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Everything posted by Emunator

  1. Not bad, not bad... The production is a little rough around the edges, I think you could have done with a little less-dramatic panning, and balanced your lead volumes a bit better (compare the lead guitar at :34 to the saxophones that surround it, for example) and the drums felt like they had too much of the highs scooped out and end up sounding timid. The hardpanning is a personal nuisance but you always have something else in the other ear to balance it out, so it's not painful to listen to or anything. It's clear that this is more of a "trial run" mix when you guys were just getting your footing, because I've already heard a lot of improvement with your most recent mixes. All complaints aside, though, I actually love what you've brought to the table here. The wide variety of lead instruments and keyboard patches that adorn the arrangement give it a lot of texture and hold my attention. The solos are great across the board, but the guitar solo at 2:40 was definitely a highlight. The saxophones seem dominant in the track but at the same time, it didn't feel like a "sax w/ accompaniment" mix either - each band member got a chance to shine. There's nothing groundbreaking going on here, per se, but it's a very solid cover that I think people will enjoy in spite of its flaws. YES
  2. I have to side with OA/DA on this one… you’ve made some very good strides with this track already but I don’t feel like it’s been sufficiently developed compared to the original source. The string writing that you’ve added is gorgeous and emotive, and a great starting point, but for an arrangement that’s only 2:30 long that basically retreads the same melodies from the source without much variation, this feels undercooked. There’s a lot of potential to build on your arrangement and inject a little more of yourself into the writing, but between the short length and the general conservativeness of it, I don’t believe it's quite ready. If this submission does end up being rejected, PLEASE resubmit – you’ve got some incredible building blocks in place, and the strings/choir writing is particularly exquisite. Good luck either way! NO (please resubmit!)
  3. Compared to the mangling that Mazedude did to this source years back, this track seems downright normal by comparison. However, compared to the source you went a long way to adapt a very challenging source into actual engaging arrangement with dynamics and change-ups. Kristina is right, this would sound right at home in the actual game OST. Production here is fine, it’s hard to go wrong with the classic chip tune pallet you’re utilizing, but where this REALLY shines on the arrangement front. I’m not sure how you found the inspiration to work with this source but the end result is great! YES
  4. A little less celtic, a little more ethereal… I love how you stripped down the source to its bones and reconstructed it into a more nebulous, ambient piece that feels complete despite not having a very clearly defined structure. Very pretty textures and production make this a pleasure to listen to. Your sequencing still has room for improvement… It’s unfortunate that the flute lead in your track isn’t as expressive as the one in the source, the harp arpeggios get somewhat mechanical, and although it’s clear you put a lot of effort into humanizing the choir, it still stands out as a little dry and obviously-fake when it hits the higher registers. That said, this is a dramatic improvement over most of your previous submissions and I think this is over the bar. More than anything, it makes me incredibly excited for your future submissions, you’ve obviously stepped up your game and I can't wait to see where you go from here! YES
  5. This is a super-creative arrangement with an awesome dynamic curve that does a great job expanding on the source. I loved Portrait of Ruin and remember this song fondly from long hours of grinding to 100% complete the game This remix gets a lot right - your sound choices are cohesive and unique, and you utilize a lot of ambitious processing/LFO envelopes on your leads to give them personality without sounding randomly shoehorned in. The beats are well-crafted and produced, and the fills/transitions work great. There’s a few areas for improvement, but in my book, your creativity triumphs here. Now onto the critiques. The string lead at :32 was very weirdly sequenced and didn’t give me a lot of confidence at first, but luckily they seem to have a quicker attack when they’re re-introduced later in the song. Not the strongest point in the soundscape but I didn’t find it distracting anywhere other than in the intro. At 2:24, that lead is mixed too quietly and again suffers from strange attack/sequencing issues. I could have done without the vocal effects personally, just because they sound so lossy when they’re ripped from the game and they were mixed in very loudly. To me, they stuck out like a sore thumb, but your mileage may vary. Overall, you got a lot more right than you missed the mark on, this is really growing on me with repeat listens and I think it’s good enough to publish in its current form. (vote changed below)
  6. Moody, evocative performance. Song of Storms is such a melodically-flexible tune, and I’m always impressed by the different directions that remixers take it. Your guitar tone and overall cadence are very appropriate for the mood you’re aiming for, the deep bass notes carry a lot of emotional impact and the strings and rain sfx add some additional texture to complement your solo performance. Aside from some minimal performance sloppiness and some repetitiveness (that’s somewhat inherent in covering a 20 second-long source,) I think you did a wonderful job creating a simple, fresh, and satisfying arrangement. Welcome aboard! YES
