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About Gario

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Profile Information

  • Location
    Vagabond in the Southern California region

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
  • Instrumental & Vocal Skills (Other)


  • Real Name
    Greg Nourse
  • Occupation
    Math teacher / Music Theorist / Construction Superviser / Electrical Engineer

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19,233 profile views
  1. Oh, come off it now; you did great with the tools you had. It really does hold up even today - the suppressed intro into the more texturally rich material is still something I find as great as I found it back in the day. Also, dat 'Bionic Electronica' part was always really cool (though it makes me question why you never liked vocal samples in MY music, lol - I read the old judgments, buster!). At worst, this track could've mixed a few of the lead fake orchestra parts a little more to the front of the mix, but this is a thirteen year old track; I don't think I could say anything you don't already know by now! Still one of my favorites on the site, so y'all should be giving it more love!
  2. Huh, Parasite Eve? Definitely not a soundtrack you hear everyday. If I recall correctly, didn't this game series share the same composer as for the Kingdom Hearts series, Yoko Shimomura? Interesting game to pick from, for sure.
  3. Man, I hate this arrangement, lol. I love the fact that it's on OCR - there needs to be more music on here that challenges my tastes.
  4. As Rexy said, the vocals are kickin', as usual, with some slick lyrics and well timed samples to compliment them. The production is clean, as well, and with the sampling in the background it's not hard to find how this connects to the source. However, that leads to a bit of a problem: the primary way that we can identify that this is a SoR2 ReMix is the sampling, which is a bit of a no-no on OCR. I think it's safe to call this a violation of this rule: It's a particularly fabulous case of this broken rule (with excellent rapping and a few instruments sampled on top, for flair), but I think it still falls well within this rule violation. When it comes to sampling, it's not strictly forbidden, but if one can't make the source connection significantly enough without the literal source sampling to fall back on, then it hardly becomes one's own arrangement of a track and instead one's accompaniment to the original source. I like this - plenty to love with the rapping and production quality - but I don't think this is something that OCR can post. Great work, and look forward to more coming from you, as usual, even if this particular track won't likely be posted. NO
  5. Oh, it's great to see this one on the boards again; I really enjoyed the atmosphere that this one brought with it, even in it's first iteration, so let's see what how this develops from that foundation. I'm hearing a few pads being brought in to break up the soundscape, from time to time, which is good (especially when they alone support the source at 3:28 - excellent drop of instruments there, by the way). The repeat from prior now really feels like it has a reason to be in this track, so my initial concern of repetition is definitely covered. I was on board before, but I agree that an overall stronger piece has come back to us in the end, which is great. Awesome work! YES
  6. Alright, everyone, this is NOT a drill - this album is OFFICIALLY in the Review stage! It's actually happening. I am not joking. Get excite.
  7. Oh, a Yakuza remix - I'm glad that we're finally getting some on here. I only got into the series recently (and by "get into it" I mean watch my fiance enjoy the heck out of it, lol). Some choice tunes on there, to boot, so let's see what we've got here. Following from what others have said, the strength of this track is definitely the production values, with it's variety of effects, gating, clean samples, etc., that really comes to life when it all comes together. I personally have no issue with the loud mixing - if you're able to pump the levels that high without sacrificing quality then I say go for it. The arrangement isn't spectacular, but it does some legwork to keep things interesting throughout a good chunk of the arrangement (often utilizing subtractive arranging to keep things moving while feeling distinct enough to not get boring). There's some copy-pasta of 0:07-1:00 at 1:06 - 1:59, which now that I've timestamped it I can easily see Chimp's point on that. A third of the piece being a direct repeat of what happened prior can drag a piece down considerably. It's a close call, and I was leaning closer to passing it before, but I don't think I can justify a third of the track being a repeat of prior material now that I see it. Either give us a reason to listen to the repeated material (with flourishes or by playing with expectations), or remove the padding & add something more substantial to the piece. It's a great track otherwise so I do hope you revisit this! NO
  8. It's slightly held up at a choke point - namely me. I had the tracks spread across two computers, so it was giving me grief. That should be resolved now, so the review should be happening quite soon. Your track passed the panel, by the way, so there will be no problem with it passing the album review. Nice work on that one, by the way - it was a great little track!
