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  1. Like
    Souperion reacted to The Coop in An OverClocked Christmas v. XIII (read first post)   
    Well holy shit balls, Batman. It's that time once again! Time to start thinking about Christmas as the temps climb to 100ºF+ around the country and people wax nostalgic about when it was cold, while forgetting all the bitching they did regarding how cold it was. The snow, the ice, the wishing it was warm again... you know, the usual mid-January stuff. And it's in that spirit... sort of... that we take our first step in getting this year's project underway.
    SO! This project is open to any and all OCR members, regardless of whether you're a posted remixer or not. And now, the details...
    When's The Project Deadline?- December 20th, 2019 at 11:59 P.M. EST.
    This is now a REALLY hard, non-negotiable deadline, since it's very close to Christmas. We've had lots of last-minute entries and updates over the years and, to be perfectly honest, it shouldn't be that way. With months of time, having to hold off as long as possible for people made things pretty hectic for myself and Dyne in the past. Treating this project like a college paper that doesn't get worked on until the last minute got annoying rather quickly when it kept adding up to lots of hurrying year after year, with last second updates to artwork and retagging/reuploading things. As such, you have until one minute before midnight EST on December 20th to get me the final WAV or MP3 of your song. After that, you're shit outta luck until next year. I need time to do everything, including possibly making a little website to host this project if Dyne isn't online for one reason or another. So this deadline's set in stone... PERIOD.
    What Information Does The Coop Need?- When you send me your final versions, I'll need what name you want to use (real or remixer handle) and the name of your remix. Please, come up with something when you send me links to the file, rather than just giving me a file called "ff6-owa-v3f.mp3" and nothing else. You don't have to tell me what song you're remixing, but I do need a name. Plus, if you have a website you'd like to pimp, supply that as well and I can add it to the MP3 tags.
    What Can Be Remixed?- Any song, really. Traditional Christmas carols, video game music, published music by a signed artist, music from TV/cartoons/anime... whatever gets your heart racing and into that Christmas spirit. This isn't an official OCR album, so you can draw from more sources than just VGM. Plus, you can take a non-Christmas tune, like the Main Theme from Space Harrier, Stage 6 Mission 2 from Metal Head, or I Defend STM from Truxton II, and turn it into a Christmasy one. So know that it's not limited only to songs that are Christmas-like to begin with. All that said, do keep in mind that if you want to submit your song to OCR later, you'll need to keep this site's guidelines in the back of your mind. But for this album, you can take it in just about any direction you want and get as crazy as you'd like (but please, no "Silver Bells" done in farts or something).
    How Long Can My Song Be?- As long as you want it to be. There are no restrictions on this, so whether it's 1:30, or 9:51 with a five minute guitar solo ala Metallica, it's all good. But again, if you want to submit your song to OCR later, keep their guidelines in mind.
    What Genres Can I Remix In?- Again, the door's wide open here. Rap, Metal, Pop, Piano-solo, Orchestral, Jazz, 8/16-bit, Barber Shop Quartet, A capella, Death Polka... it's up to you where you want to take it.
    What Format Should I Submit My Song In?- WAV or an MP3 of at least 192KB/s quality. I'll be tagging the MP3s and making MP3s from any submitted wavs, so you don't have to worry about that. But, if you'd like your website to be in the MP3 comments section, be sure to give it to me when you submit your song.
    How About A Little Music To Get Us In The Mood?- To help everyone along, here's a YouTube list of Christmasy tunes made by Ocre a number of years ago...
    What's The Website's Address Again?- It's got a new home at... http://williammichael.info/aocc/ This album will still be downloaded there as well, as Dyne will continue to host the albums on his site.
    How Do We Contact This The Coop Person?- If you've got questions, comments, concerns, want feedback, or your track is done and ready to be sent to me, you can PM me here on OCR, or send me an E-mail at thecoopscorner@gmail.com. Just be sure you remember to include a link to your remix.
    So yeah, there you go. You've got over five months to get something done for the lovely people of OverClocked Remix and the billions of listeners around the world who've become followers of our project.