  7. I’m finding myself aligning most with Vinnie on this vote. I’m not exactly blown away and ultimately feel like there’s a lot of untapped potential here, but it functions well enough as a standalone arrangement. The first minute of the track is a fairly straightforward treatment of Final Hours, but it sets the stage nicely for where the arrangement goes next. The treatment of the Majora Incarnate battle brought a lot of your own character to the mix. Some of those sections felt more liberal (I’d love to hear a source breakdown from someone who is really familiar with Majora Incarnate) but that actually worked in your favor in my book since the overall source usage seems to check out. Overall, this is right on the line but I think the creative interpretation introduced in the second half, as well as the excellent use of dramatic buildup and tension puts it on the right side of the fence. Nitpick time – the sfx at 1:07 was shrill and could be brought down just a tad, and the strings at 1:46 – 1:53 have some unnatural attack/decay issues. Neither of these are a huge issue in my book. YES (borderline)
  8. Loving the intro on this one. The use of sound effects is ace, I admire how you actually integrated them rhythmically with the track instead of dumping a few one-shots over the track and calling it a day. It makes me feel truly immersed in the track. Moving onto the meat of the arrangement, this is a classic Hakstok formula that really ticks all the boxes in a very satisfying fashion. In general, I felt like the guitar work outshines the synths (but that’s pretty much what you sign up for when you bring Sixto on board – that solo was mean!) and in my opinion, it took a little too long to bring a lead instrument into the mix (it wasn’t until around 1:25 that a dominant lead entered the arena and I was definitely itching for things to progress by that point.) All in all, those are minor quibbles, and the mixing sounds much improved. I dig it! YES
  9. Unfortunately I had the same impression when I was checking this out in the inbox, and on repeat listen I have to agree. Take this and throw it on an original album and sell it for $$$, but I'm just not hearing a tangible connection to the source, as much as I love what you've done here. NO
  10. Kristina has a good handle on a few of the issues present with this track, but in my opinion the problems go a little further than just the mixing and variation. The sound pallet here is really cool in the way it lends more of an ethnic flavor to the track, and in all honesty I love the idea of a nighttime-sounding, downtempo Gerudo Valley interpretation. I wish I thought of it first! However, even for a chillout track, things never seem to progress or build up very substantially. The beat does ebb and flow to an extent but the actual level of excitement in the instrumentation stays almost too mellow the whole time and doesn’t build or layer as the track moves along. Experiment with layering and writing additional parts so that the track has more of a dynamic curve that follows the progression of your beat. It’s possible to write much more engaging, humanized melodies without compromising the vibe you’re going for, and right now I feel like you’re missing that mark. The production definitely could stand to be reworked, Kristina left some great feedback on that so I’m not going to re-tread much over it, but right now everything sounds very flat and quiet. You’ve got a cohesive set of samples that sound very nice together, and you’ve done a good amount to personalize the source tune to your own taste, but right now the production and the actual arrangement itself feels like it’s lacking in life. This is a strong concept and I’d love to see you expand on it. As it stands, I think it would take a lot of work back at the drawing board to flesh out this idea more fully, but I think it would be worth the time spent because, as I said, you have a great foundation here. The execution just needs to come up to par. Good luck! NO
  11. This is a lovely adaptation of the source tune that’s very cleanly produced and adeptly performed, but unfortunately I feel like this doesn’t go much further than that. The track hews VERY closely to the source tune both in terms of style, tempo, and actual notation – Kristina correctly points out some moments of personalization but I don’t personally believe there’s enough development to set this apart from being a cover. This really is an improvement over the original song, and I love the little harp/zither enhancements throughout, so you should be proud of yourself for what you’ve created here. It’s very well done. However, in order to pass the bar, I feel that you would need to introduce some more variation from the original, especially in the 2nd half of your arrangement which is just a retread of the first half of the song. Sorry to be a downer, I enjoyed listening to this as a standalone piece but you’ll need to get a bit more interpretive with the track as a whole in order to pass OCR’s bar. Best of luck if you choose to resubmit! NO
  12. Well, for what it's worth I had a 2 minute WIP of Fungi Forest done in a mellow orchestral style a few years ago. Probably won't go anywhere at this point but here it is!
