Gario

Link Contact Information Your ReMixer name - Jer Roque Your real name - Jer Roque Your email address - jer@jeremiahroque.com Your website - http://www.jeremiahroque.com Your userid (number, not name) on our forums, found by viewing your forum profile - 31938 Submission Information Name of game(s) arranged - Undertale Name of arrangement - Once Upon a Piano Sonata No. 0 in F Major Name of individual song(s) arranged - Once Upon a Time Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I was bored one day, and decided to play “Once Upon a Time” in minor, and it eventually turned into this. I submitted this to the Pixel Mixers album “The Great Tale of the Little Ones: A Tribute to Indie Games”

Well then, being pretty unfamiliar with that source from P5 (I've only seen so much of the game so far) my intuition was incorrect - I simply assumed since so much of that source uses harmonies like that. Holdin' that arrangement in even higher regards then, kudos!

This is a great sound for you, Jorito! It reminds me a lot of what you did for the Skies of Arcadia track, with the flute, the vocals, the rock and overall epic, almost western feel to it all. It's clean, it's beefy, it's awesome. Also, is that title... Icelandic? Sheesh, really setting that mood with every aspect of this arrangement, even the title! Pretty much a slam dunk, for me! YES

I wasn't on the panel at the time of the previous decision, either, so this is a fresh listen for me. Overall, this is actually pretty good. While I hear some of the concern about the realism of the instruments in this, it didn't bother me too much as most of the piece uses synthesized elements. It would've been better had you handled the oboe's articulations so the attacks didn't swell on every note, and that slide at 2:37 isn't physically possible on the instrument(!), but the instrument is still a nice touch to the track. I'd be much more picky about it if it were an orchestral arrangement, but there's a little room for interpretation in something like this. It sounds like the poor notes have been addressed for the most part in this. I'm not hearing any sour notes, really (1:10 had some interesting chromaticism, but it's not necessarily bad). The only issue that I'm hearing in this that's holding this back is the use of that drum pattern. While percussion should carry the beat, certainly, it shouldn't be handled like the post office - through rain, hail, sleet or snow the beat shall persist. Fortunately there's a whole section in the middle that breaks it all up, which is a relief to hear when it comes in. Some more variety in the main drum part, some more fills to differentiate from the different sections, etc., would help take this to new heights. It's a very close call for me. I can see this being sent back due to the drums being pretty static and a few humanization concerns, but at the same time I think there was at least some variety in the middle to help alleviate this, and the humanization is downplayed by the fact that this isn't an orchestral track for me. If this is rejected give those drums some more variety and I think that would probably be enough, but I think it's good enough as it is. YES

So you don't see the 'Start new topic' button at the top right corner of the board? It's possible that you need to scroll the screen further to the right in order to see it, but as far as I can see the button is there. I see you've made posts in the past, so you've been able to do it before - it may be that you're not used to the new layout that's been rolled out on OCR yet. The button should be in the same place as it was when you started a new topic on here (except on the WIP boards, of course), so take another peak just in case. Otherwise, if there are any details of what is actually where the button should be that would certainly help.

Persona 5 has some great music. While I don't recall this source too accurately, I like the volume gating and pounding drums in this. The jazzy chords have a ton of flavor, to boot, though I'm sure that was straight from the source (not that it's a bad thing or anything - P5 uses some great harmonies in its soundtrack). I like it, thanks for giving us some Persona 5 love on here.

