Chimpazilla

Plenty of source, and some really great ideas in this track. I have to agree the low end seems really quiet, what a shame because there is some strong bass writing and epic wubbery. Both OA and Jivey nailed it about the drums, they cut through well enough, but the writing sounds somewhat samey after awhile, it would be amazing if you used a softer kit and slightly different writing say at 0:58 when that flute starts. The flute lead feels just a bit loud when it plays. I also feel like the string section is weak, that string sample doesn't make a strong lead, the section starting at 1:09 could be really great with a stronger lead layered together with the strings. The dubstep sections are really great and the drums you have currently work very well in those two parts. The breakdown is a nice respite from the energy of the track, nice buildup back to 3:00 (and I love the vocal sfx)... then whammo WOW more great dubstep. At 3:22 there is 3 seconds of a really great sounding square lead... 3 seconds... I would love an entire section of this lead!!! The piano in the outro sounds nice, I think this outro works but that teaser 3 second square lead just leaves me grumpy. Do more! This is close. Bring out the bass a bit, see if you can vary the drums somewhat more, expand that square lead section, and you've got my yes. NO (please resub)

My revote: As for the source, Larry has clocked 111 seconds out of 303 seconds, which is 36%... if the newly uncovered source use is accurate, it adds 63 seconds to the count, giving the remix a total of 57%. 3:52-4:23: this is still REALLY liberal. I really like the soloing here, but the soloing takes the melody quite a ways from what I hear in the source... but the backing chord structure is there, and I believe the bassline follows the source bassline. I'm gonna give the benefit of the doubt, this is pretty darned borderline though. 4:22-4:54: yep, I hear that other source here very clearly, thanks for giving us the link. No way would we have figured out this source use on our own (at least I speak for myself, not having played this game). I'm gonna go ahead and give the full 63 seconds of credit on the clock, bringing the total to 57% source use. As this vote has gone on, there have been some great crits given that are valid. I still think the right-panned e-piano is too loud and it is stiff too. I think there are things that could be better balanced and mixed, but overall I think the production clears the bar. My vote is YES, but if this still doesn't pass, please consider the production crits from the other judges. (amending my original post) I just wanna step on my soapbox for one second here and say: PEOPLE, PLEASE PROVIDE A SOURCE BREAKDOWN WITH YOUR SUBMISSION, it's really helpful to us judges in cases such as this one, and could mean the difference between a pass and a resub. *steps down from soapbox*

First off, I recommend reaching out to our wip forum and/or finding a buddy who is more experienced than you to help you learn mixing/mastering. What is here is not too bad at all, it can definitely use some polish but it's coming along. This is a pretty interesting take on this source. The drum loops do sound loopy but you have thrown in some fills so that's good. I'd remove some of the reverse samples, those should be used sparingly. The lead at 1:00 is quite generic and doesn't hold my interest, but I like when you add the countermelody and harmony at 1:12. Be careful so sounds don't overlap too much in the same frequency range, you can use eq to make room for each one. Glitching at 1:23 is super cool. Soloing at 1:29 is cool, all the way to 1:47, that part writing is great. The lead at 1:47 is much too loud and piercing, gotta blend that better, you could use a more interesting sound too. The piano at 2:04 is extremely mechanical in terms of sequencing (notes played perfectly all at the same volume), and the timbre is a bit muddy, also the extreme panning is odd and distracting. Also, the piano is playing the same source tune motif pattern from before, verbatim. This would be a good point to change the writing up. More work to do, but don't be discouraged. NO (resubmit)

