DarkSim
-
Posts
874 -
Joined
-
Last visited
-
Days Won
12
Content Type
Articles
Profiles
Forums
Events
Posts posted by DarkSim
-
-
Good fun as usual from the Pixel Pirates, and this time the arrangement backs up the energy levels, and saves the best chorus for last. The triplet section is a really cool addition, and there's a couple of breaks in there to let us catch our breath. No complaints on that front!
The production is where I'd disagree with Emu - particularly in the big chorus sections. I can hear a distracting crackle from a percussion element, mostly in the left ear. I can't identify what it is, as the mix is so busy at those points, but it was enough to make me take my headphones off because I thought it was something IRL and doesn't sound like it should be in the mix at all. It's possibly a compression artifact, or a cymbal that doesn't have correct reverb applied - it sounds very dry. I also think proph is right about the saw at 0:41 - it lacks presence as it feels like it's mixed for the full sound, however it also lacks highs when the full sound does come in! It'd be much better to have more mid presence in the build and then more highs in the chorus.
The overall balance feels lopsided too - heavy bass/sub presence below 100Hz, and very little above 11kHz leaves it feeling unnecessarily bloated, and I struggled to find a comfortable listening volume.
This one's almost there - I think the fixes should be pretty minor, but I'd definitely like to hear them addressed before passing this one. Hope you can make the necessary adjustments, lads!
NO (resub)
-
Oh yes, Chuck Rock! One of my all-time favourite VGM sources, 4mat is a genius for creating it, and the Amiga version was my jam back in the day (and imo vastly superior to the Genesis version - just listen to the difference! Interestingly, the arrangement and soloing is different between the versions). When I first discovered OCR in the 2000s, this was one of the first things I searched for. I'm so thrilled you've submitted a remix from the game!
Definitely hear the La Grange influence with the opening rhythm guitar. Drums and bass sound great, and the lead guitar has the right tone to it. You've got the ZZ Top sound down, although some of the timing could be tighter. The ending ritardando in particular sounds like the drums and guitar are out of sync. I think it works overall though, as a 'blues jam' vibe.
Arrangement-wise, it's very similar to the original, and that's where I'm torn on my vote. On the one hand, it's a fantastic cover of one of my favourite sources, however is it too much of a cover? I'm struggling to hear where the original material is here. I'm not sure slowing down the tempo is transformative enough. The drums are perhaps the most rearranged element on show here. Bass patterns are very similar to the point I didn't notice any difference. There are flourishes of originality at the end of the melodic phrases, however the bulk of it is presented verbatim - right down to the layered leads. On first listen I thought maybe the final solo from 1:57 was original, but it's subtractive from the source (1:13-1:24, and repeated 1:36-1:46 in source). Although subtraction is a valid arrangement technique, I feel in this case, and taking the piece as a whole, it's too much like a cover.
I'm so gutted to be saying no to this one, but I sincerely hope you decide to rework it a bit and send it back on over. All it would need would be some original soloing, possibly a creative bridge or two (couple of great examples in the source), even a different break, (or all of the above!) and I'd be more than happy to see this one on the front page.
NO (please resub!)
-
I loved Marble Madness on the Amiga as a kid. It was one of my favourite games, although the closest I got to completing it was bouncing off the goalpost on the Ultimate stage, and falling off the course with 2 seconds to spare. Gutted.
This remix is a magnificent homage to the music of the first 2 levels, beginning with tranquility, then moving into more intense territory as those black balls try and bounce you off the track, before soaring synth pads welcome you across the finish line.
It'd be right at home in one of those synthwave compilations that are all over YouTube. Indeed, the whole thing is fantastic, but my favourite part is the transition between themes beginning at 2:44 and ending at 3:03. Absolutely beautiful way to blend two sources together in a euphoric finale.
No complaints here!
YES
-
The strength of this one is definitely in the arrangement and imagination to take on such a challenging source. The instrumentation is good, although the samples and sound design is a mixed bag in terms of quality.
Chunky intro hits are interspersed with some almost cheeky-sounding malleted strings. When the rhythm guitar properly starts chugging at 0:24, it's very static and noticeable how identical each chug is. Some more variation there would go a long way. The rhodes organ sounds very clean in comparison to the narrow, distorted guitar. Strings and synths work together to add more drama, and cover up each other's shortcomings - the lead synth is very basic sounding on its own (cool solo at 2:08 though!).
