Chimpazilla

Terrific arrangement, I love the slow pace. The instrumentation choices are solid. Definitely needs some better mixing though, everything is competing for frequency space and volume. This will require some creative automation. The string sample sounds fine, and I even hear some nice swells happening, but they are too loud quite a bit of the time. They need to recede into the background when they aren't the main focus. I love the dark piano, but it is a bit low-heavy and ends up sounding muddy. Cut out some low-lows, and give it a boost on the higher end to make it cut through a bit more. It isn't so much of an issue when the piano plays alone, just when it is in the denser sections. Drum kit works well I think, the drum writing gets a bit repetitive sometimes. The breakdown at 1:41 for example, could have an altered, softer drum pattern. Also, please widen hats, crashes, and high-end percussion, no need for those to be sitting in the middle. At 2:04 you've got so many things going on. String sustains, string staccato notes, piano, and a plucked instrument, all playing in a similar frequency range and at similar volume. That is a lot of competition. You can separate these things with eq notching, volume automation, stereo separation of some things, panning left or right with some things, and some reverb tricks to push things back or pull them forward. I love the two brass stabs, but they feel a bit lonely. Overall, I'd suggest thinking about what you want the listener to focus on at the different parts in the track, and find a way to bring those forward. Should be just one or two elements taking the lead at any point, and the rest should take a backseat, otherwise it is just a wall of sound. I'm loving this. Please give this a mixing face-lift and resubmit it, please! NO (resubmit) p.s. I have a sample of that Goldeneye pipe (poohm) sound if you want it, it might be a fun addition to this track, let me know if you want it! (I use it a lot myself!)

Soft lovely intro, then whammo... metal... with no real transition, I feel like that is a little jarring. To signal this a bit better, how about a rising snare pattern, or a couple of low guitar chugs, or even a white noise sweep to glue the sections together? Once the track gets going, the soundscape sounds very full, and the instruments are really competing for frequency space. I agree with Larry about the choir only serving to add unnecessary mud. For a soundscape this busy, the sounds need to be mixed (really, separated) very well, to ensure that each element is as clear as possible. I actually like the glass lead, but it does end up sounding a bit thin on top of the wall of guitars. The kick does sound boxy, could use a little more low-end punch, but it does cut through. Snare is a little weak and muted, needs more smack. The hats are too loud by comparison to kick and snare. The breakdown section from 2:21 to 2:52 is... a bit odd, maybe I'm not quite getting what you are going for there... and it feels sort of washed out and muddy. The piano at 4:09 sounds quite mechanically sequenced and could use some humanization, but it is a very short section so not a dealbreaker, but it would be nice. Source usage is fine and the energy is certainly there. This is a fun arrangement! Just gotta clean up the production and mixing a bit and it's good to go I think. NO (resubmit)

Whoa, interesting combination of instruments here, I'm loving that. I absolutely dig that you transcribed this source to 6/8. The song has such different flavors all through it. I wish I could hear the piano better after the intro. I love how the leadwork trades off from the piano, to synth, to guitar. Great dynamics, especially in the breakdown from 2:21 to 3:06. Source usage is more than enough, and the track has amazing peronalization. Soloing is dynamite. Soundscape is packed, for sure, bordering on too busy at times, but it is nice and wide and it works for me. Yes, dat snare. Impressive and enjoyable mix. YES

Gotta agree with Larry about the leads being buried. Also I'm finding the bass lacking definition just a *teeny* bit, but it's balanced well. Other than that, the track is produced and mixed very well, writing and arrangement are good, nice wide soundscape, drums are awesome, guitar work is crazy good, track has great energy, fun listen! Works for me! YES

