Chimpazilla

What an awesome arrangement of this theme. I really like it, but I have to agree with Larry on the choir. Since it is so prominent in the track once it enters at 1:37, it needs to sound excellent, and it doesn't. The sound itself is weak/flat and it has no interest to it. Some sidechaining, filter movement, or even a mild trancegate effect would help, but the timbre itself is weak. I think the arrangement would open up if this choir (I mean an upgraded version of the choir) was replaced after awhile by some other kind of pad, something evolving or effected so it doesn't sound so flat, something different to add interest for the listener. I hear what Larry is saying about the beats plodding during their respective sections, but I think the constant drum loop won't sound so stale if there's something more interesting going on in the background. That choir/pad is the big offender to me. This track is very close, but that pad is bad enough that it would be a shame to post it when it can be easily fixed. NO (but please resubmit)

This mix has a few issues. It is a good start and has definite potential but it feels disjointed in a number of ways. I'm not sure the timbres fit together as well as they could. As MW pointed out, there's a problem with some of the leads, the one at 1:05 sounds like it's being played by a pad and it's way too weak. I like the fact that you changed up the lead instruments a lot, that's definitely a positive! Something happened to the melody writing at 2:08 and again at 2:20, it sounds like the writing of the two timbres playing together clashes with each other, making that little section sound awkward. The breakdown from 2:22 to 2:35 sounds choppy and awkward. At 3:00 there is a vocal or some kind of backing element that sounds very out of tune. On a repeat listen it sounds like it might be the flute from the intro, which only works by itself because of how it is written. The track also has no groove because I can't hear any sidechaining on anything, which also causes the kick to be buried when the soundscape is full. There is some fun synth writing in the track and I think there is potential here but it still needs some work. NO

As Larry pointed out, the piano sounds very fake and prominent, especially since it opens up the track and it is so exposed. Other than that, I think this track is interesting and well produced. It sounds really nice on my system. There are a lot of little details and I like the chopped vocals a lot. Unfortunately I have to side with the NOs here because after the first half my ears are ready to hear something new. Since the soundscape is so full and busy, the repetition of the same elements becomes exhausting. There is a missed opportunity to really open this track up and add some new sounds for a nice sonic thrill, but it never arrives. Even dropping some of the elements like the vocal or piano during the second half (potentially bringing them back in for the finale) would really open it up. But as it stands now, it's just too repetitive. I would love to hear this again, with the piano sample improved and with some new arrangement ideas or different sound elements in the second half . NO (resubmit)

Ok so I absolutely dig this song! But the guys are right, the lows are a problem. This could be posted and it wouldn't be awful per se but it would be a darn shame to post it with such a weak low end. The kick and that 808 bass need to slam. I did a quickie fix to the wav, I put a sharp low-cut at 25Hz (which cuts out a ton of mud, mud doesn't master nicely) and then put a whopping big amount of MB compression just on 125Hz and below, and this is how much better it sounds just from that: Cowboy with bumped lows It even sounds better balanced this way. So I would suggest bumping your lows, either in mixing or on your master, and send it right back so we can get this posted to the front page! NO (but please fix lows and send back)

My favorite kind of music is any that elicits FEELS. WOW this does that so well. I adore Michael's signature glitching. The arrangement ideas, the filtering, the flutter and wow, the amazing details are all just top notch, as is the production. My only gripe is that I want more of it. This is all kinds of awesome. YES, WOW

I really like the vibe of this remix! The production could be improved massively with one small change, better sidechaining of the big saw lead. That huge saw dominates the soundscape, as others have pointed out even the beefy kick cannot compete. A nice deep sidechaining of that timbre would fix it entirely for me. A louder and snappier snare would also be welcomed. Other than those issues, this arrangement is fun and interesting, although I wish it was longer and the end seems to just drop off. But what's here is too good not to post to the front page. YES

I like the instrumentation palette here, but I have almost 1,000 hours into BotW and I can not hear ANY Hateno in this arrangement. I'm open to being proven wrong if someone wants to do an extensive timestamp, but as it stands, I cannot even conceptualize Hateno while listening to this arrangement. (This may be one of those occasions where Larry comes in and says "I hear it, you guys are crazy!" and I'll gladly eat my words if that happens.) I have no problem with the mixing or production with what's here, but the lack of source connection is a dealbreaker. This is my opinion and not OCR canon, but I feel that if the listener has to reach that hard to recognize the source tune, or follow a detailed timestamp in order to recognize the source tune, then the remix isn't really capturing the original well enough to be an OC ReMix. NO

