Chimpazilla

Whoa cool, 11/8 time signature! Bass and organ sound cool, although quite simple and mechanical. The lead organ comes in and it is playing a super simple melody, while the bass and backing organ continue to do the exact same thing. The drums feel very autopilot. When Joe's sax comes in, it sounds so sweet, and blends gorgeously with the organ. After Joe's sax is finished however, the mix goes back to the same exact bass/organ/drums pattern, with the simple organ lead. I have to say this mix sounds a bit like a Sax Sandwich. I think a lot more development is needed during the bass/organ/drums-only portions of the track. Some more drumming variation and fills might help. You could play that bass pattern with a different instrument and let the bass do something else. You could make the lead writing more interesting, and/or bring in an additional lead. You could have Joe record some more sax or another instrument over the first and last parts of the song. As it stands, those parts of the track (before and after the sax) are just too sparse and underdeveloped. NO (resubmit)

I find the production on this quite good. Synths, guitars, and drums all sound clean, powerful and well separated. My concern with this track is that it is super short and super conservative. The intro lasts all the way until 0:50, which is quite a lot of a 2:05 track. After the intro, the next section instead of being a verse, is almost like a "pre-verse" and doesn't really get going into a proper verse with a lead melody until 1:33. The source melody is played through one quick time, then the song is over. Not nearly enough development. I wanted to panel this anyway, because I feel like the production is very good. I think at least another full minute (or more) could be added to this, exploring the source melody more and doing some soloing, followed by a proper outro. Really very promising, and I hope to hear this again, much more expanded. NO (resubmit)

Contact info: Radeitsu Cory https://soundcloud.com/whowantsalick-1 33625 Submission info: Donkey Kong Country 2: Diddy's Kong Quest Asking Lockjaw Lockjaws's Saga

I'm listening to the "now with less bass" version. The strings are pretty darned dry. Guitars sound good to me, performances are great, mixing is working. Drums sound punchy and tight but could be a teeny bit louder, not too much though. Just the right amount of bass in this version, the other version was just too much. The arrangement is a winner, I hear plenty of source, with good personalization and great original stuff and transitions. Fadeout ending, dammit I really dislike fadeouts. Fadeout = copout, imo. Huh. Regardless of fadeout and dry strings, this is working for me, I like it. Probably need a "now with less fuck in the title" version for the project release, though. (I can't take credit for that joke, it belongs to djp) YES

There's so much to like about this mix! The piano tone is lovely, the playing expressive. The funky bassline is terrific! The cello is a very nice touch, sounds great. I may be alone in this thought, but the clicky kick doesn't seem to quite fit the mood here, I think slightly less click would suit the other instrumentation better, more thump and less click. Not a big deal though, small nitpick and personal preference. Source aplenty, and the track has nice dynamic flow. Love the glitching. Mixing is very good. My only gripe is that even with all the little details and interpretation, the writing still ends up sounding pretty samey, especially since the piano is always the lead, and the chord progressions never change. The little details carry it for me, though. Cool track. edit 2/10/15: Larry is right. That piano line is VERY similar to the original audio, even the backing strings are nearly identical. Even if this has been carefully re-sequenced, it IS too similar. As lovely as this sounds, I'm switching to NO. NO

