Palpable

Hi, Link to submission: See attachment. Remixer name: Mordi Website: http://mordi.ziphoid.com User page on OC: http://ocremix.org/forums/member.php?u=22501 Game arranged: Turrican II Name of remix: The Great Bath of the Seven Seas Song remixed: The Great Bath -> Comment: I never played Turrican II myself, but the soundtrack for the entire series is quite fascinating. In this one I tried to capture a pirate-y feel throughout. The part in the intro and later on with the harmonica is actually not from the tune. However, I thought it fit the chords well enough so that I threw it in there. It's actually from the soundtrack of a fantastic norwegian animated movie called "Pinchcliffe Grand Prix" from the seventies. The track was made in FL Studio 9, mostly using free soundfonts I found online. No real instruments were harmed in the making. I hope you will enjoy it. - Mordi

Howdy, Here's something in a very different style from my previous submissions. ReMixer name: Dj Mokram userid: 28433 Game arranged: Parasite Eve Song arranged: Phrase of Aya, Missing Perspective, Main Theme, Out of Phase Arrangement name: Spontaneous Combustion Source link: Phrase of Aya http://www.youtube.com/watch?v=ktbT2nyXlU4 Missing Perspective http://www.youtube.com/watch?v=KNEzwWOgv5E Main Theme http://www.youtube.com/watch?v=Nkt54qAgy-4 Out of Phase http://www.youtube.com/watch?v=F13FRIepmD8 Original Composer: Yoko Shimomura System: PSX Comment: Near the end of the last century, Squaresoft used to experiment with bold new ideas to create innovative IPs. With that philosophy in mind, I set to arrange one of those highly under-rated gem, known as Parasite Eve. As a VGM enthusiast and PE fan at heart, I adore Yoko Shimomura's hauntingly beautiful soundtrack. My goal was to cohesively blend multiple sources in a sequence revolving around Missing Perspective. All the while retaining the unique setting and aesthetic that defines the game and its music. In PE, Spontaneous Combustion describes a phenomenon where mitochondria ignite a body from within. To create this remix, I had to push myself outside of my comfort zone to overcome my biggest writer's block. The result is a fusion of acoustic and electronic elements that had me threading unfamiliar territories. Pitting piano and strings against fast breaks and synthetic leads while blending melody with thematic. Sprinkling an ounce of chiptune and bitcrushing on top, with extra care to the overall atmosphere. Hopefully, you guys can find some enjoyment out of this little arrangement. Here's the source breakdown: 0:00-0:20 -> Phrase of Aya 0:20-0:28 -> original 0:29-0:50 -> Missing Perspective 0:51-0:57 -> Missing Perspective + Phrase of Aya 0:58-0:59 -> fade in sfx 1:00-1:29 -> Missing Perspective 1:30-1:44 -> Missing Perspective + Out of Phase 1:45-2:00 -> Main Theme 2:01-2:07 -> Missing perspective 2:08-2:24 -> Phrase of Aya 2:25-2:54 -> Missing Perspective 2:54-3:17 -> Missing Perspective + Out of Phase 3:17-3:22 -> fade out sfx Thank you very much for your time.

Remixer name: Brent Wollman Email address: Website: http://tindeck.com/users/Clem12344 UserId: 41181 Game arranged: Legend of Mana Name of arrangement: Acid Drenched Dream Name of individual song arranged: Everyday Dream http://www.youtube.com/watch?v=0zibtE6nad0 Link to my Remix: I made this remix of a track from Legend of Mana. I have never played the game, but I thought this was a nice track. My interpretation is really heavily (and obviously) inspired by Aphex Twin, particularly his faster works like Girl / Boy and a lot of the shit from drukqs. The whole thing may be a little too obtuse. I dunno. Let me know!