Oh gosh. This is one I'd love to say yes to but I don't think it's quite there. The performances are fun and energetic but the arrangement is just too conservative for too long. All the way to 1:42 when the ocarina takes over the lead, the mix is verbatim to source in writing and style (other than the addition of the kick). There is some variation of the source writing only after the breakdown, but at 2:14 it's right back to the source writing in the same soundscape. The addition of the guitars at 2:30 is nice, although as my fellow Js pointed out, the overcompression pumping is really evident there. The final segment with the chiptune instruments is sooooo cool! I'm so sad that this little bit of deviation from the source instrumentation comes so late in the arrangement and plays for such a short time. I really love that part. This mix is just too conservative for too long to pass our standards. I would love to hear it again with more chiptune or even another style introduced, or some original writing for a few bars, (or, both!) to break up the OoT Gerudo style and writing we're all used to. The mastering is the other issue, the mix ends up sounding quiet even while hitting -12db RMS (a reasonable yet loud-enough number) and peaking at 1.4db (clipping). The pumping is audible after 2:30. My best advice for a clean master of any mix is as follows: 1. Lower the input gain into your master channel by a few db (anywhere from 5-10db), this will give you a huge amount of mixing room. 2. EQ out the low end of everything that isn't kick or bass at 150Hz at the very least. 3. Apply a monomaker on your master at 100-150Hz. 4. Bring the mix up to your final volume in stages using a couple of light applications of compression before your final limiter, and set the final ceiling to -0.3db or something close. NO (but I'd love a resubmit)

There are a lot of detailed votes here already so I won't dwell on the issues. Could this be mixed cleaner, yes. Is the master bass-heavy, yes! Is the track loud, oh hell yes (but it's not clipping or overcompressed). But holy heck, this track is well crafted and well performed, the arrangement is interesting and full of excitement, the sound choices are varied and all elements works well together, and the whole package is creative as can be. I love it. Let's go. YES

Whoa, that drop! Luscious synthwave indeed. This is so creative with the sax that soars over the soundscape, the vocoded vocals (would have liked more!), and that cello... pure silk. The piano is tasteful and well done. The sound palette is constantly changing while staying cohesive each element compliments the whole. My only wish would be for more beef in the low end, which has been pointed out, but otherwise this mix is a winner. YES

Wow, that's a lot of remix crammed into a short little package! I like it, and it grows on me more with each listen. I like the stacked saw lead even though it's LOWD. From what I can tell you have your limiter set to 0db, but it is still clipping. I'm going to share my pro-tip for mixing as loud as possible without clipping. Lower the input gain into your master channel by a few db (I usually lower by 5-10db depending on what I'm writing). Then bring it back up with one or two compressors and/or limiters in your master chain. That little trick alone will allow you to master your track to sound even louder than it is but without clipping at all. Oh and set your ceiling more like -0.3db to make sure. Please reduce the master overcompression/clipping. Other than that, yeah let's do this. YES (conditional)

Well, this is an eclectic mix! I agree with Emu about the rigid piano being an issue. The intro really exposes it. The bendy ocarina works in the intro due to the reverb, but after that it is dry and sticks out. After Navi says "listen!" I expect a drop but it's still sparse piano after that, which feels like a letdown, I think her vocal should occur instead before the beat drops. This arrangement feels odd to me, at 0:43 there is a tape stop and then a blast of frenetic piano, it just doesn't flow for me. The sections with the beat feel the most natural to me, I'd enjoy this arrangement more if the beat continued and/or developed throughout most of the song other than one or two short breakdowns. The arrangement feels really choppy and awkward as it stands now. The ideas are solid but the arrangement and production need work. NO

This is a tough call for me. As familiar as I am with this source material, I'm questioning whether it meets the criteria to be considered a song. To me it's more of an ambient soundscape, almost more of a sfx than a song. As for the remix, it is mastered way too quietly which is an ongoing problem with Rebecca's arrangements. This mix is maxing at -5db which is incredibly quiet. I have no problem with the instruments, they sound clean and natural enough to me, but I don't really feel this is a "song." I can't find anything in the OCR standards about the source material or remix needing to be a proper song, and I'm open to having my mind changed, so it's just my opinion that this mix isn't quite OCR material because it feels sparse and disconnected rather than being a proper arrangement. NO

I agree with Gario entirely here. The production isn't perfect, and some elements (mids and mid-highs) do sound muddy and overly fuzzy. But everything is clear to hear, especially the leads, and the creativity in this arrangement are just awesome. Too much goodness not to see this on the front page. Let's go with this one! YES

I like the idea of a full orchestration of this lovely theme, but other than the key change this is super conservative. I do appreciate that you've expanded the sound palette and added additional writing. But my main issue is the production. The lead flute as pointed out needs time to breathe in between phrases, and the backing elements are all so loud that the flute gets almost entirely drowned out when everything swells up. I know how difficult it is to get a full orchestra sounding real, and I don't insist that it all sound perfectly real, but the backing strings need some swells automated in so they sound more natural, and they need to come down in volume. The entire mix needs a volume re-balance, and could benefit from some EQ treatment so the elements each sit in their own place in the frequency spectrum. There will still be some overlap of course but if you cut lows out of elements that don't need lows, it will sound cleaner. NO