The pace change at 1:44 is super cool, and the bass sounds great there. Percussion is also solid. Really nice transition out of the solo into the next chuggy section with the descending piano. The final section at 3:00 is also handled quite well, although the rhythm guitar is exposed again and sounds worse as it hits higher notes, becoming very tinny. Ending was a bit unexpected, but it works.
I think for a metal arrangement, the guitar parts are sadly lacking in their authenticity, but you've done a decent job with what you have to work with. If there was any chance you could record them live, I'm sure the results would be fantastic. That said, there are no glaring flaws that bring this down, and the arrangement is great.
YES
-
This is a tricky one! Getting Streets of Rage vibes here. I think the best part about it is the interesting rhythm, which proph described as 3+3+2, and that seems to be how it feels. The instrumentation is bold, loud, and surprisingly sparse.
The percussion too feels very restrained. I was waiting for it to let rip with some crazy drum fills and double-time tom action, hands flying everywhere in a blur of hickory, but no! I suppose I should admire your restraint there, but the energy level of the piece does seem to remain fairly static throughout, and with the sparse instrumentation, I found myself wanting more from it.
Disappointing ending. The flute just repeats and then stops at the end of the bar, without a resolving note or anything. Would have been cool to use the synth to end on a solo, or have a drum fill, or... anything at all to make it stand out as the end of the track! The arrangement, while feeling repetitive, doesn't overtly copy-paste any given section, but at the same time it doesn't feel like there's a great deal of intent with the progression; it's hard to know where you are in the track if you jump in at any given moment.
I should be clear though, I do like everything that's presented here. I just think that it could use another pass to add the extra details that would push this one over the line. Some more dynamics in terms of energy levels - certainly some more interesting percussion, particularly in the middle/final sections would be great - and a proper ending.
NO (resubmit)
-
Perfect choice of instrumentation here - I love how everything feels like it's underwater, dripping in reverb and resonance. Perhaps the only exception is the string plucks that come in at 1:25 - they sound a bit too clean for me, and could probably have done with some more effects on them to make them more droplet-like.
The track's mixing is quite interesting. On the one hand, it definitely sounds like things are underwater. On the other, the section from 3:02 has some very wide-panned bubbly synth arps that seem a little too loud and present in the mix, and are detracting from the main synths that are panned centrally, and sound very distant. When the arpeggiated bass and tambourine is introduced at 3:53, that's also very up-front in the mix, and dominates quite significantly in a way I felt was distracting. The rhythm took me by surprise too, feeling like it could use some more aggressive sidechain to help ease it into the mix. It's a shame the mixing balance is off, as you could really get lost in this one and float away if it was cleaner.
All that aside though, it's a compelling take on a fairly difficult source tune. At first, I thought your remix was a little ponderous, however having listened to the source afterwards, I can see how you've stayed true to the original, whilst also adding a ton of extra material and great sound design.
YES
-
Well this is just great. I get whiffs of Dire, Dire Docks with some of the intro, and then it moves into Yazoo territory, before 1:00 where it moves into a pulsating retrowave/vaporwave treat.
Totally understand the arrangement and production critiques from my fellow J's on this one. The compression feels too much, the lead synth doesn't have the presence and body I'd be striving for personally, and there could be some more ear candy to flesh out the soundscape in parts. That said, it does nail the retro vibe very well, and the progression is beautiful, wholesome and satisfying.
By the end of the piece, I'm totally sold. It's the kind of track that makes me want to hit repeat to experience the journey again, coming from the delicate e-piano to the triumphant chords and warm, fuzzy feeling that bass gives me. Lovely stuff!
YES
-
Sounds excellent, probably a pass on first listen, however delving deeper into the soundtrack and asking a friend who plays the game, I can't find this anywhere in-game either.
Will hold off judging in further detail until we get confirmation on whether this can be used as source material.
-
Cool source tune, I can see what inspired you to do a ReMix in this style. The quiet intro, followed by metal guitar and some synth elements fits it perfectly. It's a great concept!
The opening piano is unfortunately far too loose, and the recording has too much noise. As such, it doesn't carry enough emotion and feeling - I'm too distracted by the white noise and timing issues to get really immersed. The whistles sound good though, no problems there. The harpsichord thing in the right ear is too quiet. It's a lacklustre start for what ends up being an epic track.