What an incredibly cool idea to make this song into a western! I love the idea, and those reversed-sounding string notes are very neato, they give a nice eerie feel. The track builds slowly into a really nice groove as it busts out at 1:04. The trumpet bits are fake as heck (and they get too loud) but they seem to fit although they could use some reverb, the dryness makes them stick out more than they should. The guitar also sounds sampled but you've used it well given the limitations of sampled guitar. The lonely sine in the background is terrific. The track has good flow and dynamics and I'm totally onboard... until 2:15. I'm hoping for a super epic beat section, and the track slows way down. I still hear source from 2:15 onward, and it is used quite well actually, but I'm left feeling like this arrangement is disjointed overall, since the first and second halves are so different. Am I being a grandma if I think this arrangement is odd? I'm going with YES for now, I like the track, but I'm interested in other opinions. edit 9/27/14: I've been thinking about this track a lot. I do like it, and I'm getting more used to the arrangement, it is interesting and there IS plenty of source throughout. But I think I have to vote NO for now, the following are my issues: 1. the brass: it's REALLY dry, which makes it's fake nature really exposed. At 1:01, the brass gets really loud, too loud. Smooth out the volume of the brass for the times it appears, and give it some tasteful reverb, and it will fit in better. 2. the guitar: I'm really ok with this sampled guitar, but some better humanizing wouldn't hurt. If you varied velocities and note start times slightly, it would flow more naturally. Small changes will do, don't overdo it. And as with the brass, a bit more reverb will make it fit in better with the soundscape. 3. the drums: Justin is right, they do feel pasted on top. This is mainly due to how they are mixed (too loud and upfront, especially the snare), but it is also partially due to their style being so different from the genre of the track, and partially due to the short section in which they appear. I think mixing them better into the soundscape (quieter and with more reverb to push them backwards) will solve it 90% if not more. The snare is most problematic imo, since it is the most upfront. I like the fact that the drums are so different from the genre... but they need to fit in better with the soundscape so they don't feel like an afterthought. Justin also had some very good advice about building the action (and therefore volume) in a more consistent manner. I also think you could spend some time addressing the reverb of the track overall, making sure the reverb is consistent across the instruments so they sound like they are in the same space generally. Hopefully these fixes aren't too hard to do, because I'm hoping to hear this track back soon! NO (resubmit)

This track is LOUD, a veritable wav sausage. It doesn't quite sound smashed to me, it isn't distorting from what I hear, but it is super loud, giving it very little in the way of dynamics, and it gets fatiguing. I think you can ease off the compression some. I like the instrumentation. I especially like that crunchy bass synth. It competes a bit with the leads, but not too much. With some more breathing room dynamically, it will really shine. I like the idea of the key modulation at 1:06. Other than this though, the track is suuuuuper conservative. The writing and arrangement are basically the same as the source, although the tempo is slowed down a few clicks. I think the instrument changes make up for it, but just barely. It really needs some more writing personalization, or a breakdown somewhere, just something a bit more unique to break it up. I won't call this a midi-rip, but I have my suspicions. At 2:15, the song just ends, with zero resolution other than a reverbed kick. Some kind of writing cool-down or proper resolution would really be welcomed. So, ease off the master compression and add some sort of ending. If you could add a breakdown or original section somewhere, that would REALLY help, but if not, at least hit those other two issues. NO (resubmit)

This song starts out so cool and so strong! I love the plucked instrument (kora?), bass, and background synth. That first scratch is very cool, and the cymbal transitions sound huge and good. The piano and background flutey synth sound really low-end muddy to me, the entire background starting at 0:57 could really use some eq cleanup. The strings at 1:42 could also use a bit of low-end cleanup. The Yun & Yang theme is ever present. I don't really hear where you used Oni's theme (sorry if it is obvious and I missed it), but there is certainly enough Yun & Yang. My biggest gripe is that by the 2 minute mark, I'm waiting for the energy level or instrumentation to change. The drums and bass are going full speed all through the track, super busy along with the leadwork which is often very busy too. The verses and choruses are all just coming at me full speed after 2:00. Even with the interpretation that you've done, the chord progressions never change and it ends up feeling quite samey, making the track feel quite a bit longer than 3:52. One more soft breakdown with minimal drums would make a huge difference methinks, in addition to some eq cleanup. NO (resubmit)

*tries to picture Rexy in halc's shoes* haha! Justin is right about the piano, both about the velocity of the short notes and about the top-heavy tone. But wow, the writing is terrific! Justin is also right about the reverb, it isn't cohesive. Some elements are quite dry, others too wet. The drums in particular could stand to have more reverb glue, possibly using one reverb send and sending the drum elements to it in different amounts. The drum/percussion writing is quite good and varied, especially from 2:53-3:16. Open hat is a touch too loud. The crash sample isn't my favorite. No Justin, "personalization" isn't a judge-only word! But Rexy certainly accomplished some very nice personalization while keeping the source present throughout. YES