    Good luck, have fun and make everyone some Nice Work™!
    Artists involved thus far...
    The Coop (director, cover artist and remixer)
    Lampje4life (remixer)
    TheChargingRhino (remixer)
    PlanarianHugger (remixer)
    Seth Skoda (remixer)
    HoboKa (remixer)
    Pinksou (remixer)
    Souperion w/Wassup Thunder (remixer)
  2. Like
    Souperion reacted to BenEmberley in Song of Healing (Majora's Mask)   
    Hey guys,
    Here is the newest uploaded video to YouTube, this is the Orchestration of "Song of Healing" from Majora's Mask by Koji Kondo.  As the original music only used piano and strings, I attempted in this arrangement to start off with the original scoring, then add more instruments for effect. There then follows a developmental part where the music builds up to full orchestra, portraying the blissful sense of relief upon being released from torment or unhappiness, followed by the original thematic material in contrasting groups of instruments to round the piece off, with a fragment of Zelda's Lullaby at the very end.
    (visuals are original artwork and in-game footage)
  3. Like
    Souperion got a reaction from L.T.W. in Madeline's Ascent [Celeste - B Side Summit (LTW Remix)]   
    Hey, no problem L.T.W. I looked up the game a bit before responding to this, seems well worth the time. And that OST, though. I'm not much of an authority on the system, but Madeline's Ascent seems pretty complete to me. If you want to get a more experienced ear on it, set the status of this beauty to "ready for review", wait a week or so, and pm a workshop evaluator for a more professional listen. Or just submit it, what have you got to lose?
    Keep mixing, this is good stuff!
  4. Like
    Souperion got a reaction from Black_Doom in Madeline's Ascent [Celeste - B Side Summit (LTW Remix)]   
    Hey, no problem L.T.W. I looked up the game a bit before responding to this, seems well worth the time. And that OST, though. I'm not much of an authority on the system, but Madeline's Ascent seems pretty complete to me. If you want to get a more experienced ear on it, set the status of this beauty to "ready for review", wait a week or so, and pm a workshop evaluator for a more professional listen. Or just submit it, what have you got to lose?
    Keep mixing, this is good stuff!
  5. Like
    Souperion got a reaction from L.T.W. in Madeline's Ascent [Celeste - B Side Summit (LTW Remix)]   
    Haven't heard something like this in a while! I might have to check out Celeste some more. More importantly, this is impressive. I hardly noticed that it lasted 7 minutes, it's very good at dominating one's attention. I'm no authority on rave style, but I am loving the inexorable arpeggios and piano-like synth. The little sound bits that vaguely resemble an alien infant babbling (sfx from the game?) were a bit strange at first, but more or less add to the sparkling, yet dark, mood of the piece. Even without memories to the game, it tugs at something in the mind. Nice work!
  6. Like
    Souperion reacted to BloomingLate in Swamped With Nostalgia ("Bayou Boogie" + "Stickerbrush Symphony" Remix)   
    This remix has been a work in progress for a long time. I wanted to mash together a number of favorite tracks from the Donkey Kong Country and Land series of games. I had a lot of trouble getting things to work well together and ended up pretty much abandoning the project (very disappointed). I decided to swap out a few instruments for the new FLEX synth in FL Studio and managed to at least finish the thing.
    It is definitely not at the quality level where I would have liked it but I don't want to really continue working on it either. I'm posting it anyway. I still find it personally enjoyable
    PS: ever since I started sharing tracks on OCR I've been having this nagging voice in my head that keeps saying "They're sure to point out the lack of humanization". This is one of the toughest things to get right for me and I don't need the added pressure from voices inside or outside my head Now, no one is actually putting that pressure on me; its just my insecurity. I'm trying to let it go, as well as weird ideas of supposed expectations people have of me.
  7. Like
    Souperion got a reaction from Eladar in Golden Sun: Wintery Imil   
    I appreciate the feed back, Eladar. I've long since stopped working on this, but it's good to have more of an idea of how to make instruments sound more alive. Thanks, and good luck with your piece going to the Board!