This piece really gets going when the guitar comes in. They sound amazing, although there's a little bit of (unintentional) distortion and popping on the lead when it first comes in (same with the acoustic at the end as well actually - compressor issue?). The drums sound good, crash cymbals are a little quiet though. Love the addition of a synth to switch up the lead. It sounds good, but could do with more body and clarity.
The piano break exposes the timing issues again, and the contrast in quality between this and the previous section is quite stark. Some quantisation on the piano is definitely needed at a minimum. The drums also seem super weak here, compared to the previous section, but maybe it's just the timing making me notice them more.
The 'Back to the Future' bridge at 3:06 doesn't feel like a natural progression, and the strings don't feel like they belong in this part. The call and response with the synth lacks impact because of the long attack on the strings. Why not use the lead guitar, or a different synth? I'm not entirely sold on this section, but swapping out those strings is a must. The string runs at 3:32 are buried, and don't add much. They could probably be removed, but I'd suggest replacing with a soft synth pad with low attack.
3:35-4:12 is fantastic. If the rest of the track were up to this standard, I'd love it. The ending with the acoustic guitar, woodwinds, and SFX is really nice too. Feels like a natural ending at 4:12 after the guitar solo. I'd be tempted to remove the piano break in the middle, and put this acoustic section in there instead.
Overall there's a ton of great material in here. The main points that need addressing are the strings during the middle section, and the piano as a whole. Production-wise, the distortion on the guitars should be removed as well, and although overall clarity is generally good, some improvements would be welcome there too (cymbals, lead synth, harpsichord perhaps). If the noise on the piano recording can't be removed, I'd suggest a re-record on that, or use samples instead.
I look forward to hearing this one again though - that guitar is epic!
NO (resubmit)
-
Beautiful intro - the live harp sounds amazing, and the little ambient sounds picked up during recording help make it sound really organic. Live flute is nice, but sounds a little muted compared to the rest of the instrumentation. Maybe a lack of high-end reducing the clarity somewhat.
The vocal section was a surprise, and Dawnaria's voice sounds incredible. It's a shame that the opening lines are so clunky, because the vocal tone is so smooth and luscious. The lyrics are such a mouthful:
"Though this may be our final fateful night
Against endless hordes of relentless mistborn evil blight"In my view, if you're writing lyrics or poetry, especially for music, you need to pay attention to the accented syllables. Takes me back to my English classes learning about iambic pentameter, but in this example, the melody causes the vocalist to accentuate the wrong syllables so it sounds like "Though this may be our final fateful ni-ight", which sounds totally unnatural. Further, the second line is indecipherable given the amount of syllables in there (10 in the first line, 14 in the second - I had to look up the lyrics on YouTube!). When writing lyrics, if you can't get them to sound fluid, just rework them! The most important thing is the flow sounds right. With a bad flow, even if what you're trying to say is important, people won't be able to understand it anyway (just like I didn't in these opening lines).
The final section retreads ground from the first couple of minutes, and for some reason the 'woof' sounds got louder/more noticeable. I had to check back to see if they were there before the vocal section!
To summarise, it's an extremely strong start, a very good middle section with some dodgy lyrics, and then the final section was ok. Easily good enough to pass, but definitely some points to work on in future. Cheers!
YES
-
While black metal isn't my thing, I do appreciate the work here. In fact, if it weren't for the (almost comically) intense bass drumming, I'd enjoy this one a lot more.
The long intro really teases - we get some lovely acoustic guitar with melancholic pads and beautiful chords, and there's a nice bell synth in there as well to augment the melody. The hit and few notes at 2:17 briefly brought to mind "While My Guitar Gently Weeps", but then all thoughts of that slow rock jam were obliterated at 2:45 when the blasting begins!
Mixing is excellent throughout, even during those hard bass drum workouts. Ankles of steel right there. The feel of the track overall is melancholic, urgent, and desperate. It's a pretty intense listen, and at over 8 minutes long, it does require being in the mood for it. If you are, though, you're gonna love it.
