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About Chimpazilla

  • Rank
    Judge, Esther's Dreams Co-Director

Profile Information

  • Gender
  • Location
    Phoenix, AZ


  • Biography
    I started remixing in April 2011. I LOVE video games and game music! Anything Zelda, anything Mario. I could live in a Zelda game and be perfectly happy. ;-)
  • Real Name
    Kristina Scheps

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
  • Composition & Production Skills
    Mixing & Mastering

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  1. I like this arrangement a lot, but I think the issues are still holding it back. This is a high energy mix and starts out with every instrument blaring, which is a lost opportunity to build excitement starting from a tamer soundscape and writing. You are using many instruments that play primarily in the same frequency range, and they sound very crammed together and the mix is fatiguing as a result. You have so many elements playing at all points in the track which is also fatiguing. I recommend you take each part of your track and decide where elements should play and where they should be silent. For example you have a choir pad that never takes a break, what about dropping that out for a section or two, that will add some nice contrast and dynamic range, and the choir pad will be more interesting later on when it returns. A lower-energy (possibly drumless) breakdown would also help expand the dynamic range of the track (not necessary, just a suggestion). As for the mixing, you'll need to address EQ and stereo placement so the instruments aren't all bunched together and competing like this. There's still some more work to be done here, but I think it will be well worth the effort on this track and future tracks as well. NO (resubmit)
  2. I REALLY like this arrangement, there are some great ideas in here, great energy dynamics overall, the little triplet section at 2:59 is awesome. The production isn't getting the job done though. All the sounds are very vanilla, all drum elements and synths too, and the bass is apologetically quiet. Give this another pass at the production, improving the synths and sounds and balance, and this one will be a yes from me. NO (resubmit)
  3. This, precisely. Otherwise, this is a lovely piece! Please fix the panning and the click/pop and bring the volume up just a bit, and send it on back. NO (resubmit please)
  4. This is a fun, high-energy track. I agree with most of the criticisms already pointed out, primarily the hot, crunch, pumpy, overcompressed master, and the repetitive nature of some of the sections. The most grievous example of this is the section from 2:43-3:26 which is four times longer than it needs to be. On my second listen, my ears feel fatigued from so much crunch in the mid-highs and highs. My two requests are 1. tone down the compression and remove some crunchiness, and please trim the section from 2:43-3:26 by at least half. I like it though, please fix it and send it back so we can post it. NO (resubmit please)
  5. This song is amazing, but other than the basic two-chord progression and a few bits that mirror the source's melody (which is so sparse), generally I can't recognize the source song. Damn... great track, great production, performances and vocals. Love it. NO
  6. I love this theme so much (remixed it myself). This is a lovely, dynamic and interesting interpretation. The instruments are sequenced well enough, although everything feels just a tad dry and in some areas the track feels hot (possible overcompression or very close to it). Still, it is very nice. YES
  7. Oh gosh do I hate to say no to this, because it's clearly not a midi rip, and is performed very well. The mixing is good although I agree that it lacks some highs and some lows. It is the original verbatim though, and although one could argue that the live metal performance is in itself an interpretation, it is still too close. If you wanted to redo this for OCR, you'd need to add some substantial variation and personalization to the arrangement. But dang, nice work, love it. NO
  8. I can't imagine anyone here loves Zelda more than I do, and OoT is my all time favorite game. I do love this mix, but I don't hear enough source. I'm not one for timestamping, but if I listen to a mix and halfway through I actually forget what song is being remixed, that's a bad sign. Just not enough Kokiri here. Very fun listen though! NO
  9. This track sounds good to me, production/mixing is solid enough, but it sounds just like an upgraded midi file. The instruments sound sequenced but I'm not having as much trouble with fakeness as the other judges are (since my ears hear "upgraded midi file" so they aren't expecting realism). Unfortunately, even with embellishments added, the track is much too similar to the original song, even the style is identical. Sadly that makes it not a fit for OCR guidelines. Fun listen though! NO
  10. I love this concept, but this mix really plods. The drums are super quiet and the beat is not very interesting. Some of the bass attacks stick out of the mix too far which exposes the fact that it's sequenced. The lyrics are cool, but the vocal needs some work, either some pitch correction or processing or perhaps some retakes as Larry suggested. The track is simplistic which can be cool but the elements in a sparse track really need to work to pull it off. As Nutritious and Larry both said, this sounds more like a wip than a finished track. NO
  11. I agree with my fellow NO judges here. The concept is dynamite, and the production is tight. The track is way too repetitive though, in writing and in sounds. The beat and energy level stay the same throughout the track. The lead synth and the arp synth are both fairly vanilla, and they don't do anything interesting or ever change. There are too many sections where the lead isn't playing and nothing else interesting is coming in. Gotta give the listener some ear candy about every 8 bars to maintain interest. You could add some filter motion to things as well as change up the instrumentation during some sections. You could vary the beat somewhere or add some kind of unique bridge section. Just needs some variation. NO
  12. I will co-co-sign on this one. The structure is too repetitive with two nearly identical builds and drops. The synths are very generic sounding. Lead synths are way too loud. I appreciate the stereo widening but it is almost too much, making the leads sound very separate from the drums and bass, and the soundscape is not cohesive as a result. I love the bass, the timbre and the writing, but it sounds so small in the center, too narrow and too quiet. Bass should be mono below 200 Hz, the rest of the bass timbre can have some natural stereo spread so it gels with the track. I would also suggest giving your leads a tiny bit of sidechaining, no more than 3-6ish db of GR, to let the leads groove better with the beat, as it is now it sounds very stiff. Great concept, just needs a little more variation for the two builds and drops, and some production fixes. NO
  13. The transitions are indeed a bit sudden, but not jarring. It sounds like a cohesive piece. I agree the performances are loose but not in a bad way. The tambourine gets on my nerves because it isn't the greatest tambourine sound ever, it does cut through too much, and the sequencing is rigid. Still, I think this is an enjoyable piece, very sweet and relaxing. YES
  14. The mixing is definitely more bold here than usual, which I think is a step in the right direction. The glock is a tad on the loud side. I love the drone. Another very well done piece! YES
  15. I'm not having any issues with the mixing, it sounds great to me. The song does sound a bit repetitive, but it is very well executed and enjoyable to listen to. YES