I just judged one of your other subs, and the exact same criticisms apply here. You are doing a heck of a good job with sequencing, but that can only take you so far when the sounds are so vanilla and unprocessed. The whole affair just comes across as flat. I think you've got to branch out a little bit, or if you insist on sticking with the palette you've got, use automation a little bit more to make your sound more interesting. I'd recommend just trying to use more complex samples though. NO (resubmit)

Certainly interesting in that almost all the interpretation here is augmentation, and most of it fairly subtle. You can basically still hear the original song in this. Well, until the ending that is, when it takes a decidedly left turn. I think this is a pretty hard call! Your sound design is awesome, no doubt, but the ending with just the solo piano felt a little stiff and dry for me, and some extra humanization would have really sold it. I think I'm actually go ahead and co-sign Deia's borderline YES. This skirts the arrangement and production line for me, but falls just on the passing side of both. I can see why this got featured on the FB page, because it's certainly a creative take. Happily, I think it fits on OCR too. YES (borderline)

Talk about making the most out of what you've got. The samples and processing here are all as vanilla as you can get, but the sequencing/automation is excellent. Fantastic solo too. Unfortunately, you'd have to have a near-flawless arrangement to get by with these sounds, and I don't think this is quite there. There's some level of repetition that is amplified by the bland sounds and the bridge fadeout is awkward. I hope you resub this because this was quite catchy despite the problems. NO (resubmit)

Hmm, the lack of dynamics really got to me on this track. Some of the lead work was good, but the drums were just way too repetitive and track felt very one-note. As a medley, it did feel cohesive which is no small feat, but I would like to see more variety in terms of instrumentation and energy. NO (resubmit)

Huge fan of your work, Patrick, but I didn't get to hear the last rejected version of this. This version however is an easy YES. The nuance with which you sequence is incredible, and you really bring life to instruments that could sound flat otherwise. Even though the arrangement is mostly an augmentation, the level of detail brings a lot to the table. The instrument dropouts and fadeouts sound very natural. A very playful song that brought a big smile to my face. YES

Great ideas here, and an unusual instrument set. Unfortunately, with that comes the challenges of working out the mixing. Sometimes the guitars drown out the quieter instruments like the piano and flute-like lead. Though it sounds like you've tweaked the sequencing based on your email, the strings also have a choppy, unrealistic feel. But the problems extend past the production for me. I'm not totally sold on the piano fitting into this, the pace seems to work against the hard rock rather than fit into it. The flute-lead was also too weak when paired with the guitars. Overall, not feeling this one yet. I'm not sure any one thing brings it down, but more the combination of a lot of small things. NO (resubmit)

For a progressive house track, this uses the source in some unexpected ways. This was mostly clicking for me so I'll start with the negatives. The mixing was crowded in the low-end, which hurt the clarity. The kick was missing crispness, and the snare was also somewhat washed out. The breakdown section at 2:17 ended quite suddenly and could have been smoother, although the meter switch there was really cool. The filter sweep at 2:45 also showed some signs of distortion. Apart from that, your attention to detail was appreciated. Even in the parts that repeat, I hear some minor changes to the background instruments. I can see judges being down on this, but I'm gonna say it's a YES. The arrangement goes beyond what I would expect for a house track and gets quite creative. If I can listen to a 6:37 house track twice in a row and not get bored, I think there's something there. YES

Hard to put my finger on what exactly wasn't working, but the track never gelled for me, despite the individual parts sounding pretty cool. The bass was big in the very low ranges but I agree with Jesse that the rest of the track sounded thin. It would have been nice to fill in more of the midrange. I also thought the drums didn't groove much at all, they felt very choppy and disparate. The track felt a little directionless, but maybe with a stronger mixing I could see that being mitigated. Sorry, I still think this isn't doing the job. NO (resubmit)

Everything I'm hearing up to 1:24 makes it sound like a pass. Really tight beat, good production, interesting changes. There was a little bit of a dropoff in quality at 1:24, but it didn't last long. Just when I wanted to hear something new, you introduced the dropout section at 2:12, which had some cool distorted growling in the background. I can see why some of the other judges want to see more to this, but both the short length and tight production worked in your favor and I think it's a pass. Best of luck getting YESes. YES

I think we should go ahead and close it. Derek only has a WAV file (it was recorded, not sequenced) and I did as much as I could to fix the issues but it sounds like it wasn't enough for the panel. I should mention that djp thought my version of it sounded like a pass IIRC, but he wanted the panel to vote on it so probably makes sense to close.

I basically love the Orb solely because I found it great studying music. After you listen to their songs a few times, they really grow on you.