There are some really great ideas here, the sfx and ambiance leading up to the drop are really done well. That sequenced synth that starts at 0:48, then the second one at 0:52, that part is great. But when that first lead comes in at 1:03, the crisp soundscape is completely smothered by a very generic-sounding and reverb-drenched square lead. It feels placed in the background instead of up front where a lead should be, giving a washed-out effect. The next lead that comes in at 1:33 is also a fairly generic saw, and it competes with the upper end of the buzzy bass and you also have several other timbres going at the same time, all competing with each other until 1:59, it is just too busy from 1:33 to 1:59, frequency-wise. That gated scream is awesome. The "joker" vocal, gunshot, etc. are likewise awesome. (you could have some fun with stereo-widening those sfx or auto-panning them or filtering/phasering them! no need for all that awesomeness to only occur in the middle of the soundscape) But then at 2:14, another verbatim playthrough of the source... I agree with Larry, this would have been an opportunity to introduce some new melodic ideas or new timbres, or both. I think this is a REALLY solid start here, and has potential to be excellent. I think the leads are your biggest problem, they are taking up too much space sonically, have too much reverb, and compete against backing elements. I think you can find more interesting leads, I often like to layer sounds together to get really cool evolving/sparkly/interesting timbres. For the kind of writing you are doing (especially the faster-paced soloing), I'd recommend something thinner than you're using. Also, gotta do some eq surgery, or replace some of the timbres that are all playing in the same frequency range during the busiest parts. I think you'd do well to introduce new leads in the second half, or alter the writing just a little bit or do a unique solo, or BOTH... just so the first and second halves of the track are more distinct, sonically and writing-wise. Blow us away with something really wicked cool in the second half. Looking forward to hearing this again. NO (resubmit)

I really don't hear anything lossy, Larry. It is a bit sizzly, mix could use a rolloff above 15-16KHz, it's bright but not painful. Mixing is lively and well separated, but it begs the question: WHERE'S THE BASS??? There is nothing happening below 90Hz in this track and the kick is the lowest sound, hitting right at 90. There is a huge missed opportunity from 30-90Hz where some enormous bass could reside. There are wubs here that I only hear the tops of. There's some good bass writing and nice sidechaining that I'm straining to hear. This makes me sadface. I would request a resub mainly for that reason if nothing else bothered me in this song. The addition of the 30-90Hz range will most likely tame the perception of brightness of the whole track (but you still might want to do a high end rolloff anyway). The wide-panned phasey percussion at 1:25 is awesome. The dubby section that follows is dynamite (but where's the bass). Synth work beginning at 2:19 rocks the house. The bridge at 2:46 is a nice change that provides some much needed relief from the relentless source buildups and motifs. Larry is right, this track is really solid. But wow, by the time I get to the end, I've heard that source buildup and motif soooo many times. I feel like each of the sections that contains four identical bars could be cut in half, or better, some bit of variation could be written in. A bigger issue is the duplication of the two biggest sections: 3:14-4:22 is nearly a verbatim repeat of 0:15-1:24, and the outro of 4:22-4:50 continues the same exact patterns with the only difference being that the drums are dropping out. *sigh* I hate to do this, because there is so much good going on in this track, but the lack of low end and the extreme repetition are pushing me towards NO (resubmit please)

I happen to like the vocals, even the robo-voice which transitions into the first drop, I think that works well although I can imagine some cool phaser effect (or something) on it, that would be fun. I hear a few clashing notes from 0:53-0:58, not enough to be a problem but noticeable. I like the staccato strings quite a bit. I like the wub bass, I wish there was more of it, it's really subtle. There is some great synth work in the second half, nicely stereo-separated and well sequenced. The overall mixing is working well. The piano sounds a bit mechanical but I really like the timbre. This is a very conservative take on the original tune. The writing does sound quite repeaty... but the instrumentation changes and synth work make up for it. I still wish there had been a little more variation on that source motif, some rhythmic variation on that motif would have worked to break up the melodic monotony. Overall though, I like what is here and it is working for me. YES

I agree with Larry, I love the idea, but the piano sounds muddy and also very mechanical. When the beat drops, the bass you are using has a ton of upper end buzz which is great, but you're also using a saw lead and the piano at the same time... all three of these timbres just blur together. You'll need to put in some work to decide which timbres you want to play in which frequency range, and carefully eq them. If you can't make the timbres play nicely together without them masking this much, you might want to consider replacing some of the timbres if not totally, then at least during the parts where everything plays (for example, use a non-buzzy bass during that part). Also you seem to have just written one piano pattern and one lead pattern and one drum pattern. Some variation somewhere would be really helpful and fun. I like the part that starts at 1:38, lots of fun unique ideas here, you could even add more sounds and I'd be ok with that (again being careful about masking). Agreed also with Larry that the claps really stick out. The clap is the one sound that manages to pierce this fuzzy soundscape which is actually a good thing... except that the clap is the ONLY thing that pierces the fuzzy soundscape. The claps come off sounding very dry. They will need some reverb and I recommend stereo-widening them too. You could have some fun with effects on the clap at some point also. Great start, groovy ideas, needs a bit more writing development and a mixing overhaul. NO (resubmit)

Oh. My. God. My kiddo and I got started on this game this afternoon. It's unbelievably creepy and can give you a heart attack! Makes my palms sweat! Fun stuff! I already made it to night 5 but can't seem to evade Freddy.

