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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)
    Reason
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
    Piano
  • Instrumental & Vocal Skills (Other)
    Percussion

Converted

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

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Gario's Achievements

  1. Strange, I've had trouble clicking with the source on this one every time I approached it in the panel, then after I play through the Chrono Cross remaster the source just clicks with me. Funny how that works. Anyway, I think the opening of this arrangement is an excellent example of "Less is More": it's open, airy, and personalizes the arrangement by removing elements of a source rather than adding them. It gives room for a few subtle yet tasty harmonization changes that add a lot of flavor to the track that would've gone unnoticed otherwise (I hear that bit of mixture at 0:49, very tasty). It is otherwise orchestrated well, and though the arrangement becomes more conservative as it proceeds that doesn't take away the personal touch that it was given at the outset. The sample usage is alright, but some more effort could've been put into giving it more body with consistent sounding reverb across the instruments and some less stilted samples. The vox and organ are the biggest offenders here of sounding dry compared to everything else, as well as being stiff. Most other instruments are at an acceptable level of realism, so these items really do stand out in the arrangement. You do great work, Rebecca, so we know even in 2020 you're capable of better in these departments. I agree with DjP on this, though: don't judge a remix based on past experience with an artist and evaluate it on it's own merits, and this is certainly above the bar. While conservative, it does a good job bringing out what made this track special by trimming the fat of the original, so to say, and brings the elements back together for a nice, comfortable listen. I dig it, let's post it. YES
  2. I'm not gonna lie, this sounds like MMX6 decided to have a Chronotrigger Zeal themed stage. Not something you'd think you'd need, but it's something you're glad is there for you to listen to. Good stuff.
  3. I do love me some synthwave, so I do enjoy the direction that was taken here. The source is pretty tranquil, so it's a neat idea to transform it in such an aggressive manner. The arrangement, while understandable, doesn't feel balanced. The melody is pretty hard to follow, only really becoming prominent at 1:51, which is halfway into the track. I do hear something that can function as a melody prior at 0:42, but once the other texture comes in at 0:56 it becomes hard to hear as such. Because of this the arrangement feels lopsided - half being bridging material that uses cool textures that eventually lead into things that the listener can hook onto, but by then half the song is over. The mixing in this comes in two flavors - piercing and muddy. There are moments where everything seems to be mixed in the same way which makes it hard to follow any individual element of the arrangement, such as at 0:56, and other moments where there's something that pierces through the track in a distracting manner, such as at 1:51 with that melody (great that it's distinct, but it really stands out against the rest of the arrangement). Give your mix more focus, with a clear background and foreground when there's mostly a textural blend, and when the melody comes in at 1:51 bring that mix down for that melody so that it doesn't stand out so much. I really like the break given at 2:18, and when things really come together at 2:36 it sounds pretty great. The striking chords could use perhaps less dense chords; the timbre of that instrument is harmonically rich, so it sounds almost dissonant when it strikes. Taking out a note would probably make those strikes cleaner and clearer, and would help the mixing out in that section to boot, since it does get muddy when that instrument hits. Overall I think there's a pretty cool track to listen to in this, but I don't agree that this is ready for the front page. It needs some TLC on the mixing and the melody needs to stand out better at the beginning. Cleaning up the section at 2:36 would help elevate this track quite a bit, too. It's okay, but it needs some polish before I feel it's ready for the front page. NO
  4. No joke, I downloaded it again a few weeks ago and played through it again. It's seriously one of the best free games on the internet, easily up there with the likes of Cave Story and Deltarune (Ch. 1 & 2). Don't care that it's a necro, just putting it out there that this game is still great.
  5. Oooh, I kinda love this. Fantastic expansion on the theme, and some really lovely textures that ties the whole thing together. The fade out at the end made me a little sad since I kept hearing new things in there as it was fading out, but then again if you're gonna fade out that's the right way to go about it. Short and sweet, just like the source. I dig it.
  6. Mmm, very chill, very relaxing. Lovin' the jazzy chords used throughout. Nice production, too. I like it, if this is a WIP (like it says in the tag) I hope to hear the final product.