I really kinda love this. It's a bit of a tricky source that really does call out for a trance interpretation. I like this arrangement a lot. I can definitely hear the bLiNd inspiration here. I do agree with OA that a few little surprises would have been nice, in between the melody writing. I also agree that some deeply sidechained bass would really make this. (I'm on headphones, gonna withhold vote until I can blast this on my monitors and check out the bass better) Ok, on my monitors now... kick sounds loud and punchy... but I have to agree about the bass, it really needs to be more present... louder and sidechained please, this song will be so wicked cool. Please do this soon. NO (resubmit)

Whoa, these two sources are made for each other! Remix sounds great right off the bat, nice wide soundscape, good ambiance, lots of detailed synth work with some really great effects added. Drums are varied in the different sections of the mix, with a few fun syncopation surprises thrown in. Production and mixing are really tight. That tempo slowdown I'm finding VERY cool, you surprised me and I like that, it changes mood while still staying cohesive, and the tempo change is smooth enough not to be jarring, so I'm loving that section. This is an interesting arrangement that kept my interest the entire time. Very groovy. Great job! YES

Great sources! The mix does play it fairly close the the Lighthouse source a good part of the time, but the personalization is there. What an interesting arrangement, the addition of the other sources works to make it varied but it still feels cohesive. Wonderful drum writing and syncopations. Track keeps my attention all the way through. I hear what Deia means about the synths, for example from 2:41 to 3:05 the synths compete with the lead guitar somewhat, and that whole section is nearly too busy as a result... but I think generally they fit in well enough and they definitely have some personality. I think the synth work compliments this arrangement really well and gives it some good excitement. Kick could stand to be a drop louder. Other than that, no production crits to speak of, this is really dynamite. This track will make a great addition to OCR. Nice work, guyzzz! YES

This is a very cute and fun little track. It has enough source with some nice personalization. The instrument choices are definitely campy, I love the quacky little brass synth in particular! Sfx are fun too. Some of these samples are pretty weak, the main sax in particular. I'm impressed with how well it is used though! The drums are weak and distant too, but similarly they add to the cheesy atmo created here. The mixing sounds pretty good overall, good balance, reverb levels are generally working (although most of the sfx are a bit too up-front and dry), nothing is competing too much for space. Bass could be a bit better defined. I like how you've used the bass in this track, though. Oh man those identical crashes from 1:20 to 1:29... I'd like the track a bit better if some instruments were widened somewhat, everything sounds like it is sitting dead center with the exception of crashes, hats and other high-end percussion. As it stands, the soundscape feels unnecessarily narrow. I agree the writing and sequencing is quite stiff, and a lot more personality could be added with some more groove here and there, but yet, for what this is, for that cheesy vibe, the stiffness seems almost ok... but what about adding a swingy hat pattern in the background somewhere, or some other swingy element, just to make it less robotic and more groovy? I'm torn here, this is close for me because I identify with what you're trying to do here, and I say kudos for doing the absolute most with these samples. I think in the end though, those samples are bringing this below the bar. I like the arrangement and the variety you've got going here. With some sample upgrades and a bit more groove, I might take this just seriously enough to pass it. NO (resubmit)

Wow, what a lovely source, and an equally lovely remix. The guitar playing is gorgeous and emotive. The rain is a great accent, but I feel like it drones a little bit, could have some volume variations or even a mild bit of thunder to break it up, also it seems a little dry. (edit: did I seriously just say rain was dry? haha) The guitar strums starting at 2:15 are jarringly loud compared to the rest, to the point of near clipping at 2:17. That will need to be tamed. Other than that, this seems like an easy pass if there were enough source, but it seems there isn't quite enough (as painstakingly timestamped by my fellow judges). I hope you will find a way to add more source and resubmit this, I'd love to see it on the site! NO (resubmit)

Jooj-bro! Miss you. Let's catch up. Why you no call me. love, Gamer-bro-cat

Eino's out? Did I miss that?

