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Everything posted by Chimpazilla

  1. Mixing could certainly be improved, soundscape cleared and everything made more distinct. It sounds unnecessarily flat and mushy in that regard. But the arrangement and instrumentation remind me of an epic storytelling Genesis track from their very early days. Well done. YES
  2. Chimpazilla

    OCR03850 - *YES* Half-Life 2 "Portal Storm"

    Whoa, cool. Kick could be louder, but hot damn. YES
  3. Chimpazilla

    *NO* Adventures of Lolo 'Tresillolo'

    Oh man, I love this piano playing! It's just a straight playthrough of the source though, which isn't transformative enough for OCR, but I'm loving it. I'm feeling like I'd love to add a drum groove and bassline and synths to this! I'd love to hear this again with something unique added to set it apart from the original. NO (but I'd love it if you resubmit)
  4. Chimpazilla

    OCR03851 - *YES* Sonic CD (JP) "Dream Current"

    Agreed about the bassline being mud, it's very washed out. Also, the bass writing feels too busy, or at least, it tends to clash with the drum/perc writing more than it should, rather than complimenting it. Starting at 0:30, the bass has swing and the drums don't (later on, bass and drums both have swing, which feels better). Other than that, the rest is dreamy and luscious. Rebecca, I still recommend you look into finding ways to make your soundscape more distinct, more 3D. This could be so much more lively than it is. Regardless, it is lovely. YES
  5. I don't feel much connection to this source and it's a source I know well. It's a bold source to choose to remix since the source is somewhat nebulous. The synths are super simple and need some motion/interest/modulation/sidechaining or something. Beats are simple and thin. Good start but this needs some work. I agree with Larry about hitting up our workshop. NO
  6. What an interesting combination of potentially-serious EDM and super silly brass and accordion, all well executed and ultimately giving this a cute comic flare. I like the total change of pace at 1:55 to a somewhat reggae groove. Oh, a trucker's gear shift haha! Nice bitcrushing. Oh wait, a second gear shift! And a third! Ok this is super fun, love it. I feel like shopping for bombs now. YES
  7. I think this is great now. Interesting all the way through. The track has a surprising amount of sub bass (grin). Ending feels cut off, I would prefer that last note end naturally.... but other than that this works for me. Fun track! YES
  8. Chimpazilla

    NEW ALBUM - COLOURS by PRYZM (Electro Organic Prog)