  13. Which track do you want a second opinion on? You're correct in that I don't really have time right now to fully evaluate all the WIPs that come in but if you have particular problem tracks that are close to completion you want to send my way for opinions, feel free!
  14. I know, I know... there are literally already 20 remixes of Schala's theme on the site. I don't think anyone's ever done it quite like this though! (There's a hearty dose of 'The Last Day of the World' too, to pair it with something a bit less-often touched.) I am considering this remix finished, but I wanted to share here anyway because I'm really proud of this track! So, last October I visited Theophany, my longtime friend and one of my favorite musicians of all time, for a weekend and we had a chance to speak at length about our music making processes. That visit gave me a huge burst of inspiration and almost immediately when I returned home from the trip, I began work on this track. It features plenty of my signature bells and pads and a heavy focus on atmosphere, as always, but I think you'll agree that this is far different from my usual style. I wanted to create something dark, brooding, and extremely dramatic to really capture the larger-than-life spirit of the Chrono Trigger storyline. I took a lot of inspiration from film scores like Inception, post-rock bands like Sigur Ros and Godspeed You! Black Emperor, and of course, Theophany's own music. I've worked very hard to push my personal envelope with this track, and I feel like the last 2 minutes of the song in particular are the best thing I have created to date as a musician. Hope you enjoy! PS: Just for fun, here's a picture of my finished project file! This mix took about 30-35 hours of solid work to complete.
  15. I've heard a couple of your submissions while I've been judging recently, Matthew. I admire the level of creativity and effort you've put into your tracks. You've got a distinct sense of atmosphere in all of your songs, and there's always a level of your own personal touch. The gritty lo-fi approach can work, but to put it bluntly your tracks all sound low-quality in a not-so-intentional way. The mixing is very compressed and muddy and indistinct, like you're overcompressing certain elements or haven't properly adjusted the levels of the instruments in your track, so you're left with a master that has very little dynamics or breathing room. For example, the guitar in this mix is almost completely indistinct even though it seems like it should be operating as a lead instrument. The beats/bass are drowning it out almost entirely. I think this might also be a factor of using low-quality samples to begin with - the choir and the timpani drums sound very low-fi to me and stick out sorely. Additionally, your tracks tend to rely very heavily on loops. While this arrangement you do employ some buildup/development over time, but the heavy reliance on the same core loops (in this case, particularly the bassline) causes the track to drag when you don't introduce much variation. I actually really like how you adapted the Main Title arpeggio into your bassline, but it doesn't change up at all throughout the song. I think this arrangement actually has some potential, and you've clearly got a good sense of style, but I don't believe your execution is quite there yet. Keep practicing and hit up the Workshop forums for more feedback and your mixing skill will catch up to your vision NO
  16. This is exquisite! I think the artist's submission comments say it all - the source tune adapts perfectly to a classical style. The arrangement is pretty straightforward, without a lot of original writing or frills, but the performance is incredibly emotive, and introduces an even more dramatic and satisfying dynamic curve than the original. The number of solo piano submissions we receive seems to have dwindled lately, so it's especially gratifying to hear something this well-done that touches on a source from a very under-appreciated game. Bravo! I'm not listening on my normal setup at the moment, so if someone else could check the volume levels and see how that sounds, that'd be awesome. From an arrangement perspective, I think this is firing on all cylinders. YES
  17. Yeah, I regretfully have to agree. I had a gut feeling that this was pretty liberal at first, but my silly math error made me give this the benefit of the doubt. On a repeat listen it's pretty clear that the original sections are too dominant for OCR standards, especially because there are periods of time where the track will go almost a minute or more without any callbacks to Ocarina of Time. I'm not a strict 50%-er like Larry by any means, but the source usage in this track is heavily lopsided and I can't sign off on this in good conscience, as much as I love this track. Send us a slightly-abridged radio edit version, or work some source usage in somewhere else, and I'd eagerly give it my stamp of approval. As it stands though, I've got to flip my vote. Sorry NO
  18. Eugh... I got sloppy there - I had originally lumped the timestamps for source and non-source passages together, and when I was deleting the non-source ones I accidentally left that section in my count. I don't actually hear any source there. That puts my rough estimated usage at 45%... shit. Larry, mind doing a breakdown on your end to see if our percentages match up?