I'm not going to examine the source usage, if it's cool with Larry I'm going with that for now. I want to get right into the production. I can hear that you wanted to go bold with your production choices. I think you went a bit overboard in your production. The track does have dynamics (meaning there are sections that are softer), but the really loud sections are squashed to smithereens and that section at 0:49-0:52 distorts quite heavily. Gotta dial back the master compression/limiting. I don't hear muddy mixing per se, but you've used quite a few bell-like timbres and they all have resonances as bell timbres often do, and with multiple bells together, resonances overlap and sound messy and sometimes painful to the ear. Everything here seems to be playing at the same volume much of the time, as if you've barely used your mixer at all. All the parts are sequenced extremely rigidly, mostly quarter or eighth notes all hitting right on grid at the same volume. The track is repetitive and comes off as very long for what if offers, many of the sections of this song could easily be cut in half as they seem to play through exactly twice. This is not a great way to get length out of your track. You seem to be using dubstep-type basses in a way that doesn't work. For example, at 2:12, there is a prominent bass that I'd expect to hear in a dubstep production but it is playing straight eighth notes for quite a long time, and you've teamed it with a drum kit that really doesn't match the timbre, with the kick sounding quite "poppy." Together with the lead synth playing straight quarter notes, the whole effect is just uncomfortable. Similar situation at 3:51, dubstep bass not used very well or effectively, teamed with odd drum kit. You have some pretty harsh sounding transitions from soft to hardcore sections in this track with no warning, this makes the arrangement feel quite choppy. Need to find ways to introduce the listener somewhat to new textures... even a simple white noise sweep will do the job sometimes. You have some unique ideas here but the execution needs a lot of work. I'd recommend popping this track into our wip forum for some additional feedback, but I'd suggest the following as a starting point: 1. dial WAAAAY back on the master compression/limiting 2. get a grip on the bell resonances, or replace timbres with less bell-like samples 3. learn how to write more interesting patterns than just quarter or eighth notes 4. spend time learning to balance and mix 5. find a way to cut out half of this song (my suggestion based on what I hear is that you can cut many of the sections in half), or make the extended sections more interesting 6. make a proper ending with no abrupt cutoff Lots to work on here. NO (resubmit)

This is a nice start, but gosh it is short. Two minutes is barely enough time to develop your ideas, and the ending is abrupt. Source is readily apparent, no problem there. The track is drowning in reverb, and there is a resonance that appears several times throughout the track: 0:12, 0:36, 0:50, 1:40, 1:48. If that sound is intentional, I think it doesn't sound very good. I like the piano playing and the ideas generally. I'm not sure the drums are fitting in style-wise as well as they should, giving them a "pasted on top" feel against the emotive piano. Piano sounds a bit mechanical (could use more humanization) but still nice, string backing sounds good. So I recommend you address these areas: lower the reverb on pretty much everything, check into those resonances and remove them, expand the arrangement somewhat, and find a way to make your drum writing fit in better with the mood of the piece. NO (resubmit)

Plenty of source here, very groovy take on these two source tunes. There are tons of fun little details in this track, cool sounds, glitching and effects. I'm loving the little wublets and triplets thrown in, lots of cool stuff. Drums sound great, kick is satisfying, hats are nice and wide, snare work is good although the snare timbre gets a little lost against the saws. Hard production, check. Some of the sounds are very mid-high heavy. It is consistent though, a stylistic choice to be sure. The track is mastered rather loudly, not a lot of dynamics except in the intro and outro. The energy and instrumentation stays similar all the way through, and it's a long track, so it ends up sounding a bit samey. Track feels long for what it offers, and near the end I'm really sort of tired of that main motif. The "yah-yai-yoi" bits definitely get old after awhile. So yeah, a little long, a little repeaty, but tons of detail, cool stuff. YES

