Nutritious

Still feeling some rigidness in the sequencing here, especially on faster note runs or when there is a series of eighth notes all in a row. The song feels a bit lopsided in this regard, actually, because there are sections which sound much more on point with humanization (3:10 - 3:39, for example), while other whole sections are too stiff or even-toned (1:54-2:16). I think Larry nailed it here. This one's really close, but I definitely think you can get there with a bit more polish on the sequencing. A tad more reverb could help as well (don't go overboard, though). NO resubmit, please

Yeah, pretty quiet off the bat here. I hear the allusion to the Original you've got in the intro section. Gonna stopwatch just to check things out: :00-:06 original :07-09 interval from OST :10 - :13 original :14-:17 interval :18 - :20 original :21 - :23 interval :24 - :27 original :28 - :30 interval :31 - : original (bass sounds like it's supposed to be a variation on OST bass, but it's too much off a stretch IMO) :42 - 54 OST melody synth in full :55 - 1:25 original (same issue with connection to OST bass mentioned above) 1:26 - 1:39 OST melody synth 1:40 - 1:53 original 1:54 - 2:07 OST melody synth 2:08 - original 2:27 - 2:41 OST melody synth 2:42 - 2:45 original Total source 69 seconds out of 165 or 41.8%. It's a bit obscure, but I'm counting each time you start the interval phrase from the OST melody synth. As mentioned, the bass feels too disconnected from the original bass to feel like it's referencing Mechanical Man. That said, when the source melodies are referenced, they're done in a very straightforward manner without much in the way of personalization. As others pointed out, overall levels are low and the soundfield isn't really filled out sufficiently. Transitions could be worked out further as well to bridge various sections, as right now it feels a bit stop/start with a lot of elements. Sorry to feel like such a downer on this vote, but as you mentioned, this is a 9 year old mix and the standards have definitely risen since that point in time. I do think it's really cool that you're revisiting old material here and hope that you continue working on your craft. NO

Done

Man I love this source. Opens up pretty calmly, setting up a good sonic atmosphere. Once the drums kick in, the energy picks up a ton. Drums do sound a bit rough around the edges when exposed, but blend in better with more elements in play. I'm not 100% on board with some of the lead synths, with the somewhat disjointed sequencing and the wide panning/stereo effect that I think Larry is referring to. I also agree that the quiet section lost too much energy/volume and doesn't sound cohesive with the rest of the track. Otherwise, for the majority of the track and its various elements, this is clicking for me. Guitars and drums bring a ton of energy to the table and are well sequenced/performed. I think it's a close one, and I definitely understand Larry's position, but this track has reached a tipping point for me in the positive direction. YES (borderline)

Added!

This is one of those tracks that I knew I'd like as soon as I heard the intro. Gotta love that. Arrangement is pretty straightforward, but solid in the adaptation to the half-time, atmospheric electro fusion guitar chip whatever genre this is. The speed up transition at 2:45 felt awkward to me. I see what you're going for with fooling the listener with hearing where the downbeat timing is, but since the guitar isn't 1000% on point on the rhythm, it doesn't quite work IMO. Minor point, nonetheless. Would've liked to hear my clarity on the percussion, especially the snare. I really felt like the drums in general could use more umph behind them, specifically during the downtempo portions. I agree with Larry that mixing is probably the biggest issue here, but it alone isn't enough to be a dealbreaker for me. The strength of the composition in general definitely helps as well. YES

Great way to set the mood right from the get go. Tons of attention to detail are apparent throughout the track with regards to dynamics, note velocities and varied writing. Arrangement sounds solid to me. Production-wise, this is more on the dry side of the scale (though not overly so), which is fine because you're using very high quality samples here. It may have helped to smooth things out with the choir specifically with a bit more reverb, though. Gonna second Kristina's note about not having a lot of low end presence in the track. It's a minor point, but it can really serve to enhance more bombastic orchestral arrangements like this one. This really is fantastic work here; not much else to say but YES

I'll start of by saying I really like the concept and the ideas behind your arrangement here. The synthy rock style really clicks with the OST. That said, I also agree with the Dave & Kris' crits above. I don't want to beat a dead horse, but I do want to emphasize that the lead guitar really needs to be replaced with something else. Honestly, it could be either a guitar or strong synth lead and still work really well. For the rest, I have to defer to the above votes because I find myself completely agreeing with each point that's already been covered. Great concept, but execution needs work. Good luck to you. NO resubmit, please

Cool intro here, way to build up the interest and action. Great points above on the repetition issues that I can get on board with. I also agree with Kris' that the vocal sample could be used more sparingly or a bit more creatively. Not a dealbreaker, so up to you on that one. I'll also add that for a dance-type mix, the kick is lacking some mid-low/low end body. It sounds like the lows have been rolled off in favor of higher frequencies, so the mix is missing that thumping undertone that the kick could provide. Don't overdo it, but consider either some EQ work or layering another deeper kick to flesh it out better. This is a very cool concept and isn't too far off IMO. Keep at it! NO resubmit, please

