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am i the only one not hearing enough low end? this is especially true at the beginning. the textures here just don't work for me, the drums being especially problematic. that snare doesn't fit into the soundfield at all. segments of the arrangement (for example, :25-:55 and 3:50-4:10) are really distracting on the production end. having the snare hard panned to the left like that doesn't make any sense to me. also, the different elements aren't processed so that they integrate well with each other. for more ethereal segments (example, 4:12-4:50) the panning/production works. in the straight-ahead rock sections, however, its a no-go. as darke and larry have said, there are some great ideas, and your part writing is good. i'd like to see a resubmit on this, if you're up for it. NO

oy! oy! oy!

live recording from my recital last december. can't take credit for the arrangement (that would go to the bad plus). not a pristine live recording (the balance isn't great) but thought some of y'all on the boards would like it. http://www.championvinyl.net/nirvana.mp3

6N? Yeah.

Given how hard it is to make orchestral mixes sound good, you deserve major kudos on the production end. You've got a good understanding of how dynamics and pacing play into a good arrangement. As Vig mentioned, the interlude works very, very well to keep the piece interesting. I don't have a whole lot to add beyond that. This is great work. YES

i will, once i get these damn lakota indians off my land.

we must fight. with......martial arts!!!!!!!!

shut up and do my laundry. or alternately, build my railroads.

loooooong stretches of material that are unconnected to the source. that's always going to be a problem. this sounds hawt, but there's not enough ff7. NO

quoted for truth. goddammit. i hate admitting weakness. hate. it. looks like i voted too soon. i got caught up in how cool this thing sounded, and after a couple listens to the source, my ears were willing to let a similarity to the original carry more weight then it should have. the connections to the source just aren't concrete enough for me, after comparing the two side by side for an extended period of time. this isn't the first vote i've changed. sorry leah, you deserve better than this. i apologize for how long it's taken. this is still a remarkably strong showing. i can't wait to see what you have in store for us next. god i hate doing this NO

vertexguy. cost: no man can say.

nothing is going to pass if its encoded that low. 51kbps. it sounds like it was recorded onto a graham cracker. spoiler: chris kline IS keyser soze

yes. spoiler: chris kline/vertexguy was actually the name of Kane's childhood sled

i've been rejected twice. what the fuck ocr?

if i remember correctly, that sound is my sister doing the dishes a couple rooms over. oh well.

PM Larry (aka Liontamer).

good stuff, Lee. blah, blah, blah, i don't like pokemon. sorry for the glibness, but scanning through the vote, i don't have anything new to add. there is no reason that this shouldn't be an ocremix. i will say that i like the "crunchiness" in the drums, so Larry can go to hell. YES

I think your musicianship is fine, despite what Larry asserts, you just need to improve your skills as a producer and an arranger. ocremixes tend to deviate from the source in structure. there are exceptions to this of course, but in those cases, a lot of original (or rewritten) supporting material is incorporated, or the harmony has been altered significantly. this arrangement doesn't really deviate from the source enough in either of these respects. add to that some relatively mechanical sequencing and this isn't gonna pass the bar. orchestral is ridiculously tough to do well synthetically. if you want to stick with this, i'd advise working on the arrangement the most, with some more work put into humanizing your sequencing. NO

the production lacks polish, and the arrangement doesn't bring enough ideas to the table. one of the things i'd work on is how you process the drums. they're too dry, when juxtaposed against the other elements in the sound field. beyond that, there's just not enough going on dynamically, rhythmically, or harmonically. the drums and bass camp out on the same riff for the entire song, and there's not a good shape to the arrangement. it slowly builds to a plateau and then just hangs there till the fadeout ending. NO

in agreement with larry and andy. goods ideas, poor execution. the guitar sounds really lackluster, both in sequencing and sample quality. the latter half of the song starts to drag, so you could stand to either mix it up a little more, or take the song in a new direction. this isn't a bad start. don't get discouraged, my first foray into fruityloops wasn't this successful. NO

well, you've got talent, there's no denying that. the cluttered production is a huge distraction though, especially when the 16th note patterns kick in. the snare doesn't carry any power, and the processing on the cymbals feels weird. everything is super compressed and the different elements bleed into themselves. the performance/energy is great though. i think its a big stretch to call this "aimless," as LT does, but the arrangement needs more originality, and the production needs to improve to the point where the individual elements are easier to discern in the soundfield. keep at it. NO, RESUBMIT

that is, in fact, terrible.

i'm not surprised at all. let's break it down: 1) weird looking kid 2) with no self perception *important!!* 3) makes an awful, poorly written song that sticks in your head 4) whose title is an obvious scatological reference 5) sung in a freakish baritone

jimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmyjimmy afk.

jeez jill, you're absolutely dwarfed by that guitar