I have no complaints about the bones of this mix. I do agree that some volume adjustments/EQ tweaks to allow the lead to sit more up-front would really suit this track well. The overall mix is a little hot in the mids and high frequencies, as well. However, I don't believe that any of this amounts to a dealbreaker - the strength of the arrangement and sound design puts this over the bar, IMO. The leads, although quiet, are certainly still audible.There is room for improvement on the mixing end, but it's enough to get the job done this time. Good luck! YES (I agree that if we can get a version that trims the excess silence at the end, that would be great!)

I wasn't immediately sold on this track. During the intro, I found the synth-epiano and minimal percussion to be robotic and wasn't a compelling enough sound to carry the track on its own. I would have appreciated some light ambiance to pad that out and offer something less on-the-grid for that introduction. Fortunately though, things fell into place as more layers started to emerge. Your wind and harp writing provides a lovely expansion on some of the original Temple of Time melodies and are sequenced fairly well. The little glitch at 1:08 was really cool, I wish there were more flourishes like this. I have to agree that some of the low-end mixing and writing muddies up the track, and those bass parts could stand to be replaced by an instrument with less of a tail, but it's not a huge deal. It's not the strongest yes, but I appreciate the efforts made to personalize the original and the sample quibbles weren't enough to bring down what you brought to the table! Props for tackling a lesser-known Zelda source as well, especially one as tricky to work with as this. YES

Source usage seems to be the main point of contention with this vote, and I'm on the side of NutS here. While I don't disagree with Rexy's timestamp, I think it's important to view that in context of the arrangement and not just look at the percentage in a bubble. The usage of source is spread out throughout the entire track (rather than simply bookending long stretches of completely original music) and thus keeps Roxas theme at the forefront. Despite the ample original writing (which is incredibly well executed) it always comes back around. Ultimately, when taken as a whole, this feels like a remix of Roxas theme. It takes a lot of skill to successfully execute a concept like this on a technical level. If any element here - the realism of the orchestral sequencing, the integration of the electronic percussion, or the overall mixdown - wasn't up to par, this remix would fall flat on its face. Instead, the end result is dynamic, beautiful, and full of memorable one-off moments that demand attention (some of my personal highlights were the initial breakbeat fill at :31, and the piano riff at 2:50 that sounds reminiscent of Clash on the Bridge from FFV.) Best of luck here - I'm not sure which way this vote will swing, but regardless, I hope we hear a lot more from you! YES

This is really fun! It's sufficiently interpretive while still retaining the feel of the original, and your sound design and rhythmic variations make this mix very playful. I'm not listening with ultra critical ears, but you should definitely submit this to OCR if you haven't already!

Yesss. Any new track from about:blank is certainly a treat. As others in this thread have mentioned, Acrophobia is still a listening staple for me all these years later, and this continues to build and evolve in that same vein. There's elements of just about every part of this song that demand attention - the reese bass in the first verse, the vocal chops starting at 1:06, and the tasteful glitching and chopping throughout. Just when I thought the mix had reached its plateau, the climax starting at 2:40 comes in and shifts this into another gear! Excellent work, this is a must-keep for me!

halc is one of the first artists that caught my attention when I first became active in the OCR community, and in spite of all the personal struggles and time elapsed since those early days, his new material doesn't miss a beat! Super groovy and melodically-dense without being too busy, with that classic 9-bit sound pallet that we all know and love. I appreciate the slightly-elevated emphasis on organic sampled instruments throughout this song, it's a really natural evolution for Drew's sound and keeps me engaged. Drew has some seriously next-level stuff in the oven (check out his Final Fantasy X remix album on Bandcamp if you haven't yet!) It proves beyond a shadow of a doubt that halc is back and stronger than ever! Can't wait to see what comes next.

The arrangement is very moody... there's a palpable level of tension despite the overall arrangement being so chilled out. It's a perfect combination for a progressive house song. This joins a long list of Radiowar arrangements that I will undoubtedly continue to listen to for years to come. Love it!!

This song is so sick. The off-kilter beat is a surprisingly bold choice, giving the remix just a bit more of a psychadelic edge than usual, without taking you out of the chillout atmosphere entirely. It took me a few listens to really acclimate to what you were doing here, but once it clicked, it became an instant favorite! (Oh, and also... what an absolutely killer remix title.)

I absolutely adore this remix! Easily one of my favorite mixposts in quite some time. It instantly struck a chord with me upon first listen, but after reading about your creative process behind the track gave me a whole new level of appreciation for just what you've done here. You obviously have a great level of appreciation and taste for lo-fi production techniques, but the expansive arrangement and live performances really elevate this beyond your average lo-fi arrangement! I'm glad that I caught this, it's put you on my radar as an artist and I can't wait to hear what comes next from you!