  19. Let's get the stopwatching out of the way here, first off... :51 - 1:06 [15s] 1:20 - 1:52 [32s] 1:52 - 2:30 [38s] 2:30 - 2:35 [5s] 2:52 - 3:04 [12s] 4:06 - 5:35 [89s] Total: 191 seconds / 335 = 57% source Cool! This felt VERY noodly during the Lost Woods sections, but that Title theme cameo section really helped bump your source usage. So, now that the formalities are out of the way... This. is. SICK!!! Your past submissions have been very compelling but this is the first one that really stopped me in my tracks and made me realize how damn musically-savvy you all are. There's some seriously-bonkers jazz wizardry going on here, and it's cool seeing everyone flex their performance chops as the track morphs between an upbeat jam, the sexier smooth-jazz sections, and... whatever you call the madness that happens around 1:55. One minor quibble I've had in the past with YamaYama's performances was the relatively-stiff sounding sax, which was performed very well on a technical level but sometimes lacked in expression, in my opinion. I'm happy to say that's not the case here - the sax performance sounds very lively and dynamic here, as does the rest of the instrumentation. Nobody's slacking on this track. Level up! This mix makes a compelling case for the most fascinating and all-around well-performed arrangement I've heard all year. Seriously, you guys have outdone yourselves. Vote changed below :(
  20. Right from the start you establish a great pastoral vibe with the original piano writing and the extremely clever galloping percussion. The mood is strong but I feel like the execution is falling a bit short in some areas. The piano sample sounds ever-so-slightly thin and stiffly-sequenced when it's exposed in the intro, but it works a lot better as a backing instrument. The soundscape feels rather barren for most of the mix - not to say you HAVE to fill it out with sfx like Kristina is suggesting, but I do think that would help! The big issue for me is the very straightforward instrumentation during the middle of the mix, coupled with some unrealistic sequencing. I hate to be blunt, but everything from :38-1:42 is just so straightforward. I appreciate the slow, dynamic build you've got going, but the first few verses are so basic that it leaves me wanting more, and simultaneously highlights some of the unrealistic sequencing issues that Chimpazilla touched on. Conversely, everything from 2:44 to the end of the song is just splendid, and provides a really gorgeous climax that shows your true potential as an arranger. The soundscape is full and the arrangement really feels like it hits its stride. I can't say enough good things about that last section! The rest of the track just doesn't seem to be living up to that level of quality and I think you could take another pass at the first 2 and a half minutes of the track, improving the sequencing and also adding more "ear-candy" to bring those parts up to par. Tough call, you do have a lovely track here but I think there's enough room for improvement that I feel comfortable sending this one back for revisions. NO (resubmit please!)