  8. Thanks
    Souperion reacted to Eladar in Golden Sun: Wintery Imil   
    Liking this new draft, Souperion. I like the harp at the lower registers during the early sections better, and another new detail I'm fond of is the extra harp part that's harmonizing with the original one at 1:08 now. It's a small change, but to my ear it sounds much richer than before, to the point where I wish it would go on a little longer. The more touches like this you can include in your tracks the better - interesting harmonies and counterpoint can do a ton of work in elevating your arrangements and stirring emotion in your listeners.

    Listening to version 2 and 3 back to back, I have to say the velocity and note placement changes are pretty subtle and aren't making a huge difference for me. I notice them here and there though and what you've done does help. To expand a bit on what I said before about humanization - there's a lot of other elements to it besides velocity/timing of individual notes. As an example, if you're crafting a MIDI-driven distorted guitar performance, pitch bends at the starts of certain phrases for emphasis and satisfying vibrato on the tail end of your sustained lead notes can be really impacting. A thing that's helped me a lot with learning how to humanize MIDI stuff well is to look up a bunch of Youtube videos of people playing the instrument in question live. Listen and watch real closely to the many techniques they use to vary up their performances, and you might be surprised how much you end up noticing that you never did before.

    It comes to my mind now that I wish there were places you could add glides or vibrato on your leads for interest but to be honest, this might not be the right piece for it. Your flute lead is pretty synthy and might not lend well to such flourishes. Keep all this in mind for future pieces though; it's good stuff to think about when you're still writing your parts and deciding on instrumentation.

    The vibraphone sounds good sample-wise and I wouldn't say it's out of place, but I'm also not sure it's bringing everything to the table that it could be. For instance from 1:17 to 1:48 it sounds to me like it's often mimicking the non-sustained higher string notes pretty closely and I find that I want the strings/vibraphone to be better-differentiated in their roles. I can't say I'm noticing much delay on the vibraphone either, I think that may be getting lost in the mix. Some EQ work to create more space to hear the nuances or simply exaggerating the delay effect might help if you want it to be more apparent.

    Finally, something Rozovian mentioned to me recently on my Volcanic Glass thread might be helpful to you. It's not necessarily productive to spend too much time refining a single piece. I'm going to be wrapping up Volcanic Glass as soon as I can and submitting it so I can get a judge panel review and see what I learn from that. The reality right now on the OCR WIP forums is that official evaluator reviews are very rare due to lack of staffing/time, so you might consider wrapping this up and submitting it soon now that it's been a few months. In the meantime you could start another piece and put everything you've learned while working on this one into practice from the beginning. Just some food for thought.

    Best of luck!
  9. Thanks
    Souperion reacted to Light_of_Aether in Golden Sun: Wintery Imil   
    Sounds a lot more natural now. I can't think of anything that needs more humanization. Does the vibraphone start at 2:21? It sounds okay, but gets better with higher notes. The genre would be orchestral, in my opinion. I can't think of anything else right now. Sounds awesome! Very fitting for the setting.
  10. Like
    Souperion got a reaction from Light_of_Aether in Golden Sun: Wintery Imil   
    Update Patch #3!
    This is my attempt at humanizing the track, including both note velocity and placement. There's some more arrangement work too, including the harp's introduction and some more contrast in volume. And I've started conservative efforts with panning.
    Right now, the concerns are thus: am I on the right track for humanizing this thing (is it making a difference, sounding better); is the vibraphone working (is it's delay satisfying, is it's timbre itself cohesive with the piece); what the heck genre would this even be; and what else am I missing?
    Thanks for listening!
