analoq

musicians of this calibre that contribute to the vg remixing scene are few and far inbetween. ah, the buildup at ~3.37 is superb. always a pleasure, Neskvartetten. cheers.

hehe. catchy synth bass, what's not to like? (: cheers.

hmm, quadraped, that doesn't sound fun. and neither does this mix, really. it develops at a very slow pace and is unfortunately repetitive. it needs some escalation at a pace that can be felt, i should be flowing with the music, not sitting here waiting for the next part to come in. the abrupt ending doesn't help! no

hmm. gigasamples. string attacks are a bit slow, it gives the lethargic feeling of trying to use a pad as a lead. mastering could be better, this is really quiet. new chord progression and modulations are quite creative though. reminds me of my first ocr mix but without the repulsive samples. the ending feels a little too soon, i bet she could've elaborated on it. oh well. yeah sure, let's get a title out of her. yes

pretty monotonous for a piano mix. i like the section around 1:12. maybe in the past this could pass for a mediocre piano mix on ocr, but these days we really expect a performance. something less woody. dynamics, sustains, more variation in the playing style (not just a lot of 8th notes). break up the monotony. no

hmm, it's been a long time since i've used an M1.. i can't recall that rain sound. anyways, i checked out the original, lasersquad1.mod, you can get it off Mirsoft's game music site. i was gonna complain about that annoying 'ba' sample but it's apparently from the original and it's even more annoying there! jouni is right about the intro, it's long but not too long. the eq'ing here is overly bright, the mix sounds shrill. the interpretation here isn't very exotic, he's changed the instrumentation around and has added new stuff.. but a lot of new stuff. that juno bass sounds very good. i was never a fan of the junos sound but jouni apparently got it to work well. it's a little longer than it should be, but i'd say it's passable. yes

this remix has a really nice mood to it. reminds me of telepopmusik .. probably because of the sine-y melodic components. the guy's voice is kinda geeky, but a passable performance. the vocoding is a little rough at times, it needs some (more) compression/eq attention. not too distracting though. sadly i don't know the original game at all or have any of the music. hopefully someone can chime in on the interpetation. in the meantime i give this a tentative, yes

WOW! many thanks, john. what a wonderful suprise to get priase from one of the men behind one of my favorite game series! cheers!

hey, anyone remember how i used to post reviews of my own submissions that included all the details of how i made it? well i thought i'd do that again, i know at least a few people took interest in the many details that went into constructing my 'sound', so here goes: (i'm leaving out the bread 'n butter stuff like compression/eq/reverb unless it's specific) exposition 0.00 the writeup already explains the 'what' and 'why' so here's the 'how': for the background, i made an inharmonic ring modulation sound and distorted it. i ran this distorted signal through a filter with the cutoff being automated by a saw lfo. i manually changed the speed of the lfo as i recorded it then finished it off with some spring-style reverb. as for my voice, i sent it overdriven through my Sherman Filterbank2 in bandpass mode, manually automating the cutoff and later added a slap delay. the idea for this exposition came from “69 Police” from the Ocean's 11 OST. intro ~0.20 fading in is a typical rhodes ep softsynth with phaser, tremolo and reverb. this brings in the main progression of the whole piece, which is B F#m7 Emaj9 Gmaj9 Fm11. the bass is a simple triangle wave through a hipass filter but with a stereo slap-delay & no feedback; it attacks on one side before it does on the other. first chorus ~0.40 when the chorus comes in, the triangle bass is doubled with an electric bass sample that i removed most of the overtones from. The net effect is, the bass is electric on the low end, and a triangle on the high end. i like. the lead sound was made using FM, portamento, and.. i can't remember the rest. whatever. as for the percussion, i combined (paid for) 808 hat/shaker/clap samples with some of my own kick and snare patches and further combined my snare patches with acoustic hiphop kit snare samples. together this creates a unique backbeat. There is an automated chorus and pan on the 808 sounds that changes throughout the rest of the track. bridge ~1.11 i add a slap delay on percussion elements (maybe not the best choice) that fades out by the end of this section. tremolo'd acoustic piano (free) samples play a variation on the pyramids' theme from CK4. the piano sound here is the one i'm least pleased with, i tried a different piano sound, an organ sound, clavs, but nothing fit perfectly. on the repeat, it's the same, but with me improvising. i only quantized certain parts of this solo. i like how i used the maj 7th at the end of the phrase. second chorus ~2.12 i keep the 808 hatwerk but replace the kick and snare with ones i sampled from a (paid for) drumloop. i (lightly) distorted and lopass'd this track and automated the filter envelope cutoff & resonance. The pad that fades in is a patch i designed on my virus. It uses a few sawtooth waves and a sub-oscillator through a 12db/oct lopass, the cutoff of which is both modulated by a saw lfo sync'd to 8th notes and manually by me throughout the phrase. on the repeat, you've got me playing guitar. i bandpass'd the signal through my sherman (manual automation) and overdrove the signal on my mixer for analogue distortion. the result at that stage was too abrasive, so i eq'd out some of the highs and ran it through a thick phaser. and then there's the synthetic string glissando sound, which is fast pulsewidth modulation, fast to the point where it just starts generating side-bands and sounds out of tune. this sound is stacked and layered an octave apart about 6 times for real phatness. heavy reverb did the trick. cool sound. ”euro” section ~3.13 i describe this section as a cross between Kraftwerk's “Autobahn” and Styx's “Mr. Roboto” leading in is a ringmodulation + FM sound that is manually automated. and fading in as it fades out is a detuned saw arp through my sherman's filter envelope. then the “goodbye, galaxy” coming in, note by note until it makes full chords. i used the mda talkbox for the vocoding and some virus sawtooths as the carrier signal. I had to compress this track really hard to get it to fit right.. i also eq'd it to take out some of the “ringyness” but some of it is still there. i come in with more of my percussion patches here (different ones than earlier). i like whitenoisy snare sounds. the bass and the styx-like leads were all detuned saws at varying degrees and through the sherman. I used the sherman a lot on this section because i wanted an authentic (hybrid) analogue sound. finally, the logic bitcrusher sends this whole section into its 8-bit demise. piano solo ~4.14 this is the same piano sample from earlier, but with different compression/eq/reverb settings. i didn't quantize the recording or even play against a click track. it's all me! though i didn't get it right until the 3rd take... i wanted this part to sound gershwin-ish, like the end of 'rhapsody in blue'. you can hear the similarity. a tremolo creeps in as the phrase ends. as for the title, Compyfox assisted me with that. it translates roughly to “See ya, galaxy.” cheers. edit: many typos!

