Rozovian

Can't listen to source atm. The lead synth is a little noisy. Cleaner and louder would probably work better, tho a more complex sound could work just as well. Mixing is a bit off just before the guitar comes in. Feels like it's lacking highs. Might be lacking highs elsewhere as well, the mix doesn't have that crisp clean sound to it. Gotta agree with Neko on the guitar tone, it's not that pretty. I don't mind it much, but more guitar-oriented listeners might be bothered by it in its current state. Kick sounds like someone's knocking on plastic. It either needs more highs or more punch... or both. You might want to try another sample. Overall, the simple synths could use some processing, such as subtle volume, cutoff and pitch modulation. I noticed pitch bends and note fades, but I'd like to hear more. If you're going for a chippy sound, make it chippier, and if you're not, give the simple synths some more complexity and texture. The writing is fine with me, tho you know I can't comment on source. Gotta download audio overload to this machine. I like what this sounds like it's gonna be. Good stuff man.

This is far from the arrangement standards the site has. It's repetitive, and while I like the synths used in it, they don't blend well with the non-electronic parts. The first iteration of source was pretty much a midi rip, and the progression is just iterations of the same with different instrumentation. The biggest problem here is the interpretation/arrangement. Compare a few ocremixes to their respective sources and listen to how the source is used. Rewrite the source into a new arrangement. I'm not gonna give you a technical analysis of your wip because at this point that's not what you need to work on. Good luck with it, hope this doesn't discourage you.

Well, we _are_ in the process of remixing Seiken Densetsu 3. Albums, tho, are time-consuming and difficult to manage, meaning some can just lie around for years without moving much anywhere, and some are abandoned completely. There's a lot of Chrono Cross remixes already, that you can make an album-like playlist of.

Okay, I'm hearing where the pops come from, it's at the end of your kick sample. Shorten the notes, drop release/sustain/decay, or something else that'll get rid of the sound, it will definitely bother people once they notice it. Snare is nice and strong, but might benefit from being a few dB softer. You might want to drop the hats' volume as well by a little. The post-tracker section snare sounds better now, but the snare after that sounds different from the one you had during the first half of the track. while I'm not sure which I like better, I'm not sure I like having both of them in the track. Makes it feel a little unbalanced. You've successfully cleaned up the overall frequency balance. With the overall sound much cleaner, I'm wondering if you should drop the volume of some of the background synths. You could try that, see if you like that sound better. They're there for backing, so by pushing them a little further back you could make the track a little cleaner to listen to, which makes it more enjoyable and listenable. Ending seems to drag on for a little too long. Bringing in the pads from the intro might work to close it off and not make the ending feel as long. Or you could just not drag it out like that. It's a minor crit, not anything I'm particularly bothered by. See if you can compare this to similar music, well produced. I know I won't be able to keep spotting issues for you to fix (and coaching isn't the main purpose of the WIP board anyway ), so having some similar music to compare it to should reveal if there are any issues. Listen to the overall frequency balance, tracks' mix, volume level, shrill frequencies, stuff like that. See if your track blends in in a playlist of similar tracks. There you go, more pointers and advice. Good work so far.

Glad my help actually contributed to getting a remix postable. Great work, Vagrance, and congrats.

Quite enjoyable. I won't say much about recording quality for obvious reasons.

All right, I'll treat this as a completed work then. Starts of just fine. 0:26 you rolled into the melody in a tempo boost that felt a little rushed, and seemed be some notes missing 0:30 area. That section overall, seemed to need some work anyways. 1:28 ...something weird wit the timing. 1:59 something similar. Your transition into the final staccatos there just feels... offtempo. I keep getting lost in the track, so it's evidently in a pretty good shape. In the arpeggios before 2:40 your seemed to have some kind of swing or note emphasis going. Not sure that's intentional. I don't have a problem with it, but if its not intentional, it might start bothering you when (I think it's more a question of when than if) the track gets posted. Around 3:00 your left-hand and right-hand playing don't seem to synch. Again, not something I'm much bothered by, but thought I'd point it out anyway. Same thing around 3:50. In spite of these things, it's highly enjoyable, and it would surprise me if the Js would plain NO it. I had a hard time finding the issues because the track just made me float away. Awesome work, man. Awesome work.

The drums come in a little funny. Working on what notes to emphasize might be a good idea. I like the drum rhythm you get going once the melody comes in, tho I would like to hear some more left-hand piano writing there, even if it's just chords and little embellishments. It also gets kind'a repetitive, esp. the second half. If you'd step away from the idea of the lyrics, you might be able to make this into something worth submitting. And it's got some weird panning and frequency balance things. Dunno how you manage to get your tracks so muddy sounding, there's some mud in this, but I'm not sure what you should do about it. The obvious trick of dropping the mids a little seems a little too simple. But hey, try that anyway, maybe it'll help. Yeah. Good luck, if you're gonna keep working on it.