So cool to see this finally posted. I, too, have had the earlier version of this in rotation since the early 2000's, and I'd certainly never expected it to get a proper release. Awesome work guys

@Garrett Williamson maybe this will help too? https://www.native-instruments.com/en/support/knowledge-base/show/2577/how-to-resolve-issues-with-missing-samples-for-a-kontakt-library-batch-re-save/

I agree that this is very much a cover with a few flourishes and that, ultimately, it's a bit too conservative to the original song to be posted on OCReMix. At just over 2 minutes long, there's not a lot of time to get more interpretive. The fill around :25 was a good start but aside from that, this feels like a pretty direct cover of the original, which is not what we're looking for on the site. However, the thing that really bothers me about this is the drum tone. Your kick drum is SO clicky, there's no meat there at all The sequencing also feels like it's missing a lot of attention to detail - the 1:13 or 1:20 really highlight how robotic the drum programming sounds. I think you need a better drum library, and it would definitely not hurt to sequence the MIDI with a bit more attention paid to velocity as well. Good guitar chops, but the drum programming and production definitely needs work. Sorry guys! NO

Gotta disagree fiercely with Gario. As much as I'm not really a fan of big-room, this is undeniably well-arranged and truly amusing. The production style might throw some off who are unfamiliar with the genre (other than @Flexstyle's Yoshi's Island mix on Super Cartography Bros, I don't think OCR has ever seen a mix in this specific sub-genre before,) but by the genre's standards, this is pretty well done as far as I'm concerned. I cracked up when I first heard Kazooie's talon trot sfx layered with the melody at 1:18, that was hilariously tongue-in-cheek and so well implemented. Another highlight to me was the subtle pitch bending on the lead synths to keep with the source's eastern aesthetic. Great track that doesn't take itself too seriously at all. YES

Right off the bat, I love the tone of the pan flute but there's zero expression to the melody. It sounds like it's played extremely stiffly. The section that follows offers some neat interpretation on the theme, fusing electronic, rock, and orchestral elements together. However, the leadwork in the track overall is really dragging this down. The panflute plays such a low register that it gets almost completely lost behind the percussion, so it almost feels like those sections are lacking a lead entirely. The next synth to come up feels so thin and just doesn't feel like a good fit for how intense the rest of the track is. 2:15 shows some really cool development to the melody, I really love what you did with the harmonies here. The sequencing on the violin is not very realistic though, with almost no attack on the sample at all, the playing doesn't feel natural. 3:30 brings some really exciting drumwork that moves things along really well, but by this point, the same repeating violin melody is starting to feel tiresome. The fadeout at the end sounds like you ran out of ideas and weren't sure how to conclude the track :-\ For the most part, I think the leadwork needs to be revisited here. The rest of the track is solid enough but I'm finding a common thread between all of the main issues with this mix. If you could liven up the lead sequencing/patches and make them more humanized/expressive, I think you could be onto something good here! NO (resubmit)

This is pretty much begging for a bassline to flesh out that low end. In spite of that, the personality and overall unique approach is undeniable here. You seem to have taken a super-loose tavern jam approach and, in that regard, I think this works really well. Just a good old-fashioned, unpolished romp! Let's get those samples outta there and post this one. YES

Very brooding and emotionally compelling. The melancholy guitar work reminds me of what Nekofrog would make if he placed a heavier emphasis on percussion in his tracks. Though I found it strange to start off with the drums at such a high intensity, the arrangement quickly settled in and just kept getting better from there. When the heavy guitars and a more dominant lead finally entered around 2:40, I was hooked, and you completely won me over at 3:45 with the low-tuned rhythm guitars. Seriously badass. The last few minutes of this track were incredibly gratifying and, on a personal level, this has to be one of my favorite metal arrangements that I've heard in a long time. YES

Not too shabby! I wasn't totally sold on this at first, with the soundscape sounding a little exposed and dry overall, but when the track unexpectedly breaks wide open at 1:30 I was feeling it! Can I call this "glitch-funk?" The electric-piano and other funk/jazz elements juxtapose really nicely with the more traditional, chippy glitch-hop instrumentation. It's so cohesive and pleasing that I'm actually surprised I haven't heard more of this style. I'm not gonna retread over the valid critiques that the other two judges brought up. Despite a slightly underwhelming first minute of the track, this definitely found its groove and should be a wonderful addition to our catalog. Nice stuff! YES

Gario nailed it. This is an ambitious attempt and I actually love a lot of the elements of the track in a vaccuum. The strings sound like the start of a really cool orchestral arrangement, the synth patches are really moody, and the drums go through a lot of cool motions, but I think you're having some trouble getting them to gel together. Many of the sections feel like disparate concepts that don't transition properly together. To be frank, I can't really find much structure with the arrangement - just as it sounds like you're about to swell up to a really big climax around 3:15, the track tapers off and ends. The lack of a bassline, as Greg pointed out, may play a role in this. To start with, the production is pumping super-hard against your limiter, which is giving your whole track a very boxy sound. Ease up on the volume of some of your elements and lower the overall compression so your track has a bit more breathing room, and I think this will sound a lot better already. I love seeing such an ambitious take on a very commonly-remixed theme, and I think you could get these ideas to work, but the concept doesn't feel fully realized at this point. Good luck if you choose to pursue this track further! NO (resubmit!)

Excellent use of dynamics here. The mixing has been criticized on this point by other judges, but I think the dramatic rise and fall in the volume level contributes to a sense of overwhelming fear and tension. I think Gario's justification is extremely thoughtful here and I agree 100%. Otherwise, not much I can say except I'm surprised that this has boiled down to a split vote on production/humanization merits. It's not 100% perfect but the attention to detail HeavenWraith put into crafting a massive, ambitious orchestration is evident here - the strings are incredibly dynamic, and even at their worst when they take a lead melody role, the brass still sounds totally passable in my book. Good luck with the rest of the vote - this sounds great to me! YES