  7. Adding my two cents to the mix, this is a gorgeous arrangement that stays in the same place sonically throughout. I love where the sound is, don't get me wrong - it's a great combination of clean and crunchy that gives a lot of flavor - but it centers around the same arp loop and drum pattern (with fills) throughout. With a whole theme that one could play with and the ability to drop out that admittedly great sounding arp periodically (as well as change up that drum pattern from time to time), there are so many more places that you can (and probably should) take this, as right now this sounds like a proof of concept. Mind you, a great proof of concept, but still otherwise incomplete for what it could be. I look forward to where you take this one, because it sounds fantastic so far.
  8. There isn't much to add that the others haven't hit: great arrangement, solid orchestration, and a awesome source, to boot. The sample quality is a hair under par, but they're not terrible, either. The piano has a different reverb setting so it doesn't sound like it's being played in the same space as the rest of the instruments so it sounds pretty jarring when it comes in. That all being said, it's a tough call on my part since what's good here is really good, but it's certainly not without it's flaws. I think it's just good enough to be posted, though. In the future, though, while your dynamics and phrasing are good do try to be on the lookout for some better sounding samples since these do hold your skill back, here; you might give something like BBC's free orchestra VST a shot, if you haven't already. Also be careful to make sure your instruments all sound like they share the same space; that piano's disjointed reverb almost tipped me into giving this a NO, but fortunately it doesn't last too long, in my opinion. Orchestral arrangements can benefit from one reverb effect applying to all the instruments at once rather than instruments individually, just to avoid this particular problem. Good remix, not perfect but I think good enough, and something that you can use to springboard into something fresh and new moving forward. Well done! YES
  9. EVAL Mmm, glad I've been following this gem - it's matured into something really cool, not gonna lie. I think the arrangement is pretty clear, though I still recommend sending timestamps with any submission e-mail; makes the judgment process much faster. Actually, that's really advice that any submission could follow: timestamps make judges happy and less likely to miss any references in the track, if they're subtle. Anyhoo, the production is quite good, and for the most part the mix is clear. The supersaw at 1:56 could come out more to the front of the mix, as it carries the most recognizable part of the source. 4:04 could use less going on there, too, since the mix get crowded for a short time there, which I'm not sure a mixdown could fix. The overall EQ balance sounds heavy in the upper range, to my ears, though I'd probably need to put it through a spectral analyzer to be sure. Could use some high pass on a few of the noisier instruments to give that space some breathing room. To be frank, though, these are nit picks; if you submit this as is I'd be very surprised if it got anything less than a YES. You've been working on this for some time, so I recommend sending it out there so you can explore new territory. Great work!
  10. Hmm, do you mind if I ask what you mean by pre-made phrases? Despite my experience in the field I've never heard of em', so perhaps I can learn something new.
  11. Well, this has been a soundtrack that I've been listening to more and more since it's come out, and it's one of the best from the chapter, to boot. Great choice on source, and the amount of meat added to the arrangement is on full display right from the outset. The production is clean, the instruments all sound great, and the drums hit you hard in the face. Stylistically it's very fitting to the source material, as well. The mixing overall is quite good, but there are moments where we lose the lead behind everything else that's in play. This is evident at 0:47, but it's even more prominent of an issue at 2:52 when there are more textures that are in play. Everything sounds great, but be sure to remember who the main hook in the show's gonna be, which is generally your lead. The arrangement is pretty conservative, but it does take some liberties with the lead and harmonies from time to time, and the shift to a heavier glitch hop style does some real lifting in making the track your own. Some of the counter melodies aren't really hitting me right, particularly at 2:36 - 2:43 and 3:07 - 3:38. The fourths held under the lead don't blend well with the harmonies below, and sound stiff when played in parallel like that. If you're gonna double in parallel always make sure it makes sense in the harmonies you're laying out, at the very least, otherwise the doublings can sound odd or even wrongly dissonant. Compared to the rest of the overall quality, though, these are relative nit picks. This is a nice, strong package given what's here, and even if it's a hair on the conservative side I believe it's got enough personality to have it stand out as your own. Nice work! YES
  12. ReMixer name: Spad3s Website: https://www.youtube.com/channel/UCI3yrh11iHUTDdFx3ePAbdw Userid: 37731 Submission: https://soundcloud.com/user-787968468/a-cybers-world-remix-by-spad3s Game arranged: Deltarune Chapter 2 Name of arrangement: A Glitch Hop's World Song arranged: A CYBER'S WORLD? FL Studio, Serum, Kontakt The moment I listened to this song in-game I immediately thought of the melodies of TheFatRat and decided to try and make a glitch hop style song using the composition of cyber's world