YES
-
Yeah this is great from an arrangement perspective, just needs some touching up in the mixing. Rhythm guitars sound buzzy and overly distorted. I don't think it's clipping, but the distortion on them is too much for me at that volume. I like the chunkiness though, so hopefully it's just a case of toning down the distortion knob.
Snare has some good body to it, but the 1/16ths at 2:19 sound too mechanical. Try turning off the sample cutoff when the sound is retriggered, so it sounds a bit smoother. Or, preferably, choose a snare sound for the fill that sounds a bit more natural when doing a drumroll in this way. Also, rather than ramping up the velocity in a steady way, try simulating a dominant hand and varying the velocity in that way instead.
Love the instrumentation, melodies and harmonies at play here, all coming together with a huge energy and vigour. It's almost there, just needs tidying up so everything is clear in the mix.
NO (resubmit)
-
I totally love this one. It's right up my alley. Huge attention to sound design that creates an arresting, absorbing soundscape. The groove is deep and soulful to back it all up and drive the piece forwards with yet more intrigue and mystery. The rumbling bass at 2:03 was a fun addition, and I'm a big fan of incorporating rich synth basses into organic soundscapes like this.
Can we also take a moment to appreciate the transformation of the source, from a staccato, folky, jaunty number into... this. Quite a vision, pulled off with aplomb.
The live guitar sounds amazing, and the detail in the performance is great. The little slides and harmonics add so much. Unique percussion also goes a long way towards drawing the listener in, and adds replay value on subsequent listens.
Minor criticisms could be that the master feels a tad quiet to me - I've turned the volume up about 20% and it sounds a little better, but the mix balance still feels a little bit off. The filtered panflute sound in particular is very quiet when it's playing solo at 1:30. I understand it's a dynamic shift, but for me it's still too quiet there. The bass, while a great addition, could have used a bit of filtering in the mids to help it sit within the mix better.
Also (this is for Larry) the end cuts off prematurely before the last note has decayed all the way. Any chance we can get a new mixdown?
I've listened a good 5 or 6 times now, still not bored of it. Great work all round, get this on the front page!
YES
-
My vote remains the same because my reasoning was that the vocals and the music sound too much like they're competing, not working with each other. The examples I cited in my review served to back up my opinion, so unfortunately it's still a NO from me.
-
Interesting source tune, and I like how you've approached translating the time signature to work with trance.
Intro sounds great. The sound design is a bit vanilla, but the pumping bass and filtered arp with delay on it set up a good atmosphere. Rad timbale licks... check
Cool break at 1:05, very airy and the synth choice works well for it. Some light sidechaining might have been useful here, to help the listener keep time without a kick to anchor them.
Not sure what those 4 trumpet notes are doing 2:06-2:08, they sound really out of place with the whole soundscape and mix. Things get quite busy with the delay and reverb until a reset at 2:27, before we get noodle soup and then a fade out, with the track seemingly unfinished/unresolved.
It's a mix of two halves for me. The first 2 minutes or so tell a good story with a coherent structure. The last half feels like you were rushing a bit to finish it for the compo. I'd say revisit this one and put the same care into the back half as the first, with attention paid to the structure, builds, payoffs and a better ending. Not there just yet, but I would like to hear it back again.
NO (resubmit)
-
The rich harmonies and performances sound great! I hear the odd pitch-shifting artefact to tidy things up, but that's no big deal. Amazing vision to arrange something like this!
The elephant in the room, though, is the source recognisability. From our standards:
Quote3. The source material must be identifiable and dominant.
-
- While interpretation and original additions are encouraged, arrangement must not modify the source material beyond recognition.
Although the source is definitely in there somewhere, I'd argue the amount of effort taken to decipher it does indeed modify it beyond recognition. Speeding up the ReMix in my DAW I can hear snippets of the melody, but if the lyrics weren't explicitly saying 'Paper Mario', I'd have no clue what this was.
Shame to have to reject this one on those grounds, but it's a
NO
-
-
OK I've listened to this 4 or 5 times now, and I really like it. I think it's a great example of how to make a game music ReMix with some fairly basic techniques and loops and, with some decent production, make it sound cohesive and catchy.
First off, the source tune is short, but I love the way you've achieved the syncopated effect when the groove hits at 0:36 to give the track some real bounce. Good choice of drum loop, and although the percussion is largely loops with some cymbal hits and ins/outs, it reminds me of my early remixing days, and is effective. Nothing wrong with doing the basics well!