  11. Like
    Souperion got a reaction from GSO in Dirge de Serge for Solo Piano   
    It certainly feels a fair bit more alive and less stock-like. I'm noticing some jarring notes here and there, especially during the first minute and a half. I'd suggest looking over where you are putting the emphasis (extra velocity) and balance it out ever so slightly. I'm still an amateur at the craft myself, and there are a LOT of subtle nuances to figuring out how to make a piece like this feel living. But I think you are on the right track. Try making the emphasis variation a bit more subtle to avoid those blaring parts (EX: right at 38, the high note, right at 44, right at 49.) If it still feels like the particular part needs some emphatic statement, try making it a chord or some other ornamentation. Study some piano solos for ideas. I'd suggest a few: JJT's The Flood Plain, Jormungand's Dark Star Scherzo, and jdaster64's Cocoa 'n' Cookies.
    You're getting somewhere with this, keep at.
  12. Like
    Souperion reacted to Jorito in Paths Less Travelled: Terranigma - History   
    For all the people lurking along: we just cleared our final deadline and have a total of 29 completed tracks now! Next steps are getting these tracks mastered and then package everything up and send it over to OCR staff for the next steps later this month.
    We'll keep on updating the thread with further info as we go along. Stay tuned
  13. Thanks
    Souperion got a reaction from SMS_Alfredo in "Shyless" - Remix of The Tendas' Cave from Earthbound   
    Never thought I'd find a cover of this song, especially such an energetic one! I can make out the source very clearly, and the synth(s) used for the melodies are captivating. The piece is crisp and spritely, with plenty to say in 2 short minutes. I wish it was longer, but it does feel finished at its length. Very nice work!
  14. Thanks
    Souperion got a reaction from Seth Skoda in "The Dark Carnival" (Sonic 3) [ICP Style]   
    It's a little tough to gauge an idea's viability with just a midi-esque demo, but I think that the stylistic concept alone merits an attempt. Give it a shot, you've got an interesting idea here!
  15. Like
    Souperion got a reaction from BenEmberley in Choose Your Player! (Super Smash Bros Melee)   
    Well done to you and the Materia Collective. Always felt that this piece needed more love. Your additions fit in smoothly and keep your stated intent. The arrangement is comfortingly similar to the original, which only magnifies the alterations and innovations. Nice work!
  16. Like
    Souperion got a reaction from BenEmberley in The Marine Waltz (Super Mario Bros/Super Mario World Underwater themes)   
    Stunning. Just stunning. The original underwater theme always had a waltz vibe to it, but to hear it brought out so fully and artistically is a real treat. The introduction, every single transition and ornamentation, all while clearly tied to the source, it's brilliant. I'm awed by how organically it flows, continually changing but true to it's form. Excellent, most excellent.
  17. Like
    Souperion got a reaction from Light_of_Aether in Main Theme (Mass Effect) - Orchestral Cover   
    +2 Paragon! And can we just appreciate that this was made using reaper?
    Okay, jokes aside. I enjoyed the somewhat gentle intensity of your cover. It isn't as open and spacious as the original, but I appreciate the condensed atmosphere. And I'm a sucker for choirs. The guitar (lead?) threw me off a bit, though, I'm not quite sure if it blends well with the rest of the piece. Throwing in such a lead for the part seems like a good idea, so keep working with the concept. All in all, I enjoyed the piece, good work!
  18. Like
    Souperion got a reaction from Light_of_Aether in Golden Sun: Wintery Imil   
    I'm happy that this piece is pleasing and progressing! For those of us who love Golden Sun, here's some good news: Tsori is leading an official OCR tribute album, the news of which inspired me to try making this remix. The album might make it out by the end of this year, so join me in restrained shouts of joy.
    Light_of_Aether: thank you very much! This does indeed use EWQLSO Gold. I'll be taking a look at 3:30 to see about a gentle low range inclusion there. So far, this is the only Golden Sun piece I'm working on, but I hope to try Garoh or Kalt after Deep Winter is complete. You flatter me by asking, though.
    Eladar: Thanks again for spurring so many of these updates! I'll be looking at the harp intros, smooth that out some more. I hope to get this evaluated again, so in-depth work will be in order.
    Thanks for the feedback, I hope to make this arrangement worthy of the love Golden Sun deserves.