Cool arrangement and writing ideas, and interesting sound choices, but I have to agree with the guys above regarding the production. Mainly the mix sounds cluttered and muddy. I don't hear any sidechaining, so the kick is not only getting lost but it is doubling up the lows when it hits. At a minimum the bass needs to be sidechained, but I recommend each element get some sidechaining, including leads and backing elements (very gently, only a couple of db of gain reduction). Also, and maybe even more importantly, each element in the mix needs to be EQd so that each thing sits well in the mix. As it stands now I hear many elements overlapping and crowding each other. Cut lows out of everything that isn't kick or bass, for example your leads can be lowcut around 200Hz. This will clear out a ton of mud. Make sure reverbs are also lowcut. That is a rather odd snare! Not quite a plastic bucket for me, but well into the uncanny valley. Regarding the arrangement, I have to agree the mix outstays its welcome and goes on too long without introducing anything new, so I'd recommend cutting the arrangement back by 1-2 minutes. Good start but needs some attention. NO

Right away I feel like the intro is going on way too long. The siren riser happens too many times. The intro would be better if it were shorter, with some lows in it (full soundscape), and filtering out the lows as you lead into a drop. As it stands, this just drags on. Ok I'm now 2:30 in, and still no drop, instead the same thing I thought was a long intro is repeating verbatim. Hoo boy, no drop, no development. I like your sound palette ideas, but this is just a musical sketch and not a complete arrangement. NO

I am digging this super low bass. Ooooooo the growls are excellent. The snare is quite prominent but not overly so to me. The soundscape sounds full and empty at the same time which is something I really like. Great use of sfx. This is such a unique take on Kraid's theme. YES

Oh wow! I'm loving this right away. The vocal clips are terrific. When the beat drops, it's intense. I love a nice meaty kick but I feel like this kick hits just a bit too hard when paired with that first bassline. I see djp wished for an octave lower on the bassline, I think the octave used is fine until 1:33 at which point the bass really is playing an octave too high. Other than that issue, I think what's here works fine. I absolutely love the transition to the triplets at 2:51, I love that entire section, including the modulation, those are excellent surprises. The final section starting at 4:01 feels tacked on and unnecessary, the track could have finished out with the triplets and been complete, or the final section really should have been signaled somehow. And I agree with Larry that the final cutoff could be corrected with a quick fadeout. Overall, I dig this, let's do it. YES

I really like this arrangement and the instrumentation choices are solid. I agree with all the issues pointed out in the above votes, but the one thing that stands out to me the most is the lack of sparkle in the mix. With a little more highs overall, and perhaps some ear candy here and there, this would really make an impact. As it stands, it does sound just a tad muddy, or at least sonically disappointing, due to the lack of high-end sparkle. The chug guitars sound very autopilot and too quiet throughout the mix, and the leads are on the weak side both in production and writing. Although what I just wrote sounds all negative, I still think it's a lovely piece and certainly worthy of being heard by OCR fans, let's put this on the front page. YES

Chiming in here to agree that this is an excellent track. I agree with djp's vote entirely, and most especially about the lack of stereo separation. That's a shame because there are so many luscious details here that could be all over the soundscape and they are just dead center or lightly separated. This would have been an easy fix to make this a fully-immersive experience. Also, I agree with Larry "boooooooooo" for copy-pasta, and the sameness of the instrumentation throughout the arrangement makes the track feel longer than it should be. But dang, it's groovus-maximus, gotta go with it. YES

I'll be rubber-stamping this awesome jazzy upbeat 6/8 arrangement. I hear plenty of source in the verses, and flourishes in the connecting sections, and I agree that the bassline interprets Lava Path well. As always, awesome arrangement, performance and production from Nostalvania. YES

Rubber stamping this one. The arrangement is great, really dynamic and expressive. The piano sample is just a bit oof, since it is so prominent. The sound is quite tinny and thin. But dang, what a great arrangement. The piano sample being a little low quality does not stop me from enjoying this piece. YES

Oh... gosh. Can we argue that there IS in fact enough polka in the world? Regardless, what an interesting and creative way to approach a remix, it's cute and upbeat. The arrangement is quite well crafted. The instruments sound incredibly dry and fake, which considering the silliness of this arrangement, may actually be ok. The drums are super simple and robotic, which I find distracting. Source is a problem for me. This remix might be lousy with source and I'm just not hearing it clearly (other than the obvious five-note patterns and flourishes) due to the change from minor to major. That change is massive and for me eliminates all connection to the source tune, even if the writing has been preserved almost verbatim (which I'm not sure of). I'm leaning towards a NO primarily for the overly-dry/fake instrumentation and robotic drums. I won't judge based on source until I see a couple other Js chime in. edit 11-2-21: I'm revisiting this many months later. I still find this mix incredibly charming and silly. Reading through the other votes, I agree that the drums are on the loud side, as well as being simple and static as I previously mentioned, but the loudness does not seem like an issue to me. The simple, static drum groove does in fact go with this style. This track may not be everyone's cup of tea, as this split vote indicates, but I'm feeling like "it is what it is" and the creativity is winning the day for me. I didn't expect this to be my ultimate vote, but here it is: YES

Double-rubber-stamping. I like the arrangement and the trance style, plenty of personalization, but the vanilla-sounding synths and underwhelming mixing are tanking this. In 2021 the production bar is higher than this. It's an awesome start but needs modernization. I'd love to hear this again using much more interesting sound design. NO