    This music is really impressive, Nabeel. Great work!!!
  9. ReMixer & real name: Eino Keskitalo e-mail: ReMixer: Tuberz McGee e-mail: ReMixer: Jorito e-mail: Names of games arranged: Mega Man X, Mega Man X4 Name of Arrangement: Rolling Names of individual songs arranged: Sigma Fortress 1 (MMX), Frost Walrus Stage 1 & Frost Walrus Stage 2 (MMX4) Sources: MMX4: Frost Walrus 1st stage MMX: Sigma Stage 1 MMX4: Frost Walrus 2nd stage Jorito's notes: "When Darkesword announced the Sigma Fortress Remix Gauntlet, me and Eino got pretty enthusiastic about it after our good team experience in a previous compo. SFRG however required a team of 3 people, and we were short one musketeer. Fortunately Eino managed to bribe/convince Tuberz McGee to join our li’l group, we came up with the name Maverick Astley, and essentially that meant all the 9 tracks we submitted had a reference to Rick Astley’s classic “Never gonna give you up”. “Rolling" is no exception in that respect, just listen closely to the lyrics. Rolling was Eino’s contribution to round 1, and since we wanted to kick off the compo big time, all 3 of us contributed. Eino did the basic arrangement, played guitar and bass, we discovered that Callum is actually a pretty good singer so we got him to do vocals as well as his usual guitar business, and I ended up with most of the keys and synth stuff, as well as adding sfx and production duties. Overall Eino did a great job with the concept and glueing the 2 source tracks together in an interesting arrangement and Callum’s vox and guitar solos really helped the track come alive. From a production standpoint this was a very interesting track, since half of it lives in Renoise and another half in Logic Pro and on their own these halves sound… well half, and mixing these parts together was an interesting technical challenge. Worth it, tho. I love working with these guys, very inspirational! We were a great team during the compo and if it’s up to me you haven’t heard the last of Maverick Astley yet. A++, recommend, would team up again." Eino's notes: "Well, I can only concur what Jorrith's saying about the teamwork here and throughout the compo. I was especially crazy to join the gauntlet in probably the busiest time of my life so far, and thankfully I was able to lean on my teammates to make it out alive..! I'm not sure I can really remember much of the process. How did I find the time to record all those guitars and basses anyway? Plus placeholder vocals, which Callum thankfully replaced. I mean, I got a nice skeleton of a full track done by myself, which I'd been happy with as a compo submission, but Jorito really put the flesh on the bones and Callum breathed life into the monster here. Post-compo we fixed a few things - there was some harmonic conflict (at least I felt so) in the writing and sometimes the mix was too busy. I re-recorded a bit to unhairify the transition from the middle prog part to the final part, plus spent a ridiculous amount time fixing the bass timing - guess it was done in a hurry or something? It was all about ironing out the little warts and kinks that happen when three people work on a somewhat complex harmony/arrangement in the space of one week. I think this is nice and polished by now and I find I can simply enjoy listening to it. Thanks to timaeus222 for directing the SFRG2015 album and mastering this track as well!" Callum's notes: "Eino and Jorito are some of the best peeps I've had the liberty of making music with. Even when it's just vocals and guitars I feel so fulfilled in their arrangements. This song is no exception. I had great fun recording close inversions of 11th chords. If there's one thing I've learned from working with these two... it's that whatever we are up against, we will never desert the fight. <3" Source breakdown: 0:00-0:02 swoosh! 0:02-0:15 bass and that little arp from FW stage 1 0:10-0:24; downwards melody from FW1 0:24-0:35 0:15-0:29 chords from 0:10-0:24 are added 0:29-0:42 (verse) bass from FW with vocal melody taking after Sigma Stage 1 melody from 0:25-0:50, adjusted to chord changes of FW. 0:42-0:56 bass from Sigma Stage 1 (simplified and adjusted to FW chord changes) 0:56-1:10 (chorus) 0:49-1:01 from Sigma Stage 1, with the descending melody from FW. 1:10-1:24 continues into the Sigma Stage 1 intro/post-chorus part (1:02-1:13) 1:24-2:19 verse and chorus repeats 2:20-3:00 proggy take on 0:27-1:08 of FW stage 2. 3:00-3:14 Sigma Stage 1 intro 0:00-0:11 3:14-> end uses the same material as the verse.
  10. There is so much to love about this remix, it's so creative! It needs a few fixes though. Dubstep drums have got to be on point. I think the drum writing is fine, but the sounds need to improve. The kick is not a proper dubstep kick, the snare isn't heavy/loud enough, and the hats are kind of lost mixed in the center. Regarding wubs and leads playing at the same time, it works fine as long as everything has its place in the soundscape. Starting at 0:47 (and again at 3:19), there is too much going on in the same frequency range (and a lot of it is in the center) and it's too hectic, it is better at 0:58 because there's less going on (and the backing sounds wider) but the panning of the wub so far left feels unbalanced. I think this will work well if you widen the wubs/backing quite a bit leaving the lead to occupy the center (as you have it now). The lead timbres do feel quite vanilla, but the writing makes up for it I think. 1:48 really exposes the drum issues I mentioned. The solo writing starting at 2:10 feels very random and doesn't follow a contour well. If this were my track, I'd consider cutting out 1:37-2:32 entirely, that part seems unnecessary and doesn't flow well. TL;DR - Change the kick to a solid dubstep sample, make the snare louder/more impactful, give the hats a little stereo image, widen your wubs/backing with no hard-left panning, and either re-write the solo lead so it makes more melodic sense or chop 1:37-2:32 out of the mix entirely, and this will be a yes from me. This is very cool and I'd love to see it on the front page. NO (please resubmit)
