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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. In the intro, the piano sounds very rigid and some of the chords don't feel right. Whoa, those horns. They are definitely too loud, and the samples are weak. In the section starting at 1:07, the track peaks at 2db, which is way too loud. It sounds very overcompressed overall. It seems like no final limiter was put on this track. I appreciate the arrangement ideas, but the samples aren't strong enough nor are they sequenced well enough to pull it off. This needs quite a bit more work. I agree with prophetik that hitting up the workshop could be beneficial to getting this track up to OCR standards. Cool ideas, keep working on it! NO
  2. I agree the overall level is too low, with the track hovering around -4 to -3db peak much of the time, with a max RMS of -16 which is super quiet. The track isn't blowing me away creatively, but I agree the performances are nice. The bass writing is very simple and repetitive and doesn't add any excitement to the track. The drums are bringing it down a lot for me, with a super simple pattern and underwhelming production. It's a sweet little tune but needs a bit more oomph. I think an upgrade in the drum writing and production would do it for me (along with a slight bump in the master level). NO (please resubmit)
  3. "I felt this needed a little more substance, but it was close and the creativity of the take here shouldn't be sold short." This, for me too. This mix is super creative and fun to listen to even though it's fairly droning. The source tune has so little to work with that a remix of it will require some extra melodic elements to make it work. I think the bass is mixed well enough, but melodically it isn't enough to carry an arrangement this long. The metals that you have playing the lead bell sound from the source aren't melodic at all, just rhythmic. What about adding some kind of leadwork over parts of the track, not necessarily replicating that bell lead from the source, but what about some unique synth soloing? I think that would be awesome and would really personalize this arrangement too. TL;DR Just needs MOAR. NO (please resubmit)
  4. I love that I hear Zelda's lullaby on the clarinet as a countermelody. The piece is repetitive as it would have to be using an 18 second source, but I feel like there is enough variation in how that source is played and by different instruments, and the mix is so light and cute that I'm not finding the repetition to be a problem. I think this is adorable and well produced. YES
  5. I really like this. I find the lead sounds just a tad on the vanilla side, but the writing and little variations are great. The leads are mixed a little low in volume. I agree with MW that the master is overcompressed, bring it down so it's not distorting and gritty. There is obvious distortion when the sweeps and booms hit as MW pointed out. I agree with ending the arrangement at 5:15. I appreciate that this is a DJ mix but for OCR we don't need all that outro and certainly not the silence afterward. Simple fixes, please send it right back! NO (please resubmit)
  6. Very interesting arrangement ideas here, but I have to agree with the other J's that the production sounds unpolished. The sequencing of the guitar and piano both sound extremely rigid and unnatural. The filter-automated synth is cool but seems randomly used rather than purposefully, and outstays its welcome. The drum loop is very repetitive and is mixed too quietly. I happen to think there are plenty of creative ideas here but they aren't executed well enough yet to get this mix over our bar. NO
  7. This is the coolest thing I've heard in awhile. The bits of source, melodic and rhythmic, are used so well here. I'm not having any issues with frequencies like Rexy is. There are a lot of grating frequencies in here and none of them are bothering me at all in context. YES
  8. This arrangement is absolutely lovely, but that male choir unfortunately blows it completely for me. The patterns the choir is playing are so unnatural and repetitive, and this choir is present throughout the majority of the track. I wonder how it would sound with strings instead of the choir. I can't quite get past the choir to enjoy the rest of the arrangement which is Rebecca's typical level of awesome. Also, the master is very much too quiet. Could we try this with something replacing the choir, and with the master brought up a few db? NO (please resubmit)
  9. Sweet and simple, yes. Slow and ethereal. I love the little reverses, they add just the right hint of mystery to the soundscape. The two themes are seamlessly integrated into one arrangement. I love the little nod to the main Zelda theme at the very end. YES
  10. I agree with what the other two judges have said, the performances here are very good, but nothing mindblowing. The track is mixed well, and sounds good. The problem is that this is basically a cover of the theme. One could argue that changing the genre is enough personalization, but our standards require a bit more arrangement work than just reproducing the source tune in another genre. Adding some sort of wicked solo somewhere in the arrangement would make it work, and would really make this exciting too! I hope to hear this again! NO (please resubmit)
  11. This is a fantastic arrangement, with all the elements well sequenced. I agree that this submission is louder than your usual submissions, but too loud, bordering on overcompression. A lot of the dynamic range has been lost as a result. I think if you can find a balance between this and your too-quiet submissions, you'll be at your mastering goal. I don't think the loud master is enough to warrant a resub in this case, although it's a close call. Cool track. The buzzy ending is a nice touch. YES
  12. LOUD. TOO LOUD. When the bass comes in at 0:52 it feels oppressively loud. The piano, flute and koto sequencing are very mechanical. There are purposeful buzzing and clipping elements in the track, so it's unclear how much of the buzzing is in the master and how much is in the production, and each of these elements is buzzy in its own way, leading to to a wall of buzz. The track is left with an overall crunchy feeling that feels uncomfortable overall. I believe there is master overcompression happening as well, as I hear distortion especially beginning at 1:52. The ending feels sudden and disconnected from the main track so it sounds tacked on. I like this arrangement but there is more production work to be done before we can post it. NO (resubmit)
  13. I think this is mixed much better than before and everything feels well balanced. I love the sidechaining, it is appropriate and gives the track wonderful groove. The master still sounds a bit hot and gritty but not grievously so. On listening to this version though, I'm struck by how much copy-pasta (or nearly so) is going on in the arrangement. There are three extremely similar playthroughs of the same material separated by well varied transition sections, but other than slight drum changeups, the three sections (buildups and verse) are nearly identical with the same lead and backing elements. I'm finding the similarity to be problematic, unfortunately. Sorry to reject this again. NO
  14. I haven't heard the first version of this so I'm voting on this one afresh. Super cool concept, gives me Stranger Things vibes. The arrangement feels very static to me though, the drum groove is quiet repetitive. I agree that the master is squashed to kingdom come. It isn't a loud mix but the dynamics are non-existent, with leads getting lost into the soundscape. I feel like there hasn't been much sidechaining done on the bass or pads so when the kick hits there is audible distortion. The combination of repetitive feel and master overcompression put this just under the bar for me. NO (resubmit)
  15. I'm not sure this qualifies as trance. I like the concept and I have no problem with the heavy reverb on the piano. I do hear the resonance in the outro but I find it more cool than problematic. My big problem with the track is the static nature of the arrangement. As Larry pointed out, after the build at 2:07 there is nothing new added and we are back into the same slow groove as in the first half, with the same spacey background synth keeping the soundscape feeling identical. The track would burst to life with a double-time section or some proper trance with an arpeggiated bassline beginning at 2:34. As it stands, even with additional elements added in the second half, it just feels enough on the repetitive side for me to request a resub. NO (resubmit please, borderline)