Sorry it took a while to get back to you on this. Guitars... sorry man, they're not pretty. The low guitar is okay, but the higher ones are, to be blunt, just terrible. I bet the actual guitar remixers would be able to help you more with the sound if you were using real guitars for this. Something I've done when wanting guitars is to use a pretty much clean sample or similar sounding synth and applying various distortion effects and amp simulation on it. Half way through this old wip of mine there's some fake guitars where I've used that process. Can't promise it'd work well enough to get this passable in the eyes of the Js but it should at least get you a step in the right direction. I think the arrangement would sound great if the production stuff were handled better. You could show the arrangement for the guitar folks in #ocrwip, they might like it and provide you with recordings. No promises, tho. I think you won't get far with this until you get those guitars sounding good, whether you go with a synth guitar sound, try to get it as real as possible, or get someone to record it for you. Still, droppping the volume on the high guitars should clean up the track a bit, and it sounds a bit like it could use just that. They're pretty loud, I can hear some compression lifting when they drop out towards the end. Sorry I can't be of more help atm. Good luck with the track.

Can't atm listen to source, so I'll leave that unaddressed. Means I can get this done faster. A lot of this sounds like unnecessary repetition. Can't tell you what to cut, but I'd suggest you put this in a playlist with some fairly similar (post-2004) ocremixes and just see what sections about this track that you get bored with. You should also put some more thought in the progression of it. Half way through it, I'm wondering if I'm still at the beginning or nearing the end... and kind'a hoping for the latter. The minimalist style might not be a good thing for the track, a lot of the time, I'm not hearing anything but the lofi bass and various drums. The hihat rhythms are pretty hard on the ears, making the track sound really overcompressed (since the hats don't play on some of the kicks). I'm kind'a suspecting some compression issues anyway, this sounds ARGHLOUD!, and that's a little too loud. Stylistically, this is pretty interesting, and I'm hearing a lot of stuff in the percussion that I find enjoyable. Cutting back on repetition and giving this a more clear progression would improve the track overall, and the compression issues should probably also be dealt with. I suspect the Js would have a problem with the minimalistic non-percussion content, but production sounds pretty good so I have no idea how this would go if submitted (if other issues were dealt with). I think it's certainly worth spending more work on, partly because it needs it imo, partly because it could be aweosme. Good luck with it.

The beat has some balance issues. The snare sounded like it was missing some of its highs, but after a while of listening, it didn't seem that way at all anymore. Probably some problem with the snare, but I can't pinpoint what it is. The snare rolls seem a little too... idunno, ill fitted in terms of EQ. That might clear up if you work on the other tracks' EQ tho. There's a second snare about half way through the track, and it's missing some highs. Not in the fast section, I'm fine with the snare there, but the one that follows. Doesn't sound processed enough. The fast section, tho, has some shrill lil frequency, probably resonance from something, possibly from the hats. There's some lil pops in the beginning, your synths probably have too sharp attack/release. Might want to add a millisecond to attack or release, see if that gets rid of them. Might be on the filter, in which case you'd have to work on the filter envelope, just doing the same thing there. I suggest you work a bit on the master mix, there's a weird balance ...thing with this, but it's hard to really figure out what. Might be that you've cleared up the master EQ a bit too hard, theere aren't enough mids to make it sound balanced. Try boosting the mids subtly, possibly drop the volume on the snare and hats, see if gets more balanced sounding. Sorry I can't give you anything more accurate than these guesses, you track is kind'a hard to analyse. it's pretty interesting, tho, Just noticed there was some kind of finger-snapping sound towards the end. The little brass thing at the end is a good idea, but I suggest you find some other sample to use there. Maybe one you've used already in the track? Okay, that's it for now. Blah blah blah, good track, blah blah, good luck.

No source link, no source comment. The marimba/xylophone could use some velocity work, and it's pretty repetitive. Getting into another rhythm would probably take it away from the source. Soundwise, it's beautiful, pretty much what I expected from you. I gotta agree with Uub and Spakku tho, best way to learn is, in this case, to do a different arrangement, whether original or remix, I'm not sure a remake this static (in terms of texture) is really giving you the room to really work on the intricate details. More change in rhtyhm, intensity, etc, a more varied arrangement to be working ont he intricate details of.

No source link, no source comment. If Nocturne's right about the track being different enough fromt he source, you've got a nice submission candidate here. I'm hearing some dissonance in the chords, and the arrangement is pretty repetitive, but if you'd work those out, mix this a bit more clear, and give the percussion more bass, I think you'd have something worth submitting. If it indeed is different enough from source. Heh, noticing the sound clips in this track too. Works quite well, tho I personally would prefer the track without the ppl clips. Anyway, I can definitely hear potential for a cool track in this, and as it's already quite enjoyable, see if you can work it up to OCR level.

This could be pretty good when it's more developed. The combination of woodwinds and rock is pretty, so you've definitely got a good concept here. You might want to write some more interpretive material for the rest of the track, but if you keep wrking on it, I have no doubt it'll be enjoyable. I'll also echo the medley warning. OCR's standards of interpretation and cohesive arrangement have gone up since most medleys have been posted, so make sure it flows well between sources if you do go the medley route. Good luck.

It's interesting how some agree about the importance of reviews or wip feedback but don't actually provide much of either.