Cool concept here - taking the Magus theme from Epic Showdown to a darker brooding style (but still driving energy). Really like the arrangement work here. Clearly, lots of thought was put into how to modify the chords and melodies to achieve the dark tone. Like Emu mentioned, the production is pretty solid, but some improvement is still possible. In the louder sections, the lower piano notes become indistinct against the strings and the upper notes sound a bit heavy in the 2khz or so range. Minor nitpick: not sure if you were going for realism, but the wind effect sounds pretty fakey to me - like it came from a game itself. Relatively short and to the point, but the arrangement sounds complete and cohesive. Good stuff here. YES

Wow, tough one here. The arrangement is obviously a pass with excellent performances and personalization on display here, while never losing sight of the original. The only real question is whether the violin recording quality can hold up. Based on your write-up, I can't help thinking that you may have inadvertently exacerbated the issue with post-production work. You said you were having trouble getting good body from the violin, but the final product here seems to be mainly lacking in high-end. I'm wondering if this one can be rescued through reworking the production EQ, rather than having another go at recording. It think Vig has the right idea, but here's how I'd go about it: -See if you can use a noise removal tool to eliminate the hissing (Audacity is free and has one included. I can help you if you're not familiar with how to use it). Just make sure you do it subtly as to not cause the violin to sound more lossy. -Follow Vig's advice and reduce mid-low/low end body & raise high-end EQ for the violin. Hopefully, it won't add more recording hiss when you boost the high end, since you (hopefully) have that under control now. -This one's optional, but you may want to add some VERY subtle stereo separation to see if you can get the violin to sound wider in the soundfield like the piano does. That said, it's possibly this one could pass as is. If it doesn't however, I'm hoping you can work on the production/recording and bring it back to us. NO resubmit, please

Not a whole lot to add to what's been said. For the first couple minutes, it's essentially a sound upgrade/replacement of the original with a few changes. There is some interesting writing beyond that, but it's mainly original. I should mention that's it's actually not entirely original after the 2 minute mark. At 2:30, there's a brief reference to the original NES Gauntlet theme. I don't recognize anything after 2:50, however. Finally, I wasn't 100% behind the brass lead that came in around 3:25. The tone isn't that strong and there are some awkward note changes/cutoffs between each of the phrases. Like Kris mentioned, a mix of more original/personalized writing/structure in the first half and more source in the second could get you there. You clearly have some strong production chops, so kudos there for sure. Keep at it. NO resubmit, please

That's quite the subtle intro with the booms fading in... until everything else suddenly kicks in, of course. Mixing sounds pretty on point, especially with the rhythm guitars. I would've liked the leads to have more high end to cut through better, though. Very interesting changeup to a softer approach after 2:10 after a pretty heavy intro. Ballsy, but it works. Arrangement-wise, while this does keep it melodically similar to the original, there's enough personalization in the structure and writing to get my nod. Good stuff. YES

Lots already said here, so I'll keep it brief. Definitely agreed on drums being the biggest culprit. They've established the groove before the 30 second mark, and besides a few minor fills and a drop off, they pretty much stay on the same pattern until 2:20. IMO with acoustic drums (rather than electronic or breakbeat) meaningful variation is especially important. I only saw Jive mention it, but the drum groove itself sounds a bit weird to me because there's a drop in volume at the end of every measure as the open hihat sound drops out, creating a slightly awkward, disjointed sound. This is usually indicative of a drum loop that isn't quite fleshed out to the end of the measure. Other than that, I think the track could use some more overall variation and dynamic contrast to keep some interest. That said, I do really like what I'm hearing overall and think this one is really close to getting there. NO resubmit, please

I should add that Boo's Cues does include a brief reference to the Haunted House theme from Super Mario World as well.

Only two more days until the OCR panel!

Venue change! Just bumping this topic to let everyone know the expo has been moved to the Reno Ballroom (it previously was to be at the Silver Legacy). I've been told this is a bigger, better venue, so should be all good! Great chance for anyone from the Norcal/Reno area looking to hang out and/or score some OCR swag!

Done.

I can't add any crits to the above remarks here, but I can add some tips for how to go forward. -First, dial back the levels so the sounds aren't so squashed together -Much of the track is centered in the soundfield - see if you can spread things out (via tasteful panning and/or stereo separation) -Get some variation on the groove and a beefier kick and snare -Think about how you want your track to evolve over time. Don't just layer things on top of each other, but try to achieve some contrast via change ups, breakdowns, instrumentation changes, etc to keep the listener interested. I really think the WIP forum would be a great place to go with this one and other mixes you may be working on. You can get much more timely feedback there than you will here and can work out many of the high level issues. Good luck to you. NO resubmit, please