I'm officially out, guys. Sorry Brandon, but I enjoyed this compo very much anyway (it was my first one!), and 9/10, would do again. Hopefully the next one you do Brandon will be less jammed up against the holidays. Electronic and orchestral production and mixing are entirely two different beasts! They each have their own challenges and I'd say they are equally difficult to do, just in different ways. I have not done a rock song, so I can't comment on that. Good luck to everyone still in the compo!

Btw, THIS is the staff dentist:

Since the medical care is an HMO, just make sure that you don't select Dr. Acula as your primary care doctor. (cue Mitch Hedberg)

Yup! With 100% benefit eligibility following 20 years of service. Includes free dental care!

Omg Avaris this track is so unbelievably cool... whatever you did here, it's workin'... I'll give more extensive feedback when I can, but dang, I love this... Tuberz yours is also excellent... you mean I have to vote between these two? Eeek... *is reminded of a similar situation that occurred earlier in this very compo...*

I didn't listen to the first version so I'm basing these thoughts on the resub. Ok so the source is almost a slowed-down Ragtime genre, and your remix is orchestral, nicely done! You've certainly covered the source material quite well here. Fantastic arrangement and terrific part writing! You've created a very nice full orchestral soundscape, very impressive! I have a couple of nitpicks... the bass drum that appears at 0:21 is much too loud and up-front. It would never be that close to the front or mic'ed like that in a real orchestra. I find all of the drumming a touch loud for orchestral. Snares should be barely audible. You've used the samples quite well I'd say, the harp work in particular is quite impressive and lovely. I only have one big humanization nitpick here: that piccolo trill beginning at 2:31 lasting until 2:46... gosh that piccolo player has huge lungs! Song has a couple of different endings that seem detached from each other style-wise, and with nothing bridging them, but they sound really good. Really nice track! YES

^this^ for sure, #1 resource for me. And rip things from Youtube. Also you can make things out of your own synths, and even record yourself or random life stuff and warp the heck out of it! All fun techniques.

Brandon, I love this compo idea, hate the timing. Maybe another one in June, hhhmmm?

Not a terrible idea here... lemme listen to that boss source here shortly, and I'll pop in with my final yay or nay as to what I'm doing this week. (spoiler: I'm super busy, haha!)

This is fantastic, Argle! Really creative use of the main melody, and using the little motifs as fills as well, and the addition of the main Zelda theme is dynamite. Lovely soft ending. Great dynamics, terrific arrangement! I do feel like your instruments (strings, brass, winds) all need to be humanized. Even lesser samples can work well if they are humanized properly. It is a time consuming (and let's face it, un-fun) process, but it really makes a production like this shine. Strings need to play in swells, you need to keep in mind how people play strings. Watch some videos of strings being played, and see how they swell louder and then recede between passages. Brass and winds play in swells as well, keeping in mind the limits and characteristics of human breath. The lead clarinet at 1:49 is a good example of non-human playing, those notes should really fade toward the ends as the person's breath gives out. Make some automation clips and play around with this. The above advice will only serve to make a great arrangement even better and I hope you will look into this for future mixes. Glad to give this tune a big fat YES

There are some very interesting ideas here in this trancey mix. I’m not really feeling the chip timbre at the beginning or in the outro, it is too loud and dry, and just doesn’t fit in well with the lush soundscape that follows it. Maybe with some automated modulation or reverb to blend it in when the pads begin, the chip blips wouldn’t feel so tacked on. The violin lead is lovely and well performed. It could be mixed to blend slightly better with the soundscape though, it is a bit up front. I like how you brought the strings back into the mix later on, it adds some great personality to the mix. The lead synth at 2:08 is a bit odd, it has a strange pitch envelope that I find distracting. That whole section is quite long and repetitive, 2:08 to 3:08 is an entire minute of repetition. The section starting at 3:08 is dynamite. It gives me chills. The plain saw lead there could use some modulation or automated vibrato or something, but even without it, I adore the writing all the way to 4:55. Some additional personality on that saw lead would really be amazing. The drums are on autopilot, and hey that's trance... but a few variations couldn't hurt. Kick is almost too loud but could use some better definition and more punch. The claps are very simple and dry and unvaried and center-panned which is unfortunate. The track is mastered quite loudly, coming close to distorting in some spots. You may want to dial back the gain on the limiter, just a drop. Great ideas here. A few mixing fixes, a bit more variation up until 3:08, and I think this one will be a winner. Fix it up please! NO (resubmit)