I hear plenty of source too, and this is lovely, really very nice arrangement. You did a really nice job "remixing the silence." I have no problem with the samples other than the solo samples, the lead violin has some off-key moments with the bendy articulations and the attacks give it away. Also the solo cello that is panned right playing arps is particularly not-real sounding (and I wish it weren't quite so hard-panned). Those arps do sound a bit blocky as Clem mentioned, but it can't be helped when working with solo samples like this... solo samples are so hard to work with so I'm forgiving this fully. The rest of the samples are used as well as possible and they sound quite nice. Other than the solo samples, I got nothin' to complain about, I love it. YES

I'm with you. Ribs *are* good, aren't they! But the McRib looks so very disgusting. Being one who was nearly poisoned to death by McDonald's a few years back (let's see, 25 years ago now? who can remember?... but I've NEVER forgiven them for causing me to spend the night in the hospital barfing every 60 seconds for 8 hours until I prayed for death... that was a Big Mac, but what I ended up with was a Big McHospitalBill), I certainly would never set foot in a McDonald's again during this lifetime. And the McRib in particular is the most frankensteinian "food" item I've ever seen, just viewing that article causes my stomach to lurch a little bit and gives me nightmares. No offense Larry. Love you!

Happy birthday my friend!

Quick thoughts... this is a very good sounding rock/metal-lite cover of this source... but at 1:13, it is way too short. I hope he will expand it! edit 11/7/14: I really love the sound of this mix, it is quite well produced. It is just too short. It is one quick nearly-verbatim playthrough of the source. I'd love a short original interlude at the end of what's here, then another playthrough of the source with lots of variation and maybe a wicked solo. Let's have some more development! I can't wait to hear this again. NO (resubmit please)

Contact Information Your ReMixer name: Aaron Alone Your website: http://soundcloud.com/aaronalone Submission Information Name of game(s) arranged: Mega Man 3 Name of arrangement: Magnet Man Is Made Of Metal Name of individual song(s) arranged: Magnet Man stage theme Your own comments about the mix, for example the inspiration behind it, how it was made, etc: This is an up-tempo, thrash inspired take on the happy-go-lucky Magnet Man theme. I recorded all the guitar parts myself and sequenced the drums. I added a short, dual-guitar solo at the start of the second loop. Enjoy! ------------

Hi, Here is my first contribution to OC Remix, and a tribute to one of the best games ever. Your ReMixer name: Altered Serenity Your real name: Danniel Menot Your email address: Your website: www.AlteredSerenity.com Your userid: 52991 Name of game(s) arranged: Uncharted Name of arrangement: Nate's Theme (Altered Serenity Remix) Name of individual song(s) arranged: Nate's Theme Comment: In my spare time I produce Trance for labels such as Future Sound of Sweden, however video games has always been close to my heart when growing up. Therefore I decided to do my first video game remix, and Uncharted has some beautiful compositions. So, yesterday evening I started this little piece which was finished today. It can also be found here: Regards Danniel ------------------------------------------------- https://www.youtube.com/watch?v=vFeBVoEeIwM

ReMixer Name: Sparkyrogers Birth name: Tahir Rogers Email Address: Site: http://spark717.newgrounds.com/ Game: Kirby SuperStar Arrangement Title: A Quick Brawl Original Song: King Dedede's Theme This idea randomly came to me when I was fiddling around with my drum loops. A DnB remix for Dedede. DnB. Dedede. GET IT? dB Also, I'm kinda new to the concepts of "Mixing and Mastering", so if this doesn't qualify, could you give me some pointers on how to properly mix so I could do better next time? Much obliged... ^^ ---------------------------------