I hear the arrangement critiques, and while I agree that more could have been made of this, the syncopation, break, and key change are all arrangement decisions. On top of that, the ReMix is short and sweet, nothing feels like it's dragging on or overused, and although it left me wanting more, it's a satisfying package.
There are loads of things that I'd have done differently, but judging what's in front of me, I'd have to say that this one gets a pass.
YES
-
This one's a wild ride, for sure! I went in with fresh ears, and despite it being one of the most difficult genres to mix well, I think you've done a decent job. No complaints on the arrangement front either - I like the way you establish a chorus, then circle back to it at 6:10 for the finale. For a long piece, it's chock full of surprises. The choir halfway through was epic, and then the guttural vocals gave me a giggle (in a good way!).
Ultimately it's going to come down to production again, and although there were moments where it's very mushy (the flute arpeggio section at 1:01, and the low piano from 3:37), the majority of the track did the business for me. It's mastered too quietly, but if I turn it up 20% above my normal listening volume then it sounds OK.
Looking back at my previous vote, I don't hear any of the really egregious mixing problems in this version that I flagged last time, so although it's still not a clean mix, the key elements are audible, and the strength and creativity of the arrangement do enough to carry this over the line.
YES
-
The source is a very short loop of 2 arpeggiated chords, which has been expanded on here to create some thick textures and a heavy-hitting sound. It does enough to stay interesting throughout, with plenty of different synths and effects keeping things fresh. There's some tasteful filtering and a break in the middle, even the odd transitional chord at the end of a sequence to prevent things getting too predictable.
The only thing I'd say about this one is the source isn't really a melody per se, and in an ideal world I think writing an original melody, or even just a solo, to throw in there as a high point of the track would have been awesome. Something catchy to hang the rest of the track on. It's definitely a fun listen though, and does a lot with not much source to work with.
YES
-
Pretty heavy treatment of a delicate source here! I applaud the direction, but execution is pretty rough around the edges. I always expect big synths and loud mastering from Rockos though, and there are some moments of magic sprinkled in this one as well.
Drums sound good, although as mentioned by other J's, the patterns do get quite stale. Plenty of opportunities to get more creative with them outside of the odd fill here and there. Bass has a big sound and presence, and there are plenty of breaks to give the ears a rest before going hard again.
The first lead at 1:04 sounds quite harsh, and the chippy one around 1:41 seems too loud in the mix. Lead at 2:09 sounds really smooth and well-mixed though. Some nice effects on that one, and you've found the right balance. As much as I love the source, it's a shame we have to wait til almost 3 minutes for some original material, but when we do it's my favourite part. That backing arp from 2:52 sounds beautiful with the pads and beat. Would have been the perfect opportunity for some more experimentation with the percussion, some breakbeats/beat slicing maybe.
The transition to the key-change section was a little clunky for me. Would have liked something to smooth over the pitchbend part, particularly the stop at 3:56, but then the rising synths, chunky guitars and fast arpeggios from the source's B section sound great. The lead for the melody at the end section sounds a bit thin, but does have some nice automation on it, leading into some vibrato, for the finish.
Plenty of room to tighten up both arrangement and production here, however nothing stands out as a major issue.
YES
-
Another fascinating improvisation, Woody! Took me a couple of listens to get into it, but it really is a serene, and very well performed piece. I love the approach as well, to have the source in mind, but to use it as a base to improvise off for 8 minutes, and produce something entirely original and organic.
I especially enjoyed the 'heartbeat' style 2-note arpeggiated chords that appear from 4:31. The steady pace of them helps the piece flow, and the rhythmic changes and slowdown from 6:36 are an inspired way to wind down the piece gently and wistfully.
YES
-
Easy close-out vote from me. I love the way you play with the timing in the middle section. The dynamics of the piece are great, giving the full range of expression, and rounding off with a beautiful finish.
Also interestingly, the first part of the melody from "No Hopes" sounds very similar to the beginning of Greensleeves, an old English folk song. Thanks for bringing that source to my attention!
YES
-
I love the DKC soundtrack, although I must admit, it took me a long time to identify the source for this one without looking at the submission email. I never knew DK Island Swing had that second part! The main melody line you use from 2:32 had me thinking the source was Life in the Mines, but after seeing the source breakdown and listening to part 2 of DK Island Swing, then source usage is obvious.