  11. I agree with every crit listed here, but I still think this track is good to go. Without timestamping, I feel like the source usage is dominant enough, there's no doubt about what is being remixed. I love the hybrid genre here, jazz, electro and some chippies. The mixing could surely be cleaner, and the leads could be less vanilla, but what's here gets it done. The drums and bass pattern feels a bit loopy, and the abrupt ending feels sloppy, but the overall effect is very unique and fun. Let's do this. YES
  12. Cool dance track, definitely not psytrance. The arrangement is incredibly full which is fine, but the mixing sinks it. The bass is fatiguing which may be due to the timbre used, it has a lot of mids which is making the rest of the mids feel intensely crowded. Find a way to clear up the mixing by replacing sounds or eqing or stereo widening so the mids aren't migraine-inducing. NO (resubmit)
  13. This is super cool, vocals are dynamite, but I feel like there's something off with the chords, there are some notes that aren't quite fitting in, and it makes the soundscape dissonant and washy. Anyone else hearing that? It could be due to the long pad notes bleeding into each other, but honestly I hear dissonance starting with the sparse intro, the bass notes don't quite work. Agreed let's request lyrics if it passes. I'm very interested to hear more opinions on the harmony/dissonance issue. edit 1/24/19: That harmonic dissonance still bugs me. Also, the vocals are all mixed in the center, making the track unnecessarily mono-ish. I'm not quite ready to pass this one yet. NO (resubmit please)
  14. I agree with the guys on the mixing being a tad flat. I agree with MW that the main hook is played on violin a few times more than I'd like. The breakdown is epic and the trumpet is sequenced well although the volume gets too loud at one point. The sudden chiptune section is an excellent surprise, and the chiptune elements mix in a very cool way with the orchestral soundscape when they play together. Overall a unique and creative take on this source! YES
  15. I agree with the other Js that the vocals sound like they aren't nested into the track well, they sound pasted on, perhaps they are just too loud, fx and all. Other than that, the track is very well crafted. Drum groove gets repetitive after awhile. This track is almost good to go for me, but I have to agree with Sir_NutS here, the too-quick fadeout is a dealbreaker. It would be so easy to end this on the downbeat with a nice crash or something, but the quick fadeout sounds too awkward. I hope we can get that fixed! YES (conditional on fixing ending)
  16. Really unique and creative arrangement. I agree that the mixing could be refined, some leads are a tad loud, and Larry's right about the drums not fitting the soundscape, the main snare is much too snappy and the hats are too loud, and there's an electro-shaker that doesn't fit well at all or is just mixed too loud/dry. Regardless, I'm loving the creativity here. YES
  17. Ah yes, this sounds so much better! The low end is a bit distorted, but it sounds intentional to me, based on the instrumentation used. The beats didn't change too much and I still find them a bit repetitive, but it isn't bothering me too much. I like it! YES
  18. I was ok with the resub last time, and I'm still ok with it now, I still like it! Let's post it already! YES
  19. LOUD. This track hits -5.6db RMS, and is generally a sausage waveform all the way through; it's a bit sonically exhausting just due to the strong compression. That said, the track is very well mixed especially for how loud it is, I hear no distortion. I love the track. It's long, but it never loses my interest. Well done! YES
  20. What an interesting approach! I am one who loves vocal clips in songs, as long as they are cohesive and tell a story, and they fit in nicely here. The arrangement is great. Expect some hate for the vocals, but you'll get none from me. The parts are performed wonderfully and the mixing is tight. Love it! YES
  21. Oh man this is fun, so varied, so cool, so much detailing. Nice work with the horns, very well sequenced. The tempo speed up is wicked cool. The kick does get a little tedious, I think because it may not be the best kick for this sonic palette. Regardless, I love it! YES
  22. This is incredibly creative considering the limits of the sonic palette you've chosen. As Deia said this one won't be a fan favorite, but it is one of the most unique mixes I have ever heard. And I adore bells. The mix is well crafted and mixed. Very nice! YES
  23. This is great! Starts out really conservative, but moves into some very cool mood changes. The humanization is good enough I think. I really like this, it's epic! YES
  24. I'm really torn here, the mix itself is beautiful and well put together, but I can't quite get into it because of the repetitive nature of the arrangement. I get that the source is repetitive, but that doesn't mean the remix has to be. The mix builds and things are added, but the way the writing is, it feels like a four and a half minute build to nowhere, followed by an extended outro. I feel like if the arrangement were broken up just a bit in the middle that would help, even if something like the outro were to appear halfway through and then something similar at the end like you have already. As it stands, the arrangement just doesn't keep me engaged even with all the additions made. I may be in the minority with this opinion. Good luck with the rest of the vote! NO (resubmit)
  25. The kick feels pretty heavy/punchy for this instrumentation, especially when it's exposed like at 0:51 and 3:38. The instrumentation is somewhat odd, especially the two leads, but the overall effect is completely unique. The lead in the final passage is very vanilla and dry. The breakdown is almost too bare. The arrangement is great, though, and I am enjoying it. I especially like the kettle drums. YES