I absolutely love this source tune with it's 7/4 timing. The remix is really interesting and creepy, perfect for an overture to some epic tragic opera or a really exciting scene in a horror movie! The combination of time signatures layered over one another creates a massive amount of dissonance right away. I get what you're trying to do, and I actually love the concept, but I think you have to be careful with this and really make sure that the composition still makes sense, and for me the writing is a bit too chaotic. I am learning about orchestral mixing myself right now, and what I've learned is that the orchestra is meant to sound like a "homogenous wall of sound" with the instruments working together for the most part, while some instruments do interesting things here and there. Strings in particular are meant to really be cohesive most of the time. If you think about it, in an orchestra, no one is running up to a mic in the front to do a solo and then returning to their seat! It is already tricky to mix orchestral instruments properly, even from the same library, as the samples often come with tons of reverb baked in. In this case, I am hearing samples that have come from different libraries and some of them sound much more upfront than others, and that detracts from the overall cohesion of the piece. The writing has so much dissonance, which I believe is intentional, but I feel like a little more writing cohesion between the strings and brass would compliment the chaos just enough without the piece feeling so unstructured. The breakdown with the flute however, is absolutely lovely. I like the bongos and white noise sweeps actually, but they feel a little tacked on and up-front, and could be blended in a bit better with the soundscape and be more subtle, since they aren't really inherent in an actual orchestra. Overall, awesome and bold ideas here, the execution just needs a little improvement. I do hope to hear this one again though! NO (resubmit)

This is a tough call. There is so much to like about this track. I really like the mellow, pensive and moody atmosphere you've created here. The writing and arrangement are really very nice, mixing is solid and the source usage is good. Yeah the guitars are fake, but I think they are used well enough. I'm happy enough with the drums. The biggest issue for me is the piano and string samples. The piano playing sounds quite mechanical. This confuses me because I believe you actually played it, so it must be that your sample isn't velocity sensitive. I could make all kinds of suggestions but I think it comes down to getting a more realistic and velocity-sensitive piano sample. The piano sounds the most fake at the 6/8 section, where it is exposed and alone, and you've high-passed it for "old radio" effect there too, and I love this idea but unfortunately it makes the piano flaws even more noticeable. The strings are another issue. Often in this mix, the strings and piano are together, exposed as a pair. The strings sound very noticeably fake to me, not so much due to a bad sample, but because they haven't been humanized. The strings have a very slow attack which drags down the sections where they appear. Also, real strings play in "swells" and not straight volume all the way through. Humanizing strings properly is quite a job, if you want to do it right. If it's going to be this exposed, it has to be given more attention. This arrangement is unique because it is so mellow. There seem to be buildups that lead to more mellow sections rather than more exciting sections. I think this could work better if somehow some more excitement were introduced at some of the transition points, but this may just be my opinion. The 6/8 section could be transitioned better, it feels a little tacked on as-is, but it's ok. Regardless, the arrangement works and I like it. I think this track is close, but really needs those piano and string issues fixed. I hope you'll fix this up and resub it, it is lovely. NO (resubmit)

Hey Light Bracket, how's the remixing coming this week? I'm looking forward to hearing your stuff! 90% chance I won't be mixing this coming week... I've sorta become a little... *ahem*... BUSY haha! Also, it's just so darned close to Christmas and that means many different types of busy. Who knows, maybe I'll pull something off at the last minute, but just a heads up, I'm wishing the best of luck to Chernabogue and evktalo on this next round.