  19. Like
    Souperion got a reaction from NyxTheShield in [DKC1] Placeholder Title - Aquatic Ambience lofi Jazz arrangement   
    Is it possible for the internet to have too many Aquatic Ambiance remixes? I propose that it cannot. More importantly: wow. Smooth like polished brass, it breathes easy, and flows freely. The general feel of your piece is consistent, but it's ever changing with with that flute and sax just doing their thing. Very nice, all around. 
  20. Like
    Souperion got a reaction from Eladar in Golden Sun: Wintery Imil   
    A revised version of Deep Winter is ready for critique:
    I included a double bass ensemble, widely interspersed through the piece to enhance the lower frequency aspect of the arrangement, as well as treated the deep synth pad with increased velocity/volume and more parts. The synthetic music box was replaced with harp samples, which I think deals with the shrillness and dissonance of the former (about which I had doubts from the beginning, actually.)  And I replaced synthetic wind sfx with real free samples.
    In the effort to variate the piece more, I made some some arrangement alterations: The original 1:47-1:54 was replaced with a slightly longer section featuring lower tones and a variation of the 2:04-2:20 segment; the original 2:45-3:00 backing part was replaced with a faster, higher part that persists until 3:14 (this was an attempt to reduce the population of the ostinato that was prevalent in the last two minutes of the song, since I like the motif but want to keep it from dominating the piece as it has); and the extra echoes on the backing violins were removed from 3:32 onward, hopefully treating the decay issue in the end.
    Gentle attempts were made to treat homogeneity of intensity and volume, as well trying to add more humanization of note velocities. As an amateur at the task, though, I’m opting to wait for in-depth efforts against mechanical playing until I’m confident in the arrangement. I hope you enjoy this new version!
  21. Like
    Souperion got a reaction from thebitterroost in Yet another Flying Battery remix   
    Well, let me first congratulate on building this from scratch. Your time investment shows, as well. It's somewhat relaxing, yet plenty active. The echoes are nicely done, without muddying things up, and the synths are crisp and clear. Your style and treatment of it reminds me of the Megaman 11 sound track, to be honest, but is decidedly Sonic material. Nice work!
  22. Like
    Souperion got a reaction from Eladar in Golden Sun: Wintery Imil   
    I deeply appreciate the feedback, Eladar, and that you've taken the time to make it easy for a layman to understand. Now, I'd better get busy, eh?
  23. Thanks
    Souperion reacted to Eladar in Golden Sun: Wintery Imil   
    Hey Souperion! I love the Golden Sun soundtracks, and I'm glad to see you're shining some light on them here (heh). You mentioned in your post that you felt you might be out of your league with EWSO/Sytrus, so I figured I'd do my best to give you a detailed breakdown of what I think is working well so far and what could be improved. This ended up being kind of a huge writeup lol, but I hope some of it helps!
    The mix is clear, and I don't find myself struggling to differentiate instruments. So you've avoided muddying things up, which is a good start.
    I find the piece a bit thin and lacking in richness though. I think this is because frequency-wise I'm hearing mainly mids and highs. You seem to have a low synth pad at times (heard most clearly right in the beginning) but it's pretty subtle. You might try beefing up the low end during the busier sections (e.g. 1:16 to 1:40) with a deep cello/doublebass ensemble or something similar. Go for slow-moving progressions with a low attack/gradual buildup on each note, and see how that sounds.
    Overall the playing style is fairly mechanical. Your voice selection is good - lots of bell/mallet-type instruments which create a nice wintry mood - but these instruments always seem to be hitting right on the beats and with the same velocity each time. In an orchestral style like this, more humanization is often preferable. Give some notes a stronger emphasis (i.e. higher velocity), while others can be quiet, understated, and/or slightly off the beat to sound more natural.