I will say, first and foremost, that this is quite an improvement from the version you had prior. The sample quality has improved quite a bit, and there is definitely some attention paid to the phrasing in this (moreso than the last version of this). The snare pops out better, and that trumpet is FAR more impressive this time around. This is on the panel right now, so I've gotten to hear a few points on it already. One point is how the dynamics are applied; at many points in the track it does sound like the overall gain is being turned up in order to produce dynamics (1:09 - 1:10 is a great example of this, but it occurs throughout the arrangement). In order to get around this issue, rather than using gain to create dynamics for the whole track (or section), utilize the volume envelop of the specific instruments that you want to swell. Many of the instruments really CAN swell in that fashion (strings, brass, woodwinds, etc.), but it's very strange sounding when all the instruments swell in exactly the same way at the same time - orchestras would never be able to so something like that as precisely as this track often does. I would argue that most of the articulations are at a decent place in this (though the choir sample at 1:36 - 2:13 still has an attack that swells into every note). The articulations aren't perfect, but I don't think they quite sink the arrangement like they did the first time around. The snare is still pretty dry in comparison to the rest of the instruments, though - a little bit of reverb would go a long way in making it sound like it's a part of the ensemble. It's not quite there yet, but it's much closer than it was. The sample issue was definitely solved (congrats on getting Kontact 11, by the way!), and the articulations and phrasing has been improved, but the use of mixing gain for dynamics at many points is very distracting. That's the big reason for rejection on my end, but if you could give the snare some reverb in order to match the wetness levels of the rest of the orchestra and fine tune some of the articulations so they don't have such a high attack envelope needlessly (the choir sample, some of the brass) that would put this in range of a solid pass for me. Thanks for revisiting it, and I hope more people will pay attention to tracks like this on the WIP boards, since it doesn't seem like it got any love on here yet.

I will say, first and foremost, that this is quite an improvement from the version you had prior. The sample quality has improved quite a bit, and there is definitely some attention paid to the phrasing in this (moreso than the last version of this). The snare pops out better, and that trumpet is FAR more impressive this time around. MindWanderer does have a point on how the dynamics are applied, though. At many points in the track it does sound like the overall gain is being turned up in order to produce dynamics (1:09 - 1:10 is a great example of this, but it occurs throughout the arrangement). In order to get around this issue, rather than using gain to create dynamics for the whole track (or section), utilize the volume envelop of the specific instruments that you want to swell. Many of the instruments really CAN swell in that fashion (strings, brass, woodwinds, etc.), but it's very strange sounding when all the instruments swell in exactly the same way at the same time - orchestras would never be able to so something like that as precisely as this track often does. I would argue that most of the articulations are at a decent place in this (though the choir sample at 1:36 - 2:13 still has an attack that swells into every note). The articulations aren't perfect, but I don't think they quite sink the arrangement. The snare is still pretty dry in comparison to the rest of the instruments, though - a little bit of reverb would go a long way in making it sound like it's a part of the ensemble. It's not quite there yet, but it's much closer than it was. The sample issue was definitely solved (congrats on getting Kontact 11, by the way!), and the articulations and phrasing has been improved, but the use of mixing gain for dynamics at many points is very distracting. That's the big reason for rejection on my end, but if you could give the snare some reverb in order to match the wetness levels of the rest of the orchestra and fine tune some of the articulations so they don't have such a high attack envelope needlessly (the choir sample, some of the brass) that would put this in range of a solid pass for me. Thanks for revisiting it, and I hope more people will pay attention on the WIP boards next time, since it seems they didn't give this any love the last time it was posted there. NO

Man, I really enjoy the direction that was take, here - making the soothing opening into an epic rock song works wonders, here. I hear the source pretty clearly, but it's definitely interpretive enough for OCR. One major factor sticks out to me as an issue, though, and unfortunately it's not negligible for me. First, the strings that are playing throughout the entire track do not sound realistic. There's quite a bit of dynamic work done on them in order to make them sound more human, but the sample itself sound stifled and hollow, like it's a set of synth strings. I hate to knock a track down because it's using something that's not as realistic as it should, but considering how realistic and well done the lions share of the mix is (guitar, drums), those strings sit in an uncanny valley that's impossible to ignore, like they're trying to be realistic, but just don't quite make it. Of course, better samples would solve this issue, but I hate telling an artist that; an alternative would be to get something that is more definitively a synth sample or pad. The issue is how realistic it sounds against the rest of the track, so if you get something that sounds more like a synth rather than an imitation set of strings there should be little issue. The track is otherwise quite good, but those strings are pervasive and distract me from the rest of the arrangement. Hopefully my suggestions help, because I would like to see this pass in one form or another sometime soon. Best of luck! NO