Intro was rough. The opening guitar sounded very exposed, and timing issues with the guitars were apparent, strongest when the vocal first came in. As long as you're Melodyning, you may as well try to fix that timing too. The vocal was hard to hear when it first entered. Once the harder parts kicked in, especially the chorus, I was digging the song a lot, but when it went back to the quiet parts, I started noticing the same timing and mixing issues. The energy and strength of the arrangement is making up for some shortcomings, but I don't know if they make up that much... yeah, sorry. I wouldn't be unhappy if it passed, but it feels like one version away from a pass. I will this say this is a strong submission overall and showcases a lot of different talents, but at the same time, the execution needs to match the ambition of the arrangement. BTW, great job improving your vocals over the past couple years. NO (resubmit)

In a movie full of cameos, the one I laughed hardest at was a certain dubstep producer...

I think you pretty much had it, Larry. The big problem for me was the flatness of everything. Most of the instruments are dry and the sequencing is very static. Take the Schala lead that comes in at 3:14. There's almost no detail to the way it's sequenced - all the notes are the same volume, there's no attack or decay, and almost no reverb or delay to give it a more interesting sound. And the quick runs sound particularly fake. The reason the lead at 4:40 might sound more expressive is because of the delay and glide, and that's exactly the kind of thing the song needs more of. The drums really need some variation too. The same pattern is used through most of the song and it's not complex enough to use to that level of repetition. Overall, I can't say I was feeling this much. Even the way the sources are combined feels a little awkward - MasterParis, I think you're gonna need to work on improving your writing and sharpening your production. Will give credit to that intro - that was pretty cool. NO

Inbox is easier for us to track, so that's preferred.

Haha that would be great.

Well, I'll agree with Deia that the dryness and thinness makes this a clear NO in my book. This just doesn't sound realistic enough as is for a solo piano piece (or 5 piano piece) - I don't think it stands up to other pieces we have. Also the full stop in the middle was pretty awkward. Sure, there are some things that help like the subtle tempo changes but this has some dealbreaker issues. I think with some EQ fixes and definitely reverb, this could probably pass but I think the evenness of the playing is a little unrealistic as well. Hmm. Well, I hope you can do something with this and send it back, arrangement is pretty cool. NO (resubmit)

Sorry but source usage isn't the only problem here. The drums are fairly anemic, both in terms of writing and sound, and the mixing overall isn't that strong. There's a lot of conflict in the low-end, and the leads are pretty low. In the section at 1:54, you can hear some distortion because of all the overlapping frequencies. You definitely have talent, and the guitar performances are pretty good, but I think you'll need to improve your mixing a bit more before this would make it to the front page. NO (resubmit)

I recognize that drumloop you keep using but I don't remember from where. While I like the arrangement, the mixing is pretty weird and it sounds like you messed with EQ and reverb too much, or are using lo-fi samples. The instruments felt very disparate and didn't gel together. I would recommend trying to get a good solid base for the drums, something high quality, and then try to make everything else fit that. If something doesn't fit, THEN shift the EQ and reverb until it does. But having that grounding makes it so that you don't overuse the EQ and reverb, as I feel like you did here. Anyway, best of luck on a resubmit if this doesn't pass. NO (resubmit)

Not sure this will be straight YESes, but I dug this and think the sampling of the original was fine because of how tweaked it was. There was a lot of crushing and re-triggering going on and it gave this a pretty different feel. Certainly this mix stands apart from the original while being recognizable. The Wizard sampling is pretty cheesy (gotta love an ad masquerading as a movie) but seems to fit and is used sparingly. Cool stuff, bros. YES

To go counter to Wes, I thought the level of the lead at 0:18 was fine. It felt like it was trying to be understated and while that doesn't always work in tracks, here it was fine. But I agree with him on everything else - this is really solidly put together. Very Morse-inspired and you got his attention to detail down. The trumpet is very nicely performed and makes this song go the extra mile, especially when the guitar plays alongside. Thanks for keeping it classy, guys. YES

I agree with Larry that the meshing of these two themes was not that smooth, but this flowed well enough. The ideas you present are good and I think there's a passable arrangement in here. Unfortunately, the synths are somewhat bland and the guitars are pretty dry. It's especially noticeable when the guitar lead doesn't have the backing behind it. Throw some delay or reverb on that puppy. I feel like you can probably nail this one next go-around, but sadly this version here isn't gonna do it. NO (resubmit)