Thanks so much Justin for the source breakdown! Source does seem fine. I don't often just blanket-agree with someone else's vote, but Justin nailed it here. The arrangement is really nice, but the production is just too darned busy. Nothing ever gets to take the spotlight. At any point in a track, there should really only be one instrument playing a busy line, while everything else plays softer, smoother lines or blocked chords. Two busy lines together are ok if you're doing a lead plus countermelody, but even so, one melody should be more prominent, generally. You've got lead guitar, rhythm guitars and bass (in addition to the pad) all playing like the devil is chasing them! I'd recommend you go over this arrangement again and determine which instruments should get the most attention at the different points in the track, and calm the other stuff down. I'm also in agreement about that very first melody, when it comes in it should really be upfront and not in the background. Good performances, just needs to be planned out a bit better. NO (resubmit)

I remember the very first iteration of this track in the wip forum. Wow, it really came a long way. Groovy indeed, Jordan's additions really work here! The harp and pizz strings end up sounding pretty mechanical against his live work, but it's ok. Justin is right about that lead synth being too loud, the overall balance work could have used one more going-over. Nitpicks. YES

Wow, this is really nice! Demo for Video Games Live, super! I can imagine this played live! As for this mix, are you planning to leave it in sample form? There are ways to make samples sound more human, I'm sure you are aware of this? Automating CC11 for flow, panning strategies, layering articulations to make realistic lines, reverb/delay/eq tricks? What exactly are you hoping to do, or to improve? As wonderful as this medley is, OCR doesn't accept straight medleys to be posted. The themes need to be more integrated somehow, rather than playing one right after the other. Not sure if you were hoping to submit to OCR? Or just getting feedback (which is fine!). Let us know your goals and we'll help! Thanks for sharing, nice to have you here!

Fabulous piano as always, great jazz interpretation ideas. Can you find someone to play trumpet? Damashii!! perhaps? edit: *still listening* Goes pretty off the rails away from source as it moves along during the extended piano soloing... 2:08 all the way to 4:04... it's lovely but that could be a problem.

I've been using TruePianos for a couple of years and I find it to be quite versatile and easy to use. I upgraded to Komplete 9 several months ago, and only just within the past month got around to trying out The Giant, and I think The Giant is amazing, nicely tweakable and has a great sound. Lots of great presets included, each with a very different feel.

This is completely lovely and haunting. Nice combining of themes. I am a fan of layering Zelda themes, I just finished a track myself that layers six of them. My only gripe on your track is the fade-out ending, I would prefer some final bit of writing on the harp to bring it to a conclusion. Really nice work, I hope to find this track in the submissions inbox soon.

ReMixer: Chimpazilla game remixed: Legend of Zelda, Twilight Princess name of arrangement: 'Wistful' themes remixed: Midna's Lament (with: Saria's Song, Zelda's Lullaby, Song of Storms, SS Goddess Theme, TP Hyrule Field theme) ----------------------------------------------------------------------- The song title 'Wistful' really says it all about how I was feeling when I wrote this. Writing this piece was theraputic for a sad mood. I'm always amazed how easily the Zelda themes go together without having to alter them too much. There are six sources here, all quite easily identifiable. Midna's Lament remains the dominant source throughout. I don't play piano yet (although I am taking lessons!), so this track is all hand-sequenced. I tried my best to make it flow naturally, and I got lots of good critiques and advice. I feel like it still sounds a bit mechanical (and the track is somewhat sparse, which doesn't allow "mechanical" to hide), so if it does sound mechanical, I'm hopeful that the arrangement makes up for it. Source use: 0:00-0:43 Midna (piano) 0:43-1:08 Midna (harp), Saria (piano, harp flourishes) 1:08-1:33 Midna (piano/pizz cello sharing the backing arp), ZL (piano), SoS (harp) 1:33-1:58 Midna (pizz cello playing backing arp), second half of Saria (piano), ZL (pizz viola plus glock) 1:58-2:08 original transition 2:08-2:14 Midna (piano playing backing arp) 2:14-2:39 Midna (piano arp, interpreted), Goddess (harp, with viola/cello cameos) 2:39-3:04 same as above, but with piano lead playing Midna and SoS melodies combined into one melody 3:04-3:23 same as above, but piano is playing TP Hyrule Field (0:27-0:40 in TPHF source) 3:23-end Midna (piano and harp) Excluding the ten second original transition in the middle, remix is 96% source. ------------------------------------------------------------------------ Zelda's Lullaby (OoT)