  21. Unlike OA, I actually wasn’t totally feeling the intro, the gradual EQ filter felt slightly awkward and I feel like some sort of ambiance or effects to fill out that space just a bit more would have been nice. However, once the guitar kicks in, things flesh out nicely. The rich, warm guitar tone supports your voice well, and the layers of backing vocals add an additional level of depth to the soundscape. Love the violin accents, too. While the core of this arrangement is very much focused on the lead vocals and rhythm guitar, the extra details take this a step beyond your typical acoustic performance. Overall, very adeptly produced and performed across the board, not bad at all for your first collab! YES
  22. I have to ask what your plan is to juggle the three albums you've started recruiting for... as someone who's directed and seen an album through to completion in the past, it took 3 years of constant effort in planning, recruiting, critiquing, and coordinating to get it done. To be blunt, you don't have much of a history with this community and from my perspective, you've posted several times starting up a remix project without really putting any thought into a cohesive tracklist, a theme or style for the album, or recruiting anywhere else within the community. Not to say that just posting a thread to gauge interest is against the rules or anything, but I've been down this road before and it literally consumed my life for 3 years while I was working on the Donkey Kong Country 3 project alone. Three albums at once is an insane and unmanageable undertaking for anyone, let alone someone who is pretty new to the community. It's not as simple as finding a nice soundtrack and waiting for the music to roll in. Not by any stretch. I don't want to discourage you if you really are serious about working on a community album project, but based on the fact that you've started up 3 separate projects over the past month, I get the feeling you haven't thought through just how much of a commitment it is. And at the very least, if you are going to do that, to be successful you really need to put a bit more effort into your post than you have here or on your other two projects, or work on establishing yourself in the community a bit more first. I'm sorry to be a dick but I feel like you need a bit of a reality check when it comes to the album projects you're starting. Hope I'm not overstepping my bounds and you understand where I'm coming from!
  23. Some quick thoughts: The whole track is mastered very quietly, especially in the intro. The intro wasn't grabbing my attention but things ramped up when the drums came in. The drum and bass programming is pretty nice, the guitar playing is wild and expressive but the guitar sample is not very convincing. Might be worth contacting a live guitar player to get something more realistic in here. The arrangement is pretty conservative, though you start to introduce some personalization through the soloing midway through the track. There's some little details, but the bigger problem right now is just the length of the arrangement - it's roughly the same duration as one run through of the source material, and it cuts off pretty abruptly right at 2 minutes. I need to hear more here! This definitely has potential, but the synth guitar isn't doing you any favors and the overall short length of the arrangement doesn't give you much time to really personalize the track to the level we're seeking on OC ReMix. Good luck if you choose to resubmit! NO (resub)
  24. Contact Information Your ReMixer name : Maxxorz Your real name : Max Linsenbard Your email address : Your website : linsenbard.com Your userid (number, not name) on our forums : 32503 Submission Information Name of game(s) arranged : F-Zero Name of arrangement : F-0 to 1000 Name of individual song(s) arranged : Mute City Additional information about game including composer, system, etc. (if it has not yet been added to the site) : Already on site Link to the original soundtrack (if it is not one of the sound archives already available on the site) : F-Zero X arrangement: https://www.youtube.com/watch?v=lxQwMDftbXI Your own comments about the mix, for example the inspiration behind it, how it was made, etc. This remix was actually made for a game I'm working on that's a hybrid of F-Zero and Audiosurf. Our team wanted to focus on having the player feel like they're constantly on their toes while also enjoying the simple aspect of just going really fast. Since the game is rhythm-based, having a completely original soundtrack would make it hard for players to learn the game, so I figured having a tribute to F-Zero itself being the tutorial level would be fitting. I'm a drummer and brass player in the real world, so I worked the most on making the drums in the track sound like they're realistically being played and included a some amount of varying rhythms and fills to keep the beat fresh. I don't play guitar and my background in mixing/mastering is limited, so the lead/rhythm guitars are more focused on keeping that old-school non-realistic sound while the rest of the arrangement is more 'live'. The remix itself is mostly note-for-note the arrangement of the F-Zero X version of Mute City, but I believe it brings a new light to an old classic. The whole tune was made with a MIDI Keyboard and Logic Pro X. Source: https://www.youtube.com/watch?v=a0WzWdSVFmE
  25. You're off to a decent start here - I like the breakbeats and some of the textures you've used... the glitching is pretty simplistic but it adds some flavor to the mix. Right now, though, there's a couple of things that need serious improvement before this can be postable on OCR. First, your leads are very bland and have no personality or variation... using the same lead throughout the entire song is definitely something to stay away from in order to keep things fresh. The bulk of the track is very repetitive and close to the source - it sounds like you built this primarily around loops and didn't do much to change them up throughout the duration of the track. This needs a lot more to set it apart from the original, though you have worked in some SFX and sound upgrades that hint at some expansion on top of the source. This track is not cutting the mustard for me in its current state, but you have some potential with this style! Put some more of YOU in the mix and see where it takes you. NO