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Everything posted by Gario

  1. Not too many people left to submit for the final deadline, which is great. Got a few stragglers, though, so @Ivan Hakštok, @Gario, @djpretzel, @Sil, we're going to need to hear back from y'all. It's wrapping up, so let's push to the last stretch!
  2. Oh, a judge rules question! Here's where we'd come down on it: At the moment, there seems to be a misunderstanding of the rules built into the question (which means we should perhaps clarify on the submission requirements page). When we look for source in an arrangement (rule of thumb: at least 50% of the arrangement should reference the source), what we're looking for is the arrangement/ReMix to be referencing the source at least 50% of the time, not for the arrangement to reference at least 50% of the source. As long as it's identifiable as the source, one could theoretically make a remix that only references 25% (or even less) of the source and it would still qualify for OCR as long as the arrangement was referencing that source for a significant period of time (again, rule of thumb is 50% of the arrangement). It would be odd leaving out so much source (and people might get upset that their favorite parts were left out!), but that's not technically a Judging requirement. Concerning your actual question, though, which source would we give credit to in this case? Very likely, in this case it would be whichever source the artist claims to have been arranging since it's not technically wrong to call the arrangement a "Link Between Worlds" arrangement, even when it's similar/identical to the Link to the Past source. In the past I've sourced Dracula X's Stage 6 track for my submission (which is itself an arrangement of the Castlevania 3 "Beginnings" track), so I have some personal experience on that front to help come up with that conclusion. Forcing people to use "official" versions of the source would, I imagine, cause the staff quite a bit of headache figuring out which source is the "actual" source, which otherwise we'll only do if the VG track is in fact an arrangment of a well known non-VG track (like, say, one of Michael Jackson's songs used in his "Moonwalker" game - can't ReMix "Smooth Criminal" just because it's in his game, folks!). Hopefully that answers your question!
  3. I went and watched it. Pretty darn solid if you ask me - go enjoy it.
  4. Track comments would be solid, the permission form so that we know we can use your music for the album will also be necessary (which I need to go through the forms we already have). Otherwise, I'll need to talk to DjP after the project finishes up to see if there's anything else that we need from the artist.
  5. Oh, I like this idea. The mashup element really does wonders with this track, and as far as I can tell no one else has really gone in this direction with the sources (which considering how well it works is a surprise). I'll add a minor note for the fade-out ending (would be better with just an actual ending), but that's a minor complaint compared to the solid idea you present here. As far as production it sounds a bit flat. It could use a touch of stereo spread and/or panning on a few instruments (not too much - just enough to give it space!) to help the track pop off the page, so to speak. The drums sound great, but their presence is underappreciated due to a notable lack of minor sidechaining in order to give it some more presence. Again, don't go overboard, but with synthwave it helps when those juicy drums pop out at the listener, which side chaining helps with considerably. These are some pretty basic suggestions, though; you should discuss this with the OCR Discord, see if people in there can give some solid advice on it, too. I think the arrangement is pretty spot-on, so I would like to see this in the inbox someday (touched up, of course!).
  6. One of the greatest necro's I've seen. This is definitely some smooth arranging. This is from 2008? Could be submit today and probably accepted (if the timestamping worked out), lol. Regardless, very nice work man.
  7. Bumpity bump response! Yeah, sorry 'bout the mod review thing not working as it should as of late; the staff that normally run it are experiencing a critical existence failure. I'll give some thoughts on it to help you out (you might've actually asked me earlier, but the message got lost in the discord shuffle - really sorry about that!). I do like the overall quality of your instruments - much better than the Silent Hill instruments, even - but I'll be straight and say this is likely too conservative for OCR. The instruments are pretty close, and the overall arrangement is similar to the source (without the texture change made in the source in the piano). I hear the subtle changes made in the arrangement (like at 0:55 - 1:12, for example), but it's likely not enough for the panel to call it sufficiently interpretive. It's great stuff in it's own right, OCR be damned, but it'd likely be rejected for being too conservative. (Note: I'm only commenting on whether it'd pass the OCR panel or not because you're marking it for mod review )
  8. lol, you're good; I count your last submission for this due date. No rush. ... TBH, I think I'm the only one in trouble on this due date, so... git on it, Gario!
  9. Y'know, I don't think anyone would complain if you did symphonic metal forever. Or is it Operatic metal? Either way, at least I wouldn't complain. Quick reminder of the few people this impacts: Semi-final deadline is today. We have three weeks to get our stuff in order, so let's push this thing through!
  10. You can't go wrong with Smooth4Lyfe. You just can't. His vocals are really a dream, when it comes to this kind of arrangement. Great stuff, highly recommended.
  11. Oh, this is a fun little arrangement. I agree - leaning into the artificial aspect of your instruments (like your flute-ish instrument) rather than trying to make them sound realistic gives the arrangement a more unique and pleasant flavor. The mixing of the guitar is too much to the front for essentially being the texture, but otherwise the production is pretty good, as well. Nice work, and I'm glad to see you makin' some music again.
  12. Mostly just needed to touch base; we haven't had the opportunity since the project revved up again. If you could send me what you got on May 31st, that'd be good enough. (y'all watch out, his tracks ARE really cool!)
  13. No worries! To be honest, it's the directors' responsibility to get into contact with y'all, as well. We just gotta give a bump and a nudge to people to keep em' on their toes. Thanks for the heads up!
  14. Well I'm looking forward to it, for sure!
  15. Gario

    Sega Genesis Mini

    Shoot, you're right - I totally forgot about that one, but that game was fun as hell. I'm personally hoping they manage to put Contra Hardcorp and Golden Axe 2 on there - those miiiiight actually tip me toward a purchase, if they go there.
  16. Gario