I've pretty much in line with MindWanderer on this one - it's decent electronica, fairly well produced, and that arp does get a bit old. I won't go as far as to say that it's a dealbreaking aspect of the arrangement, as there are attempts to change up the timbre of that arpeggio at various points in order to make it more interesting. Also, be careful with the release on some of your quicker synths (particularly the arpeggio synth), as when things are too wet it creates unnecessary mud. I enjoyed the Hopes and Dreams cameo in there, though it's strange that it wasn't labelled as part of the arrangement. No biggie, but we might need to include that in the song description if this passes. Some of the parts get stale in this, but overall there's quite a bit of life that keeps things interesting for the listener. I like it, let's post it. YES

This is a very calming arrangement. There's a lot of care that was taken in this arrangement to vary the source, but even at it's most varied it's easy to connect it to the source material. There are some odd places in the arrangement where it sounds like it's stop-and-go (namely, at 2:00 - 2:04 and 2:49-2:51), but it's not quite so extreme as to sound like a new piece is starting or anything so I can let it slide. It's still strange enough that I need to point it out, though. The performances are nice, though I agree that the strings are mechanical. It's not too noticeable for the background swells, but the lead holds a strange vibrato consistently throughout. Vibrato is designed to give life to longer sections without change, not to everything the violin plays, so it sounds strange when it's applied wholesale like that. The production is very quiet - applying a basic amplifier on Audacity on the master track gets me about 4.5 dB overall. It's a pretty significant amount of headroom just pushing the track down, so if this passes I'll need an amplified version sent this way. It's quiet, but there was care taken to keep the track interesting. I'm all for the track getting posted, as long as we have an amplified revision on it. YES (CONDITIONAL)

Archangel doing what he does best, as usual. It's calming, but it's definitely got some dark undertones (especially after reading what this is about - such a sad track!). I agree with MindWanderer on the levels - there's no need for that much headroom - but I don't think it's something I'd hold this back for. If this passes I'll ask if the levels could be raised a decibel or two, though, as that would indeed be a quick fix. The overall EQ balance on this is lacking in the upper range, which makes the piece sound a little muffled. It's not enough to sink the piece, but if you've got a lowpass on this I'd suggest lightening up on it in the future, even if it's supposed to be a melancholy piece. Other than that, I've got nothing but good things to say about the track. The orchestration is great, the humanization is right where it needs to be (the flute vibrato is alright - the pan flute does do that quick vibrato from time to time). Yeah, I like it, let's send it off to the front page. YES

Ah, I'm glad to see A Link Between Worlds getting more OCR love lately - it really does have a great standalone soundtrack. This arrangement takes a rather creepy, ambient source and arranges it in a more playful manner - it almost sounds like something Danny Elfman would write for the game with the gentle choir and glockenspiel sprinkled in there. The orchestration is great, as usual, and for the most part the instruments are humanized well. The oboe has a swelling attack on every note, which is a little distracting, but otherwise the instruments are well handled. The balance of the arrangement is just a hair messy when all the instruments are playing together, and the choir suddenly jumps out at 2:22, but otherwise the production is well done. What can I say, this is a solid arrangement otherwise. Rebecca's giving us some fantastic orchestral love on here, and I hope she keeps it up. YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): A Link Between Worlds Song Title: Arrghus’s Lair Songs Remixed: Swamp Palace