Two things: 1) If a track is clearly not meeting the requirements of arrangement, production, choice of source, ownership, or any other requirement stated in the submission standards, we should point it out. The consensus of my wip board survey was that feedback on getting stuff ocr-worthy was the thing they wanted most of all from the board. So yes, it is his place to say. His, and ours. We don't necessarily know when something is good enough, we're not the Js, but if there are clearly problems with a track we should point those out, especially if we're certain they're things the Js would have a problem with. 2) It's actually Liontamer that's doing the evaluation, not djp. Dunno why they haven't changed the "evaluated by" thing. -- As for the remix, let me know when it's updated if I don't show up with a post.

Solo trumpet staccato notes... only. Plus the occasional additional trumpet voice or drums. Heh, while interesting, it's not gonna qualify as pretty much anything besides an interesting experiment. There are some shop elements to this, but it's certainly not something I'd expect to hear in a shop in a game (or a real-life shop for that matter). HoboKa listed some things that would be good to utilize in your next works. I wish you luck.

You really should make this OCR-level. Doesn't have to be all huge orchestral/big band/rock stuff, something with this advanced instrumentation could probably pass if the arrangement and mixing was good enough. So please... get this on OCR. It's too smile-inducing to just leave like this.

No source link. Yep, I think it's to much 007 in this. Then again, just changing the notes' pitch might be enough, move them around. The 1:10 bit is way too 007 tho, so you'd have to rework that part. The instrumentation isn't the problem tho, nor is the style. Like Spakku said, you've inserted chunks of the 007 theme, and that won't work for OCR. In case Spakku's comments make it seem that way, let me clarify it: changing the overall style to 007-esque is not the problem. It's the actual 007 melodies that are. Rewrite those to be based on the BC source instead, or get rid of them. That's if you're gonna try to get this on OCR. Technically, it sounds pretty good. Sounds a bit old, tho, but that might actually be a good thing with something like this.

Interesting, and sounds well mixed. I'm not too fond of the drums, tho, hihats sound a bit heavy on their mids, not high enough, and the kick doesn't quite fit into the electronic soundscape you've otherwise got. It's also very repetitive, slowly opening/closing filters or other automation could mask that. I'm not familiar with source, but if GeckoYamori says you need more arrangement to get it on OCR, I'll just echo that. Still, cool stuff.

Yep, snare panning gets pretty annoying. Those semi-note steps towards the end break the key sig, and sound clashing, you should transition to them more smoothly. Other than that, I've got little to say. The backing is pretty spooky, you could drop out the drums and play more with those. Great stuff.

Welcome to ocr. Detuning instruments is a great way to give a track a creepy feel, but this is a little too far to be enjoyable. You could draw some inspiration from how this song was treated in Twilight Princess. Basically, my advice to you would be to work on making something less creepy and more musically challenging, just to get your music writing and mixing skills up. Your writing and mixing aren't as bad as this track make 'em sound. This track sounds a bit like an experiment, so make a more serious attempt. If it turns out great, fine, but even if it doesn't, it's a good way to get better.

I can only help you with #2. If it has an uninstall app, you should see it when you install the app. I don't recall running into one, tho. Mac apps contain a lot of the data inside the app (rightclick/controlclick it and pick "view package contents" to see whats inside). Any related data in the library could also be removed, but I doubt you'd need to. I don't recall ever having had to use an uninstaller (only had mac, had it since system 7), just throwing the app and related items in the trash has worked fine.

Looks like there needs to be an easily accessed FAQ on remixing, software, standards, mixing, etc.. Metal-Ridley, here's some resources, in case you haven't found them already:

It's not. Compression has to do with little drops in the volume to cover really loud peaks. Muddy is when the frequencies or tracks in the mix aren't balanced. If you have a bass and a pad that's too loud you can't hear the stuff in the higher frequency ranges. Or, if you had a shrill lead and dropped the high frequencies on the master. Muddy is when there's too much mids/lows and not enough high; it's when the mix isn't clear. In well mixed music you can hear pretty much any element in it even tho there can be a lot going on. This is done by giving every element it's own area in the frequency range. As an example, bass can cover the low range except for where the kick is, pad can cover the low-mid range but have it's low range dropped so it doesn't step on the bass, lead gets the 500-2000Hz range with the lower parts dropped a bit, the background melody gets the 500-1000Hz range, snare is given a narrow space at around 200Hz but is also loud enough to punch through everything, crash gets the 2000Hz+, hihats 4000Hz+... This way, all the elements has their own place in the frequency range. (note: it's an example where I'm just going by memory, the actual numbers might be completely useless in your mix) Then there's also panning, reverb and delay, and of course, the arrangement, which can give you room for more tracks. Guitars, for example, sound pretty good when there's two of them, hardpanned opposite each other. If you're going for a "live" sounding mix, you should pan the instruments as they'd be in a live setting, etc.. The easiest way to deal with mud is still to decide where each track belongs in the frequency range, EQ it accordingly, and then slap a multiband compressor and/or EQ on the master and take care of the frequency balance there.