Get it started!!!

edit 10/14/16: Time to get real with this. The project has been dead in the water for some time now, and timaeus and I have discussed it and neither of us has the time nor the interest to see it through. If anyone cares to take this project over and be its new director, please let us know. If no one steps forward in the next month, the project will be cancelled and all approved tracks can be scheduled to post on OCR in the normal cycle. ----------------------------------------------------------------------------- Hey guys! Timaeus and I started a Plants vs. Zombies project a few months back, and djp came up with the awesome title "Lawn Party: Plants vs. Zombies ReMixed." The idea was born after timaeus and I finished not one but TWO PvZ remixes. The project already has official status and a subforum. The idea is this: There are 13 source tunes (nice, lucky number!). We're looking for one ReMix for each single source. In addition to the 13 single-source mixes, I'm open to as many multi-source mixes as people want to do, those will be on the bonus disc. Timaeus and I have completed one single-source mix (Ultimate Battle theme) and also one bonus-style multi-source mix (that we simply titled "The Zombies Are Coming.") PvZ OST by Laura Shigihara completed single-source tracks: Ultimate Battle - "There's a Zomboss on my Roof" (Chimpazilla & timaeus222) Cerebrawl - "Cerebral" (Avaris) Grasswalk - "The Ice Pea's Lullaby" (Chernabogue) completed bonus tracks: "The Zombies Are Coming" (bonus multi-source mix of Watery Graves, Loonboon, Rigor Mormist) (Chimpazilla & timaeus222) claimed sources: Crazy Dave - intro theme (Brandon Strader) Choose Your Seeds - (Theory of N) Moongrains (djp) Rigor Mormist (Redg & Chimpazilla) Brainiac Maniac (Damashii!!) Zombies on your Lawn (Brandon Strader) Watery Graves (WillRock) Graze the Roof (Rexy) Zen Garden (The_Wizard_Lakmir) Loonboon (Laura Shigihara) - she's off the hook until we get closer to completion *need concept wip *need substantial update *need update (near completion) All single sources are now claimed. But anyone wanting to do a multi-source mix, go for it! The more sources you can weave together, the better. Post or send me your concept wip, and if it is of acceptable quality, you will be invited into the private subforum. The goal is to have all music, art, and trailer complete by July 31st, 2015, with a projected release date of Halloween 2015. Once all the tracks are claimed and underway, I will begin to set some milestone dates for the tracks. Any questions can be addressed to me, Brandon Strader, or timaeus222. We have Laura Shigihara onboard to remix one of her own tunes! It's going to be a killer album!

Ok so this is an interesting case study! I paneled this track one day because the production sounded good and I loved the Big Band treatment of this source. I did find it a bit empty (long stretches with no leadwork), mechanical, and repetitive, but generally groovy. I didn't compare it too closely to the source the day I paneled it (bad girl, I know). Upon listening to it again just now, it occurred to me that this mix sounded like it would work perfectly in an actual Wario game. Too perfectly. Huh, better compare to source. The mix sounded so amazingly close to the source tune that I did my neat little trick of laying both tracks together in my daw. Here is the result of that experiment: edit: mp3 removed So yeah, as good as this sounds production-wise, and as much as I love the Big Band genre, it is basically a midi-rip. At 1:55, I had to cut the source and move it backwards by about 3 seconds, but it picked right up from there. At 2:08, the source ends, but the remix continues on, using that last section of source all the way to the faux-end. There is a small amount of decent guitar soloing and bass/drums from 2:12 to 2:43. Too bad there couldn't have been more of that. Then at 2:49, there is a very odd final ending, which is totally detached and really doesn't need to be there. NO NO NO Or, does this count as an acceptable "genre change" reinterpretation? Discuss. (even if so, I'm a NO due to the emptiness, mechanical sequencing and repetitiveness)

I LOVE THIS. So well put.