Well, this is interesting. Although this is abrasive and pretty non-tonal, so was the source, so... Yeah, I can't fault you, there! Given what you're working with, you do get some mileage with the texture changes that you have throughout, so you definitely avoid having the track getting stale. Production is quite good, though, and the arrangement, while on the conservative side does shine a different light on the source by transforming it into a chuggy metal track. I'm not sure I agree with the mixing choice on the piano part. At 1:01 and more prominently at 1:35 the theme is push pretty hard into the background, even being as spacious as the soundscape is at those points. Because it's so open it's still easy enough to hear the part so it doesn't sink the track, but it's a strange mixing choice, for sure. That steelstring in the beginning has absolutely no release, which makes it sound fake (like General MIDI fake). Okay, maybe not THAT fake, but it's a very weak instrument to open the arrangement on. Some more release on the sample would help make it sound more realistic. It's well produced, the material remains fresh throughout the arrangement, and it's definitely interesting (even if I don't find this or the source that palatable). I don't think the issues it has (minor mixing quirks, fake sounding steelstring in the beginning) holds this back from being posted; it's not for everyone, but I think it'd be an interesting front page candidate -- EDIT (06/02): Going back on this, I can sign on to the idea that the thin instruments (steelstring, piano) really do drag this down below the bar. I mentally debated that point when giving it a before, and I think I stand on the other side of the fence now on re-listening. The distorted synths and guitar sound quite good, but those other samples really drag an otherwise cool arrangement down. Fix those up, balance them better in the mix and send this back our way! NO

Download link: Contact Information Your ReMixer name: Sebastien Skaf Your real name: Sebastien Skaf Your email address: Your website: http://sebastienskaf.bandcamp.com/ Your userid: 23598 Submission Information Name of game(s) arranged: Final Fantasy V Name of arrangement: Machine Music Name of individual song(s) arranged: Musica Machina Link to the original soundtrack: Source Usage I sat on this one for a while before submitting it. It's shorter than I would have liked, but since the original track is something like a 40 second loop I didn't have a whole lot to work with. I managed to get it up to 2:45 mostly utilizing instrumental and textural changes in the arrangement. I was going for sort of a Nine Inch Nails vibe with this one, especially with the intro. The main riff is played first by the acoustic guitar, then the electric, then a synth. It builds up to a sort of nu-metal drop at 40 seconds. I used a piano with some distortion for the melody, and then again later without the distortion overtop a quiet bass groove. Thanks!

I hear the improvements made on this one (many of the humanization issues that I had have been addressed), so this is a pretty clear pass for me, too. I will nitpick a bit and say that the mixing is still not perfect (the strings are still mixed too far into the background when they carry the theme), but the arrangement is more than strong enough to carry this otherwise. Great work, and I'm glad you revisited this one until you got it just right! YES

By all means, I look forward to it.

More Shovel Knight compo, more Jorito goodness. Looks like we've got some old school synthwave going down, here, which is always fun. I'm loving that vocoded voice (especially at 2:49 - that was an amazing transition), and the sources seem well represented. The synths used are pretty slick, as well, so nice work on sound design for this one. Some of the textures really wear their welcome out after sometime, as a few of them really play through the entire track. That arp in the background utilizes the same pattern throughout the entire song (adjusting for harmony), which frankly gets exhausting to listen to after a while. As there are crowding issues later on in the track (like at 2:49) there are plenty of places where that synth could've been dropped and improved the overall track. The static issues that MindWanderer point out are problematic, as well. They are helpfully broken up by the 1:30 section and 2:49, but long stretches of the track sound like it's on autopilot due to the overall similar set of instruments utilized throughout, the similar harmonic patterns, the same pacing, etc.. Again, two or three sections bring something to really break the rut the track falls into, but great deal of the track feels static. Watch your release envelope on some of your instruments - the track gets overly saturated with those wet synths from time to time. The lead at 0:29 and the background texture could be drier than they are at the moment. The static nature of the arrangement swings my vote on the other side of MindWanderer's. I'd suggest dropping that backing texture, and utilizing the synths that you have in different manners in the more static areas of the track so that the arrangement has some more variety and life in it. It's good, but I think there's some TLC that needs to happen in the arrangement before I can pass it. Best of luck! NO