    From 0:36 to 0:44, you've got some nice melodies on what sounds like a music box, and I like where things are going here. But starting at 0:44 I'm detecting some dissonance between the pan flute and the music box (esp. during 0:54 to 1:04, after which the dissonance seems to clear up). I can't be sure without seeing the notation, but I think what might be happening here is that you're using different scales for the flute/music box progressions, so they occasionally play notes that are out-of-key with one another.
    The flute sounds close to the original song during this section, so I think the best way to address this is to revisit what the music box is doing and explore some progressions that sound more harmonious with the flute. It'll help a lot to know what key the flute's playing in, if you don't already.
    Moving on to 1:32 - the strings and other instruments are working well together here, and I'd say this is the strongest part of the piece. It's richer and has some pleasing harmonies. I'm less fond of 1:47 - 1:54 - the sense of completion at 1:49 seems a little abrupt and flat, and what comes after (until 1:54) strikes me as a bit underdeveloped. I might say end on the note at 1:47 instead - draw it out with a faded sustain, which would then flow into what you have at 1:54 to complete the musical thought more succinctly. (You might end up needing to trim out a few seconds of the song to make something like this work, but with a total length of 4:17 I'd say you're safe to shorten it some.)
    At 3:14 - the swifter, descending progressions here and the way the strings jump upward in pitch for a bit before releasing at 3:33 works nicely. It's a good change of pace, an effective variation on the original piece, and the breathing room for a moment afterward helps with the song's pacing. I'd like to hear more stuff like this so the arrangement surprises me more and seems less homogenous.
    For instance, there's a repeated musical phrase (an ostinato, more or less) that you first introduce at 1:58 on the music box, and the specific rhythm of this ostinato becomes a bit dominant throughout the second half of the song. It goes away at 2:20, but the strings pick up a close variation 8 seconds later. It's absent during 2:44 - 3:00, but returns again from 3:00 - 3:14. Then it's back at 3:40 and persists nearly until the song ends.
    So due to this, I came away from the song feeling like the progressions during the second half relied a little too much on the timing of that ostinato, and exploring slight variations on the pitches involved with it. I think your relatively sparse instrumentation is part of what made that stand out to me. It's a fine phrase to use and repeat from time to time, but I'd take a look at some of the sections mentioned above and explore different phrases you could provide for that background rhythm. Or maybe eliminate the ostinato entirely in some of those spots, allowing the piece to flow in a different way for a while.
    From 3:33 onward I like how the piece wraps up. The final staccato string notes that start at 4:02 sound clipped to me though - like they haven't been allowed to fully decay. This is especially noticable at 4:06 through to the end. I'm not sure if this is something about how your reverb is set up, or maybe to do with your original instrument samples, but perhaps you can hear what I mean.
    So to sum up: arrangement-wise, what I'd like to hear is more build + release, more contrast in the pacing, more moments where I can anticipate what the piece is preparing to say and then be pleased by what's ultimately said. I think the best example you have of this now is 3:14 to 3:33. More humanization (velocity variation/less consistently precise timing) would also provide dynamism, and I feel like some extra low-end richness (cello/doublebass ensembles here and there?) would help as well.
    Take my suggestions with a grain of salt though. Sometimes you can identify a problem in a piece and provide a solution, but that solution doesn't work so well in practice. You might find other better answers once you head back in.
    Good luck with the next draft!
  24. Like
    Souperion got a reaction from Eladar in Volcanic Glass (Sonic & Knuckles Lava Reef Act 1 + 2)   
    This is good. The use of organic sounding bells/percussion alongside synth nicely captures both vibes you set out for without keeping them too separated. You give the track enough time to warm up, while keeping it from boiling over. Heat jokes aside, the progression of dynamics is engaging and the piece has plenty to offer the listener. I sure enjoyed it, nice work!
  25. Like
    Souperion got a reaction from DarkeSword in OCR01286 - Metroid Prime "Just a Little More (Prime Edit)"   
    Has it really been 15 years since this came out? I remember being enthralled by this mix years ago, and it has failed to lose any of it's original luster. It's earned an eternal place on my playlists, an remains a musical inspiration. A triumph, DarkeSword.
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