    Sega Genesis Mini

    Sega is pulling out all of the stops on this one - Wily Wars? Bloodlines? Gunstar Heroes? Phantasy Star IV? They are not fucking around; unlike the PS Mini, I only see good things coming of this one. I wasn't even a Genesis kid and it STILL makes me want to pick one up.
  17. Alright, I admit I've been distracted for the past few weeks working on other OCR staff projects behind the scenes, so I've neglected to properly follow up on the last WIP update. I see the next one has passed, so because this was on the head of the directors I'm pushing the last two dates back by three weeks. It won't happen again, folks, so be thankful for the breathing room. I am literally not allowed to delay this project again (it will likely simply be cancelled if it's on delay again), so please take these dates seriously even if I'm slow on updating the thread. @Moseph and @Ivan Hakštok need to get in touch with me - I would like to coordinate with you two about your tracks, since they're quite important. I also gotta bug DjP 'bout his track in a bit, but that's just project tradition. I also have to get my tracks finished, because... well, yeah.
  18. The combination of this one is really good - the acoustic guitar blends with flute and e-piano so darn well. The electric guitar sounds very muted and doesn't blend quite as well and the timing of the notes is ever so slightly delayed, but it's not an unwelcome change in texture, regardless, which overall helps prevent the track's soundscape from becoming static. Some of the flute notes hit a half step sharp (like at 1:26, and similar instances), which is distracting when you know they're there (sorry 'bout that, y'all!), but otherwise the performances are quite good. A little jank here and there doesn't drag this nearly below the bar, though; I'm all for giving this one the front page treatment. Nice work from Reuben! YES
  19. Mmm, those are some tasty synths used throughout, and honestly the vocal clips from the game are some of the best in the business. Love me some Deus Ex, and I'm glad to hear it represented on the boards.
  20. Ah, sniped by Meteo Xavier - took me a minute to figure it out myself, was gonna relay that info, lol. Thanks for giving the answer, here - sometimes questions like this one are missed.
  21. Yeah - when it comes to actual Greek modal music we don't have too many reliable ways to know how it sounded exactly (though I can definitely say it would be neigh impossible to apply to polyphonic music, as it predates it). Some musicologists have tried to interpret the symbols they used, but it's impossible to know whether this is how it actually sounded or not. The tuning of the instruments from antiquity and the Renaissance was also quite different out of necessity (particularly because of keyed instruments like the Organ and Harpsichord preventing Pythagorean tuning). Renaissance music utilized Mean-tone tuning, which restricted your ability to modulate as some keys were literally unusable garbage. We're leaving the realm of "short" explanation of modal music though, and honestly my education is getting rather dusty to delve into more detail than that, lol. The rules for counterpoint are varied, and the lack of harmonic structure rules do produce something that's different from tonal music, but honestly the rules we rely on today were codified in the Renaissance, and we've been touching around the edges for centuries after that, so to speak. Kinda why I could use that treatise on Counterpoint as a solid basis for my current knowledge of the subject.
  22. I could give a short-short answer if it helps: Do not rely on harmony, stick ONLY to contrapuntal rules and voice leading, ignore the V-I (or V#-i) cadence, and end your music with the M6-Octave/m3-Unison sequence in the soprano/bass voices into the key-defining note on your final resolution (raising the 7th if that interval doesn't exist in your mode). While there's nothing particularly wrong with the Ionian and Aeolian modes, they actually came into vogue during the Baroque; Rennaisance music traditionally stuck with the Dorian, Lydian, Mixolydian and Phrygian modes. If you want to write GOOD modal music, rely on motifs in order to achieve cohesion and not long term harmonic structure, as "harmony" doesn't make sense in traditional modal music. Tricks like Canons and Fugues are useful tools to extend your music, but not necessarily required. Obviously that leaves out a LOT of details, but that's really the basics of modal composition.
  23. I'm so glad I'm not the only one who found the use of Gangsta's Paradise so damn strange in that trailer. I mean, I think I'm still going to enjoy the Sonic movie (ESPECIALLY based on the trailer), all things being said - it looks like an absolute trainwreck, with Jim-fuckin'-Carrey going full 90's Jim-fuckin'-Carrey mode to *ahem* "carry" the whole thing in one glorious fireball, and let's all be honest, we all enjoy watching trainwrecks and fireballs from time to time. I think I might actually enjoy the Pokemon movie on it's merits as an actual movie, though, and not in the "Super Mario Bros" fashion that I expect to enjoy the Sonic movie. The Pokemon movie looks ridiculous in it's realistically stylish Pokemon, but it looks like it's putting a real effort into it's jokes and characters rather than just... well, being the joke.
  24. Beginning of the year? Man, I'm almost there in the inbox! In all seriousness I apologize that we're that behind, on that front. I'm definitely missing out, though, since this is a pretty... Cool? Chill? Whatever pun we want to use, it's pretty neat. I think it'll have a fair shake on the panel when it gets there (which will be soon, I've been working my buns off cleaning up that inbox). Looking forward to getting to this one, I've gotta say.
  25. Well, as far as Baroque musical theory is concerned, Zarlino's Treatise was what people had, back in the day. I've read through the third portion twice (it's specifically on counterpoint - it's how I learned the subject myself). Much of it is dated even during the Baroque era (such as the strict avoidance of imperfect parallels), but if you're trying to replicate a style there's no better read for it. As a funny aside, it'd also teach you how to write modal Rennaisance music, so that's an additional plus. There's likely more to Baroque music theory and styles than that, but that's a good start. The writing is old and dry, and the tome is rather large, so be prepared for a few drowsy nights of reading if you take it on.