Hi, Here's my submission. Hope you like it. ReMixer name: Space Infaders real name: Gordon Braicks email address: website: http://www.youtube.com/spaceinfaders userid: 47617 Name of the arranged game: Commodore Amiga - The Chaos Engine (World 2-Workshops) or SNES Soldiers of fortune (World 2-Workshops) Name of arrangement: Chaos Engine-Workshops (Space Infaders Remix) Name of individual song(s) arranged: Chaos Engine-Workshops Additional information about game including composer, system, etc. (if it has not yet been added to the site) The Chaos Engine is a top-down run and gun computer game developed by the Bitmap Brothers and published by Renegade Software in 1993. The game is set in a steampunk Victorian age in which one or two players must battle the hostile creations of the titular Chaos Engine across four landscapes and ultimately defeat the Chaos Engine and its deranged inventor. Biography of composer Richard Joseph Prior to working in games Richard had a fleeting career in the music industry working with artists such as Trevor Horn and Hugh Padgham. Richard released one solo single on EMI and was part of the group CMU which released two albums (although Richard was only involved with the second, Space Cabaret [2]) on Transatlantic before evolving into jazz funk band Shakatak. Richard was noted in game audio for bringing "real" voice actors into a game for the first time (Mega Lo Mania), the earliest use of interactive music (Chaos Engine), working with established recording artists (Betty Boo on Magic Pockets, Captain Sensible on Sensible Soccer, Brian May on Rise of the Robots and John Foxx on Gods and Speedball 2), and featuring vocals in title tunes, which was revolutionary for the time. In the late 1980s and early '90s, he produced soundtracks for development teams Sensible Software and the Bitmap Brothers. He is also credited with the soundtrack to the C64 version of the hit Defender of the Crown. He then went on to set up Audio Interactive at Pinewood Studios and, along with composer James Hannigan, helped Electronic Arts to win the BAFTA Award for best audio in 2000 for Theme Park World. From 1990 onwards Richard was a frequent musical collaborator with Jon Hare with whom he co-wrote and arranged all of Sensible Software's best known musical tracks including the soundtrack for Cannon Fodder the GBA version of which was also nominated for a BAFTA in 2000, and is still the only small-format soundtrack to be recognised by BAFTA to this day. In 1995 Hare and Joseph emabarked upon an epic 32 track soundtrack for the multimedia product Sex 'n' Drugs 'n' Rock 'n' Roll, signed to Warner Interactive, however in 1998 Warner bowed out of the games market and their Magnum Opus was only ever released as a limited edition audio CD. After working as Audio Director on Republic: The Revolution and Evil Genius for Elixir Studios (music composed by James Hannigan), both winning BAFTA nominations for Hannigan's scores, Richard moved to France where he ran SoundTropez, a company offering next-technology soundtracks. Richard came from an entertainment family. Brother Eddy is a BAFTA-winning sound supervisor, working on films such as Harry Potter and James Bond. Brother Pat is a director of The Mill which won an Oscar for Gladiator. Nephew Alex is a foley supervisor. Richard's Father Teddy (1918-2006) was a production executive working on, amongst many others, films by John Schlesinger and Alfred Hitchcock. Link to the original soundtrack (if it is not one of the sound archives already available on the site) As the original song depended on the specific moment of the game, there was no fixed arrangement. The added MP3 is an recording from youtube. Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I was a 15 year old boy when I played this game with friends for hours and hours. We liked the music of level 2 so much we kept on playing it again and again. The tune never left my mind. I was looking for a remix on OC Remix and youtube but could not find any. Then I used my own gear (MC-909 / Cubase) to create a remix with the feel of the original. It's a dark industrial arrangement with multiple bass tunes and a strange rhythm. The work Richard Joseph had done was incredible with a Amiga computer and only 4 voices max. As there was no fixed arrangement I took used as a reference a recording of somebody who played the game during some time. I added sound effects, more voices, different rhythms and made an arrangement that fits a 'normal' length. I amplified the parts that I really felt were strong to emphasize. Best regards, Gordon Braicks ---------------------------------------------------------- http://youtu.be/P-CikjBODO0?t=43m18s Chimpazilla note: I'm not sure which is the actual source... the youtube link above is my attempt to locate it. The artist sent an mp3 of his actual source, here it is, but I cannot find it on youtube. The two sources (my link and his) are just a bit different.

This is *still* AWESOMESAUCE. You know who else loves this mix? DARUNIA. I can just see him whirling around to this, the crazy fool.