  13. EVAL Oh, I remember this one now - the pretty piano with the choral parts behind it to give it depth. There were a few criticisms that I had with the original, and I appreciate that there was some effort to address it. You took my reverb criticism to heart, and matched the piano's reverb to the choral parts, and it does help blend the track significantly overall. As DarkSim mentioned it's now overall too wet (the choral part was very wet in the original, too, as mentioned in that review), so the track is now oversaturated with reverb. That's a much easier thing to address than mismatched reverb, though; just decrease the reverb on everything a couple notches so it all sounds like it's in a church rather than in a cave. The piano still follow the source pretty strictly, but with the choir being better mixed into the arrangement I can better see where you were going with this. You'll likely still be called out by the judges for being too conservative since the piano still follows the source pretty directly, but something interesting did happen when listening to this version: the piano gets buried by the choir sometimes, which gave it the illusion of not being there - and the song actually benefitted from that. If you want to make no changes to your original vision, that's fine, but if you want to tweak it so it's not as conservative I suggest cutting some of the piano or it's textures from time to time and let your more original writing come through. If the judges don't have the piano plin plin plon'ing away behind or in front of them the choir for the whole song the choir can do it's job of being interpretive with the source, as far as OCR is concerned. Give your interpretive parts some room to shine! I see the improvements, and it's helped the track quite a bit. It'll probably still be rejected for being conservative and being too wet, but those aren't nearly as difficult of issues to tackle as they were in the original track. I believe it's closer than you think.
  14. Oooh, this is nice and funky - great choice of chord choices to keep the track nice and fresh. The little melodic flourishes are pretty excellent, too. Could use a little more stereo separation to give the track the illusion of space better, but it otherwise sounds pretty slick. Nice work on this.
  15. I like the soundscape of this one, those twangy instruments work pretty well for a Bramble remix. I think the harmonic variance from the source are also interesting, and the textures overall compliment the source pretty well. There's definitely a winning arrangement under the stylistic choices made for this arrangement. The choice to cut frequencies like this doesn't compliment your music, though. Technically speaking, unnecessary parts of the high or low end in a mix is decreased or cut in order to give the rest of the mix some room increase the overall volume without noticeable loss in quality. Since there can only be so much sound that comes from a sound file before it overloads the file and starts clipping the sound, it's often important to make space wherever available to maximize your sound. The important caveat is to do this "without noticeable loss in quality"; this arrangement cuts most of the bottom end of the arrangement and a considerable amount from the higher EQ range, resulting in a song that sounds like it's coming out the other end of a telephone. Cut back on the EQ high and low pass and allow these frequencies to come through, they're important to making the arrangement sound full. The mixing of the arrangement isn't terrible, but the drums are almost impossible to hear. Some of this is because of the EQ cuts, but much of this is just mix balancing. Make sure your drums aren't lost in the mix, as they could add some depth to the overall arrangement. The guitar part in this adds some nice variety to the arrangement - in fact, this mix has a few nice texture changes to give the listener some breathing room from time to time (like at 4:00, for example). The direct repetition 0f 0:20 - 2:00 at 2:20 - 4:00 does make the arrangement drag on without anything new or interesting to grab the listener's attention, though, and while the moments of relief from the static arrangement are welcome, they're too few and far between. Too much of the arrangement sound too similar to the rest of the arrangement, and the direct repetition does little to keep the arrangement interesting. Don't be afraid to cut textures to make them sound fresh when they come back into an arrangement, or introduce new ideas when you feel a repeat of the overall arrangement is warranted. Keep things fresh and interesting throughout. The instruments sound pretty good, actually, though I do need to note that the guitar sample sticks out like a sore thumb, quality-wise (is it FL Slayer, by chance?). If you don't have a good guitar sample, I would suggest replacing it with a different sample or synth. A poor instrument amid an overall good soundscape can really take a listener out of the experience. I don't think the arrangement is too conservative, but it is too static, and the repetition does no one any favors, either. The EQ cutting should be decreased significantly or removed, and the mix needs to balance the drums better. Again, I really do believe there is something cool under all of this, but right now I don't think this is a pass. Great work on an early music arrangement; it's not bad for a week of work, it just need some fixes and polish. NO
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