aarrrgghhhh!

ugh, that took 45 minutes to download. get a better server. synth bass is ok. lots of monotony here, lacks tension, escalation and anything of interest. too much reverb. no

hmm, maybe once you're an established remixer we can assume there's some deep pattern to the chaos and everything was planned out using tone rows or some expressionist nonsense. until then, this is just too weird. sorta cool at points, though. no

i mixed this tune for a 90 minute compo before... and yeah this is a lot like the original. what bothers me more is the production values displayed here, everything is lofi and weak. if you want to feature a song with a sawtooth waveform, listen to basement jaxx. it might give you some ideas. no

this sounds like something i would've composed when i was 16, only with much better percussion. i haven't reviewed the original but if both gray & prot say it's lacking in the arrangement department, then it's lacking. no

well, it's kind of moody in its own ambient sort of way. pleasing... but not really of the quality we've come to expect from our prospective remixers. no

this would've been cool if it had some crazy synthesizer sounds and percussion. it feels somehow restrained and thin. i think the awkward EQ has to do with the 'thin' sound. there seems to be a lot of midrange and that's it. overall it doesn't offer much to the listener, regardless of whether they're sitting at home on their PC or popping pills at a rave. no

hmm, this is a pretty straight transcription of the Guile theme until the 1:15 mark.. then we get a long middle section of soloing. it's not until around 3:00 we get any real variation of the original's melody. i too am borderline on it. i want to give it a no, but the soloing is kinda okayish sorta maybe. i don't know how anyone has enough time to spend 50 hours on a ReMix. he's probably just slow. yes (very very borderline)

mechanical sequencing, fake sounds and one has to increase the volume to levels that would cause ear damage if listening to a commercially mastered tune. the idea/arrangement itself isn't terrible, but the execution is way below ocr standards. better luck next time? no

unfortunately, this mix deserves to be on ocr about as much as my brittney spears remix does. i say we either stick to the rules we have or change the rules. lets not make exceptions to our rules. no

vig wanted me to chime in on this, so here's my complaints: this is oversimplified. even the chemical brothers wouldn't abuse the style of big beat with so little going on and lack of forward momentum. the section at around 2:10 in particular, we just have the beat and a K-station lead. that section is embarrassingly sparse. also the bass sound is WEAK. big beat should have a PHAT bass. maybe it's just because i've been sick for the last few days, but these things don't bother me enough to give this mix a no. and i don't like it enough to give it a yes, so... uh, i'm gonna just lock this thread and consider the mix passed?

*sonic* ... *lightspeed* ! heh, mae's vocals are kinda cheesy, but forgivable in the context. what i like about this is that there has been an acceptable amount of variation on the original theme, making it a passable trance mix. not as tight as it could be but it's got just enough of the good stuff to make it over the bar in my mind. yes

one, two, three, hit it! turn it up! nice inclusion of overused vocal hits, takes me back to 1995 when i would load those same exact vox into scream tracker 3 and play them on the keyboard to amuse myself. and while the remixer in question seemed to be amusing himself with this, i'm not convinced it works as a whole. it seems half-noobish and half-cool. i like the chaoticness of the drums and sfx, but the melodic components are really weak. no

nice bass patch. oww, that's a kick that makes my ears sad. most of this makes my ears sad actually.. it's so lackluster and dull. the ending is impressively unsatisfying. i could say more but i don't think it would be worth it. no

i like the drum programming here. most of the submissions we get that use an 808 kit reek of noobness. however when you process and sequence those hits to be tight and bright, it's the kind of electroclash thing i love. also add in use of reverse kicks and differents hits during the chorus. nice touch. however after listening to the originals, i'm in agreement with gray & coma. there's not as much rearranging as one would hope... no significant interpetation here. no

kinda cool. would be a great addition to ocr if it was submitted a couple years ago. we're really trying to get away from 'original game sounds' + drumwerk. no