I find this to be a gorgeous mix, the vocals are great, the soundscape is full and the violin parts are lovely. I think the sources are well represented, I love the new lyrics and the three sources are smartly interwoven. I considered this as a DP... but my main production issue here is I think the vocals are mixed too loudly. This continues for the entire mix and it feels distracting to me. It is probably a very easy fix and will make this a YES from me. (if other judges don't find this to be a problem, I'll flip my vote) edit 12/2/14: lost laptop, unrecoverable files... blarg... well I thought this would be a super easy fix to make this track perfect, but if this is the final FINAL track, it's much too good to pass up. Changing to yes. YES

edit 2/23/15 - DJ Mystix has asked that this track be posted in the normal posting cycle and removed from the album, as the album is going very slowly. Too good a track to have it sit indefinitely. Can't blame him! edit 1/2/15 - Brandon has asked DJ Mystix if this song could be included in his "super secret" album project and DJ Mystix has agreed... (couldn't fit the word PROJECT all the way in the title) YouTube: SoundCloud: https://soundcloud.com/djmystix/never-go-away Vocals: Claire Yaxley Violins: Chris | Amaterasu Lyrics & Arranged By: Dj Mystix Contact Information: Your ReMixer name: Dj Mystix, Claire Yaxley, Amaterasu Your real name: Mansoor Nazar, Claire Yaxley, Chris Woo Your userid: 11757 (DjMystix), 47187 (Princess Clairey), 35078 (Chris | Amaterasu) Submission Information: Name of game(s) arranged: Metal Gear Solid, Assassin's Creed 2, Assassin's Creed 2: Revelations Name of arrangement: Never Go Away Name of individual song(s) arranged: Metal Gear Solid: The Best is Yet to Come Assassin's Creed 2: Ezio's Family Assassin's Creed 2: Revelations: Title Theme Composer(s) : Metal Gear Solid: Rika Muranaka Assassin's Creed 2: Jesper Kid Assassin's Creed 2: Revelations: Jesper Kid System : Metal Gear Solid: PlayStation Assassin's Creed 2: PS3, XBOX360 Assassin's Creed 2: Revelations: PS3, XBOX360 Sources breakdown: 00:00 - 01:00 : Assassin's Creed 2 - Ezio's Family 01:01 - 01:14 : Original Writing 01:15 - 03:43 : Metal Gear Solid - The Best is Yet to Come 03:44 - 04:29 : Assassin's Creed 2: Revelations - Title Theme 04:30 - 05:50 : Metal Gear Solid - The Best is Yet to Come Sources: Metal Gear Solid 'The Best is Yet to Come': Assassin's Creed 2 'Ezio's Family': Assassin's Creed 2: Revelations (Theme): Artist Comments:- Claire Yaxley: I was, of course, delighted for the chance to work with DJ Mystix again. I love the mood he creates with his remixes, and this one was no exception. I got the chance to experiment with a different side to my vocals; a softer, gentler, more vulnerable side. It's completely different to what we've done before, and I'm proud of what we've achieved. Dj Mystix: "The Best Is Yet To Come" is one of my most favorite videogame tracks of all time. I have been dreaming of creating a vocal version of this song for years. My biggest issue was writing English lyrics for the song because I'm not good at it. I finally decided to give it a try and have Claire provide her amazing voice for this. As usual, she has done an incredibly job and far exceeded all expectations I had for this remix. She made the song 100 times better than what I could do on my own. On top of that, Chris's excellent violin skills lifted the mood of the track. His improvisation in the ending sounds perfect. As you guys know already by now that I really like to mix multiple games in a mix Both AC2's themes seemed like a perfect fit for this track. We have really spent a lot of time on this track. Initially, we recorded the song with the original key but it didn't sound very nice so we decided to start from scratch and re-recorded the whole track in a different key. Claire and Chris has done an amazing job her and I really feel super lucky to get a chance to work with such talented people. This is mainly a remix of "The Best is Yet to Come" (MGS). Just wanted to mention this to help you guys decide what game to tag it to IF it gets through the panel We hope you like our effort and enjoy this remix as much as we did while working on it Happy New Year Lyrics: (Not a translation) Dreams of you, so real, so true When holding your hands, I flew.... Stars are bright, the skies are blue I'd love you the whole night through... Near or far, wherever you are, Your love touches me, I feel new... Freeze the time, and make you mine, And always pray, to be with you... Lying to myself, that I could go on, With you on mind, my love would be strong... What will I do, I'm lost without you Crying in my heart, wantin' you You're so far away, but always with me I wander alone, I hope you could see Holding forever, your memories... Makes me smile, sets me free I can't go on, It's been so long How I wish you could hear me say.. You're every thought, you're everything Step in my heart, and never go away... Calling your name, to hold you again It's been so hard, I miss you every day Bring back the time, when you were mine I'm so alone, since you went away I can't go on, It's been so long How I wish you could hear me say.. You're every thought, you're everything Step in my heart, and never go away... MGS: AC2: ACR:

A pretty conservative take on this source, same structure and lyrics, but I love the sounds you used and your vocals are very nice. I have a couple of concerns though. First, this mix is mastered LOUD. It's not distorting, but it is a waveform sausage and lacks dynamics as a result. There's very little in the way of timbre changeups, the instrumentation remains the same throughout, while not a dealbreaker it does make the mix feel repetitive. The mix is drowning in reverb, and for ME to notice that is really saying something (I love reverb). The drum writing gets quite repetitive, I wish at the very least that the kick pattern would do something different at some point... and all the drum writing (with the exception of a couple of fills/transitions) is the same throughout. The kick has a very prominent click that almost sticks out too far against the super reverby soundscape. At 1:53 there is a synth lead that really sticks out and sounds dry against the reverby soundscape, and it takes the focus away from the vocals. I like this mix, and the singing is really great... but I'm feeling like my production crits put me right on the borderline. I'm gonna hold off and see where others feel this is, is that cheating, yeah. edit 11/8/14: Ok, vote time. I'm gonna lean towards asking for a resub and have you reduce the overall compression. I'd also really like a little less reverb, at the very least on the vocals. Maybe the kick's click won't feel so out of place then. I really do want to hear this one back quickly, it's a really nice track. NO (resubmit)

Looks like my last submission, "What We Left Behind," just got posted! Guess that makes it a good time to submit something else, right? Here's a little mix from Sonic Unleashed, with some vocals to shake things up. Yeah, I've got a thing for Sega games. Download: Here's the requested info: Contact Information Aviators Tyler Shaw http://soundoftheaviators.com/ 45323 Submission Information Sonic Unleashed Neverending Endless Possibility Original Song: As much as I'd hate to be labeled as "that guy who remixes Sonic games," I'm back with my second Sonic remix, and second game remix overall. Sonic Unleashed is a game that really left me torn between love and hate at the end; I was disappointed with the game in itself, but the music is freakin' awesome. I mean, the theme song to the game is by Bowling for Soup's Jaret Reddick. I took his uplifting fast-paced theme and gave it a delightful DnB twist here. It's like Pendulum on a sugar rush, with some of my vocals to make things interesting. Original Soundtrack Info: Original Composer: Jaret Reddick System: Playstation 2, Playstation 3, Wii, Xbox 360 OST links: --------------------------------------

This is a decent cover of Aquatic Ambience, and a good start on a remix, but ends up being much too simplistic and repetitive for OCR. I'm paneling it because it is a really good structure for a great remix of this source, and I'd love for the artist to get some additional advice and suggestions from us. The synths used are very simple, the drums sound like a loop, bass is almost nonexistent, and the track lacks dynamics and surprise, but yet there's promise here, the arrangement is good. Much more stuff could be added, for example in the soft breakdown, some unique soloing or sfx or ear candy etc. As it stands now, the breakdown is really boring, but could be filled with subtle yet exciting stuff. The long empty stretches such as 3:55 could have some unique soloing added over the top of what's there, add some drum changeups, additional timbres and sfx etc., and bingo, you have something really cool! The production of what's here is really not too bad, balancing could use work, drums and bass are really soft for example. The lead at 2:27 is really very simple and plain, that would be an opportunity to add interest with an evolving timbre, something with some vibrato perhaps or another interesting envelope, or add a countermelody or just other aspects to keep the audience entertained. Maybe make one epic section with some fun wild soloing before the outro, perhaps. Take this to the next level, let's see whatcha got! NO (resubmit)