I personally loved this when I did an eval for it roughly a year ago, and to be honest my opinion on this hasn't changed: it's a great arrangement, and it's well produced. I think MindWanderer brings up a valid point on the flute sharing a similar range as the other mid-ranged instruments, though - you are NEVER going to be able to get a flute to come through at that range, so you need to orchestrate around it carefully if you want it to lead. It gets drown by the backing instruments, and there's no amount of EQ'ing that you'll be able to do to help the instrument come through at that range without the backing instruments sounding strange. That issue is inherent with the instrument you chose, so if you want to address it you'll need to make some different orchestration choices. That being said, the flute's not impossible to hear, either; it's just a poor orchestration choice for moments like 0:36 and 3:22. You could have handled it better (or let the flute run in it's natural higher range at the cost of losing that 'pan flute' effect it has in the middle range, or doubled it with another flute or piccolo), but there is so much to love about this arrangement I can easily let it slide. From the Hollywood style percussion to the overwhelmingly tribal atmosphere, this arrangement wins on so many levels I couldn't imagine giving this less than a resounding positive vote. Great work from the both of you! YES

Lots of cheeze flowing from this arrangement, just how I like my Sewer Surfin' remixes. Then again, seriously, sewer surfing, that's just nasty... Anyway! The synths in this are clean and easy to hear, which is always a great thing. The arrangement, while not taking itself too seriously does have an easy to follow structure, and it knows when to hold back to keep things interesting. It's clean, and a lot of fun, to boot. I'm not sold on the instrumentation on this quite yet, though. The synths are purposefully cheezy, but the most prominent of them sound dry and thin. The backing arpeggio is certainly wet enough, but the other synths don't fill the space very well. Due to how active the synths are it's not a crushing issue, but giving the dry thin synths a little reverb would help fill the soundscape better. Be careful with how the guitar syncs in this. The sample seems to be a click off from time to time to time (like at 0:47). It's distracting, especially since it's often doubled by a synth that's on point. The lead work at 1:38 - 1:46 throws me off, like it's noodling out of key a bit, so pay attention to that. That ending is... yeah. Don't end it on an unresolved chord like that; it makes the track sound unfinished. It's very close to a YES on my part, but all of those smaller issues add up, for me. Make sure your guitar rhythms are tightened up, give this a proper ending and be careful with the noodling to make sure it doesn't just sound strange. It's a fun piece, but I'm not sold on it yet. NO

Thanks for the input, there. I may or may not take a look at another snare, as even though I agree with you because I can't actually have the track playback with everything it'll be tough to change them completely and figure out the effect it has on the overall balance of the track. Definitely will try to fix the excessive reverb on them (and the leads), though.

Yeah, to be honest I haven't looked at this again since the update, so my intonation issues that I had prior are not nearly as big an issue. There's still one or two moments that sound strange (2:06 still sounds off, for example), but the other sour notes have been fixed well enough. The bass drum seems to come through well enough in this version, as well, so that's pretty cool. The soundscape is still a little messy, but the majority of what threw me off before has been addressed. For the sake of completeness I'll flip my vote on this one, as well - solid stuff, here. YES

Man, the synths are so damn cheezy - it's making me think of a combination of early 90's and early 00's. The production is pretty clean on the instruments, and while the bass is ever present I don't feel the EQ balance is particularly problematic. The vocoded vocals are definitely impossible to understand, though (I think I made out the word 'Fire' from time to time, so there are actually lyrics to this, I think), and they're mixed more to the middle of the arrangement rather than standing above the textural synths. It's not going to sink the arrangement, but the mixing does bring out the brighter texture as the cost of the vocoded vocals, which seems to be a strange choice. While the mixing isn't ideal, it's still easy to hear every individual element regardless, so at least it's not too cluttered. I think the rest of the arrangement comes through in a big way, though, with solid production values to boot. I think this one is good enough to share with the OCR audience. YES

Yeah, I'm definitely getting the Parasite Eve vibes from this one. The harmonies and soundscape just ooze with the same style and flair that the PE ost had, which is absolutely great. MindWanderer is definitely correct on how repetitive the arrangement gets, though - while different instruments and licks often play over the same pad and texture patterns, that pattern gets overused pretty quickly. The break at 1:36 helps, but it's not enough to recover the rest of the track which sounds like it's running on autopilot. I think this has potential to be a really cool arrangement, but it needs to break away from the static patterns that is uses for most of the track before it's there. I hope you come back to this one, though, since before this I've never even heard of this game before; it needs some representation on here! NO