Yeah, the mastering is definitely low. If it takes me about 30 seconds on my normal listening level to hear much of anything, things need to be evened out a bit. This x2. Normally, when piano is used in the context of a larger track, velocity variation is enough to get by with. However, when it's a solo, exposed piece, and also using non-live samples, extra care on note timings and velocities, tempo/rubato, etc. really become critical IMO. (commas much? ) Like Larry mentioned, sections when it gets louder like 2:19 start to expose some rigid timings. On the other hand, I really liked how you handled 2:45 with the chord changes and driving, brooding energy. That's definitely my favorite part of the piece. I don't think this one is far off. With that in mind, hopefully Dylan can give us another go with this one. NO resubmit, please

Definitely can hear the crits regarding the dry instrumentation. I can understand this approach if you're going for a mid to small ensemble in a small room setting type track. Actually, I thought that may be the case until about :34 - :44, which revealed a larger arrangement. As is, because everything is dry and upfront, the spacing between the instruments does not sound natural together. Even in a smaller setting, there should be a degree of spacing and distance between things like piano and solo strings. Some of the solo instruments sounded rigid in their sequencing - especially some of the solo instruments and string stabs. The dryness definitely works to expose them more, so some tasteful hall reverb could help both with this and with establishing spacing between the instruments. I feel like I'm in the same boat with Larry with the most part in terms of arrangement. While structurally pretty conservative, there are quite a few nice additions and expansions in the writing. I wasn't quite as bothered as Larry was at the 2:48 transition to the second theme. However, as Kris mentioned, with the piece ending (relatively abruptly) soon afterward, it almost comes off as an afterthought instead of a fully-fleshed out idea. Overall, this is a solid start that's mainly hampered by production issues (spacing and dryness). It may be helpful to listen to some well-produced orchestral pieces on the site to get an idea of how others handle particular instruments and ensembles. It's clear there's a ton of potential in the writing here and honestly, you're not that far off the bar IMO. NO resubmit, please

Wow, that intro is loud. Gonna echo Larry on the balance issues here. The backing parts (esp orchestra) get buried under everything else. That's a shame too, because from what I can hear, the orchestra work sounds pretty solid here. The lead at 1:14 sounded fakey to me with the awkward & stiff note changes and some odd sounding volume drop offs on certain notes. Very cool transition to the Magus theme intro. Finally feeling like the mix has room to breathe here, though it soon kicks back into loud and pretty cluttered in the next section. Solid arrangement ideas on display here. Frog's theme is clearly used throughout with some intelligent changes and personal touches. I can see Larry's Yes here (and I could certainly see this one passing as is) , but I feel like, at a minimum, this one needs another go on the mixing end for my nod. NO (borderline) resubmit, please

I agree with Larry's comments on the thin soundscape in the opening. The transition from triplets to duples at :39 sounded awkward to me. Not really sure the "Ready" and other voice clips scattered in places are really adding to the piece, but that's up to you. Man that synth at :56 is ultra loud - I had to turn the volume down quite a bit to continue listening. The transition at 2:20 was very abrupt, with the following section sounding.... awkwardly timed I guess. The parts don't quite click together here and the timing sounds off. 3:42 was another pretty big change in terms of sound and feel. These various sections need to be blended & transitioned better together IMO as they sound more like ideas pieced together than a single, cohesive track. The beats at 6:10 were very loud relative to everything else, with the kick sounding like it's getting squashed in compression. At this point, for the next few minutes you stack more and more elements on top of each other and the next is louder than the previous until it becomes a big, cluttered wall of noise. I'd dial almost everything back here and try to rebalance in a way where things can shine through without pushing compressors to the max. Overall, the percussion sounded overly dry to me. I'm not saying soak it in reverb, but pulling it back in volume and a touch of room reverb can help it blend with the rest of the elements. That said, there is some solid arrangement work going on here. 4:44 is probably my favorite part of the piece - the reverbed synths lend moodiness to the track and the piano was better handled here (though it's still rigid, especially on the note cutoffs). Pretty creative arrangement ideas here, the production just isn't up to the same level. Like Larry said, you clearly have a ton of potential. You've got the talent & ear for arrangement, just gotta refine your technical game. NO

Yeah, intro is pretty rigid with the exposed plucked strings. It becomes less noticeable once other elements join and it blends better. Gonna agree on the comments that the backing cosmo canyon pattern could/should've been varied up more. Still, the interpretation on both themes was really well executed. Nice sequencing work on the wind leads. While they won't necessarily pass as live instruments, it's obvious a lot of detailed work was put in to get details like pitch bends put in throughout. Nice transition to Cid's theme. The lower strings supporting the leads sounds particularly Jack Chan <or insert your favorite martial artist here> movie-esque. Lots of attention to detail throughout. Really enjoyed listening to this one. Nice work. YES

Not gonna beat the dead volume horse. I will say, though, it's difficult to evaluate other production elements when the whole song is so squashed together. Gonna co-sign on the repetitive nature of the arrangement here. Really is more room for expansion on the original motifs. Good start, but pull back those levels by probably a good 10dB or so and then work from there on the production side. NO resubmit, please