I never had done this either (although T you and I tried this once, unsuccessfully), until I wrote my Molgera track for BadAss3 and it turned out way too "nice." I sent the entire file over to Redg, and he is going over my existing arrangement and making it much more evil and it is now turning into a really cool collab. Once he finishes adding that evil touch to a section, he sends it back to me and I can add even more little details to it, which has proven to be SUPER fun. Sometimes trying entirely new things is a great idea, as is working with others who have a style very different from yours. One exercise you can try is to lay out two or more VGM themes fairly verbatim, then see how you can either transition them or layer them together. Use simple themes, and simple instrumentation. Very good exercise.

Very nice minimal funky house treatment of this source. The mix is fairly conservative in terms of following the source's structure and chord progressions, but with some VERY sweet soloing and interpretation. Mixing is generally good, the bass could stand to be louder, and the bell-ish e-piano that appears on the right is a bit too loud (and I'm not a fan of extreme panning). The energy stays mostly in one gear throughout the track (making the track feel almost a bit too long), but it's a nice comfortable gear. Works for me. edit 11/12/14: After seeing Larry's source breakdown I needed to revisit this track, and I believe his source breakdown is accurate. There is a lot of noodling in this track over what seems to be the source chords, but it ends up being *very* liberal and takes the melody too far away from the source tune for too much of the time. I like the noodling a lot, but I have to agree that it puts the track out of the minimum 50% range for OCR. If you can work some more recognizable source into the noodly parts (and hopefully give us your own detailed source breakdown to follow and verify), I think this will work. The other judges have given extensive mixing crits as well which are valid, so I recommend taking a look at those as well. edit 11/18/14: The newly discovered source use puts it at 57%, although some of it is quite liberal. The production is over the bar for me, even with the issues pointed out by myself and the other judges. Reverting back to YES. YES

The guys have summed up the issues nicely. Production here is really nice, although a tad overly wet. Arrangement is clever, source is represented well. Drums sound simple but good. There are some good percussion fills. The main issues are: 1. lead writing - it is busy full time with no respite, and in some spots it feels like you went a little too far outside of the range of notes that work in the key you are in. Also, be careful when writing these melodies to try to keep some contour, what you've got here is incredibly jumpy at times. Google "melodic contour" if you're unclear about what I mean. 2. lead timbre - that main lead is a very simple square, it cuts through almost too well, has no modulation and sounds almost abrasive, especially given the busy writing. It sticks out quite prominently against the ethereal backing. 3. piano suffers from same issues as the square lead, writing is too busy at times and goes into some weird note progressions. In some sections the piano is sequenced well, other places it sounds mechanical. Piano is not a dealbreaker for me in this mix, though. The sample itself sounds pretty good. I'd recommend experimenting with your main square lead, find a way to soften it, reduce some of its harmonics, give it some modulation, or try other timbres. You may even want to switch to a different lead somewhere, for variety and to break up the samey soundscape. And definitely scale back the writing, you can certainly have one or two places with wild soloing, just not this much throughout the track. Also make sure the notes are actually working within the parameters of the key you are writing in. I realize that after three submissions of this track, you are facing somewhat of a hurdle. Take this chance to refine your craft, given the advice you've been given on all three submissions here. You may want to reach out to one or two trusted people to help you refine the leadwork on this song, BEFORE resubmitting to us again, and waiting for our reviews. Don't be discouraged, the track has a lot of positives, and with these issues solved, you'll write lots of winners! NO (resub)

I'm glad to see this one finally posted! I've always liked it!

Pedantic request for a capital "C" in Chimpazilla... thanks.