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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. This mix was done SO LONG AGO. But it still holds up! I hear the love and creativity that went into it, and how well Timaeus and I worked together on it. We had a blast making it!
  2. You guys, am I just missing something here? I totally get not thinking the mixing is sufficient, but I am really not getting the rejection on grounds of it being a cover. I'm not sure why I'm the only one who feels this way and I'm legit confused. Perhaps @Liontamer could shed some light on this? Larry if you think this is truly a cover, I will relent. Thanks!
  3. Holy cow this is lovely and what a HUGE soundscape. I love the delayed piano that plays throughout, it mirrors the source well while being unique. I would prefer that the reverb/delay would have some of the lows cut out of them though, as low reverb tends to create mud. I'm not sure what the instrument at 0:26 is, is it a brass instrument, if so it sounds quite fake. The choir patch is nice though, and the strings sound realistic. When the drums come in at 1:21, the soundscape opens up beautifully. My only complaints are that the arrangement is on the short side, and that there is a bit o
  4. This is beautiful and luscious! The mix starts out extremely conservative to source, but it transitions seamlessly into some beautiful originality while still being identifiable. I am loving the instrumentation here. I would love to get a version that is mastered just a bit louder, there is almost 6db of headroom and that's a super quiet master. I agree with Wes that we need a clean ending fadeout, so perhaps you could take care of both things at the same time. YES (conditional on clean ending fadeout and slightly louder master)
  5. What a great arrangement and I love the instrumentation! The vox sound so nifty, and then as Wes said, here comes the absolutely kickass guitar solo. The mixing works well enough (although I agree with Wes about the overly-sizzly crash), but as my fellows have mentioned something is wrong in the master, as you are hitting -9db RMS which is fine but your ceiling is -1.2db which is unnecessarily low and is causing the mix to have a brickwalled feel to it (and the waveform is an absolute sausage). Regardless, that is a nitpick in this case and does not affect the postability of this mix to OCR
  6. I know what you mean, how hard it is to make sequenced solo piano sound real! I have undertaken the same challenge and I was told that for the most part it sounded natural. On this mix, I think it sounds lovely and natural enough, until the faster bass notes start up at 1:42. They are almost tolerable until 2:02 when they just become too much. It sounds like someone is hammering away at the keys. I think it would be incredibly hard to make writing such as that sound non-sequenced. In the second half of this arrangement, the illusion of it being a real piano is unfortunately ruined. I lo
  7. I'm sorry but I can't let this get rejected purely on being a cover. First of all, the complete genre change over from chiptune to rock/metal is a major personalization to these sources. Secondly, there are LOTS of bits of writing variation here. There are TWO sources being integrated into one cohesive arrangement. As my fellow Js have pointed out, the performances and mixing are great, no issues there. I am enjoying this track! The mix is very conservative, but to call it a straight-up cover seems wrong to me. I do hear that the ending got cut off, but that would be a quick fix to fade
  8. I must agree with my fellow Js entirely. What you've got here sounds great! But it's too sparse and slow/dreamy with not enough interest or development to support a five minute arrangement. The drum groove never changes, neither do the background chords, and the bell motif is super simple. I'd love to hear this again with the drums having some variance and maybe some fills, and some countermelodic elements or arps or other elements of interest added as the arrangement moves along. This is a great start but not enough substance to stand as an OCR remix. NO (resubmit)
  9. I absolutely adore Michael's other experimental or "musique concrete" submissions, but this one, I just don't know. Maybe I'm just not getting what's being done here, but it sounds very messy to me and not in a good way. The timbres sound very vanilla and the heavy compression/distortion just makes them sound crushed and broken rather than stylistic. I'm also having trouble hearing enough source; I would need to do a timestamp to make sure there's enough. But my impression of this is that it is jarring rather than entertaining. I'll be very interested to see what other judges think.
  10. This is a fun and epic track, and well produced although it's loud/sausage-y and peaking at 0.9db. The mixing is well balanced. The master is very clean, but the peaking above 0 might mean compression artifacts on YouTube. Other than that I have no complaints, it is a very well crafted, exciting and enjoyable track. YES (not conditional, but it would be nice if the master didn't exceed 0db)
  11. This is a quiet master, but not overly so as with other submissions. What a unique, interesting and emotional take on this source! It's very creepy and mysterious, and has a Harry Potter vibe. The soundscape and writing are rich and varied, the arrangement is very dynamic and it holds my interest throughout the track. As Rexy pointed out, the articulations aren't perfect, but what is here gets the job done extremely well. I love this! YES
  12. I like this! The mix is definitely clipping, although I don't hear artifacts per se, it needs to be brought under 0db because YouTube compression will probably bring out artifacts. There is no reason it needs to be mixed this loud. The synths do sound simplistic but effective for this genre. The highs on some of the white noise sweeps goes into painful territory briefly, and there are a lot of them. The progression of the track goes on for quite awhile without anything incredibly interesting being introduced, which is ok but not optimal. The transition into breakbeat wasn't as jarring as
  13. Yep, another mix with huge headroom. Other than that, I really like the instrumentation used in this conservative mix. I particularly like the low breathy instrument paired with the mallets, flute and harpsichord, the contrast is just lovely. I find plenty of variation from the source including lots of Rebecca's signature flourishes. I think the two themes transition well. The track is simple yet effective, a relaxing and fun listen. YES
  14. Ah, the source is easier to hear on this one than on other remixes submitted by Michael (whew!). What an interesting mixed approach here. This mix has an 80s vibe too it, as well as a gorgeous Asian flair and also a chiptune feel. The synth guitar adds even another element to the feel of the track, and the humanization of the guitar is done well. I like the various percussion and white noise blasts. What an eclectic mix of sounds. Super fun! YES
  15. Michael tends to remix somewhat nebulous sources which makes it difficult when the remix is very experimental and also nebulous (and even more so when the judge isn't familiar with the source!) but his approach is one that I happen to enjoy very much and find interesting and cerebral. I do hear that source arp throughout the remix. Some of the timbres in this remix are stylistically crushed and grating, as the bell sound (music box?) that morphs leading up to 1:13, this won't be everyone's cup of tea and I can see why MindWanderer said what he did about that transition. The bell lead starti
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