I actually enjoyed the sound palette for the most part, and thought the initial soundscape was established very nicely. It all builds up well until the gated supersaw around 1:40. However, it wasn't the instrumentation that put me off, but the arrangement decision. There's a chord in there that doesn't sound right at all in the progression. It plays on beats 5 and 6 of the 8-beat loop, and sounds perhaps a semitone too sharp somewhere. Would need someone with a better ear to pin it down exactly. If it only occurred once or twice in the track as a transitional chord, I probably wouldn't mind, but the progression repeats so often that it doesn't fit with the rest of the track.
Another quirky chord appears at 3:43 (slightly before as well in the build), but I swear I've heard this somewhere before. In fact, I'm sure it's very similar, and possibly a reference to, an existing OCR track. If any of the other judges can help me out with this I'd be really grateful, as I've just spent literally half an hour going through DKC albums trying to find the track I think it sounds like, and I give up! It doesn't sound as strange as the other chord, possibly because I think I've heard this progression employed before, but it's still a little unusual.
The melody line at 2:32 sounds a little thin on its own - I'd consider switching that up for something with more body and warmth.
I agree with Larry about the transitions and bad clashes around 4:31-4:37. Those have got to be tidied up for a piece like this. You have to try and keep the listener immersed in the atmosphere you've built up. Going back into the beats at 4:55 is nice, but it only reminds me of how the track started, and I find myself wishing for a smoother ride in between.
There was a lot I enjoyed about this track. The first minute and a half really had me in the zone, but I'd like to stay there for the duration of the track, and not be pulled in and out by clashing chords and clunky transitions. Smooth those over, and we've got a winner.
NO (resubmit)
-
Listened to the source, original ReMix from 2009, and this 'semi-live' version a few times now. I think I prefer the 2009 version as the vibe fits the source a little better, but I definitely get what you were going for with this band sound.
Sure, it's a little rough around the edges and the frequency spectrum lacks balance in the ending section, but I'd have the same criticisms of classic grunge production (Siamese Dream by Smashing Pumpkins had awful production, and that's a cracking album anyway). This is more than good enough for a grunge-style remix, and definitely a significant style shift from the 2009 version.
Now if you'll excuse me, I'm gonna listen to the remastered version of Siamese Dream...
YES
OCR04596 - *YES* Horizon Zero Dawn & Horizon Forbidden West "The Edgerunner with Blazing Hair"
in Judges Decisions
Posted
You know, I just completed Horizon: Zero Dawn last week, and thoroughly enjoyed it. Despite it being so fresh in my memory though, I don't recall any of the music! Aloy's theme is very fitting though, a powerful and emotive piece, and the female vocal melody that doesn't use words helps to give it a timeless, tribal feel. Anyway, enough about the source, on to the remix...
Source melody is presented immediately, with some tranquil bells, and there's a hint of what's to come with the robotic synth filtering in, and pulsating bass. 0:20 cements the cyberpunk/dark synthwave vibe, and I gotta say, I love the synth choices and the mixing is pretty clean, but the mastering is super quiet. I had to turn my volume up considerably to match my usual listening volume. Melody is handled by a different synth, then there's a break with the B section, and a huge build to some monstrous synth work at 1:30. Like a bunch of teenagers broke into a Cauldron and drank some Thunderjaw blood.
The break at 1:56 is a welcome one, again with some cool sound design. The glitchy Tallneck effects are a nice touch, and handled just well enough so that they sound slightly uncomfortable, but not so much that the high frequencies are piercing my ear drums. There's another build and then a really nice distorted arp at 2:50 that leads into the final chorus. We finish with the same instrumentation as the intro to bookend the track, and some beautiful reverb.
Throughout the track we're treated to some gorgeous sound design, from those soft, sweet bells to that snarling arp and screeching machine SFX. The mixing doesn't muddy any of the detail here, I just wish the master was louder. I'm surprised there's so much headroom left on the track, given the quality of the mixing here. I think a conditional vote is warranted just to bump it up at least 6dB, but otherwise I've no complaints at all on this one. Fantastic stuff, and great to see Horizon games getting some love here on OCR!
CONDITIONAL on overall volume