  9. Latest and greatest folks. Enjoy. Remixer: Garpocalypse Title: Eclipse of the Fourth Empire Source: Star Gladiator II Fade to Silence
  10. I generally don't use their old links for the submissions (always upload onto the OCR server, just in case something like this happens), so it wouldn't have affected the link I had on here. It sounds like this is a new version, so my vote will reflect the changes between the two. Thanks for the heads up.
  11. Mmm, lovin' the eclectic 80's sound you got going here, with a healthy blend of rock guitar and classic synths throughout (with heavier emphasis on them synths). I'm definitely a sucker for this style, especially with that rich, thick bass tying everything together. The car leaving in the beginning of a song about "parting" is a nice touch, too. I mentioned this on an early listen through on this track (though I wasn't specific; my last few weeks have been punishing at work and leaving me drained during the weekends, I do apologize), but one or two leads to punch through too much at certain points in the track. Specifically, at 0:37 - 0:38, 0:48 - 0:49 (as well as similar phrases) the lead sounds considerably loud in comparison to anything preceding and proceeding it, which makes it sound oddly out of place. It's not a frequent occurrence, but when it's there in an otherwise excellent track it's certainly distracting. Minor lead mixing issue aside (which again, my apologies for not getting back on that), I think this is a solid track for the album. Thank you so much for your participation on it! YES
  12. I'm not sure what y'all are going on about on the repetition; it uses the same themes throughout, but the textures and orchestration gives it quite a bit of variety. For a five minute track it does quite a bit; at worst it feels like it drags past the 4 minute mark a bit by about 30 seconds, but that's not enough to earn a NO from me. It's quiet, but it does use the space when it needs to feel big; I'd chalk that up more to stylistic choice than actually being a mistake. Compressing a track like this by about 2-3dBs would go a long way in making it sound more full without hurting the quality much, though, so keep that in mind. I'll echo the issue with the choir samples sounding unnatural in this context, though, especially when they're mixed so close to the front of the mix. They don't sound terrible, per se, and when they're backing the rest of the track they blend well enough (like at 3:31 - 3:46), but when they're front and center they have an uncanny valley effect when compared to the other instruments. It could be that the other instrument just sound that much better, but it's an issue all the same. Honestly, the track overall is greater than the sum of it's parts. While I can see issues with the mixing of the choral samples and the unused headroom, these don't detract from the overall experience for this track. It honestly sounds like something from an Aladin movie soundtrack, and it sounds solid for what it is. YES
  13. Yuuuup; gonna get moving on getting this into evaluation this weekend, so stay tuned, y'all!
  14. It's funny; this arrangement really makes it sound like it's the soundtrack of a mill out in the middle of America - same tunage as the original that had more of a "mechanical malice" feel to it, but now it's more "Workin' eight 'til five, got some work to do in the mill". Really, it's just a cool transformation of the source. If we're looking for issues, I'd have to say the mixing is a little odd at times (like the banjo lead at 0:52 being too quiet), but overall the mixing isn't distractingly bad. With as much unconventional sampling and instruments used throughout it's actually a surprise you managed to make something cohesive at all, let alone sound this good. I'm all for this, and the fact that the title involves OSHA just makes this so much better in my books. I'm all for putting this up - great work! YES
  15. If you weren't confident that this track would pass out arrangement muster, I think you had nothing to worry about; this does a nice job suspending harmonies and creating cool counter melodies and variations that really make it your own. It also does an excellent job keeping things fresh with the soundscape so it doesn't sound sound too monotonous, even with all of the relatively basic waveforms used throughout. That's not even to mention all the bends and effects used to really get the most out of your instruments - it's all quite good. There's one issue that impacts this arrangement, and it's not insignificant - the entire track sounds overcompressed. Lots of instruments sound like they're diving in and out of the mix (like backing rectangle wave at 1:56 getting drown out at 2:10 by that bass); it's really difficult to tell whether that was intentional or just a poor mixing job covered by the compressor. The issue is relatively subtle throughout the arrangement, but it's almost always there in some form or another. I'm on the fence on this - I could go either way. On the one hand it's a cool arrangement with a lot of energy, but on the other hand, dat overcompression, but on the other OTHER hand it's a Journey to Silius remix... I'll defer to the other judges for a little bit on this.