H36T

Sorry I didn't give feedback! I saw a section for comments but I was worried the comments would somehow show up in public if I made any in the box when I voted. But now I see they only show after the voting period is ended. I'll give my comments here soon and in the future I'll do them where they are supposed to be!

I just wanna make it to the finish line properly this time haha.

Vote in!

I just wanna make it to the finish line properly this time haha.

Yeah I figure it has to do with the conversions and stuff. I'm thinking of using davinci in the future to see if it helps me get better results. 
That's a nice setup btw! Can't wait to get my old setup back. Couldn't bring it with me to Japan. 

Wow, thank you so much everyone! This one makes me really happy and I'm glad you all could enjoy the track! 
(And as more people asked in the comments: no french horn, everything you hear from brass is trombone. Alto trombone for the recitative in the beginning and + first quiet organ-verse and tenor trombone for the accompaniment and the solo at the ending.)

It's results time.
Wassup Thunder did a bonus mix
HarlemHeat360 collected 7 points and gets the last place wooden spoon.
TheVideoGamer has 9 points and gets fourth place.
TheVodouQueen gathered 14 points and gets third place.
Souperion has 17 points, worth a second place.
And the winner of PRC422 is Anachromium with 22 points.
Anachromium you are the winner. You may pick a source for PRC424. Send the source to me (with a MID/MP3 file, otherwise send a second source with a MID file) by PM, other options are PM me @ ThaSauce or by e-mailing to bambombim@gmail.com (I prefer a PM @Ocremix). Send your source as fast as you can, but before next Wednesday (10 March 2021), 11:00 AM ThaSauce time (18:00 UTC, 19:00 GMT).
You may select any source from any game, but not a source with an OverClocked remix or a source which has been used in PRC before. An overview of the past PRC's can be found in the following links (I recently updated this site):
http://sites.google.com/site/bambombim/prc
http://bambombim.googlepages.com/PRCRemixList.doc (also downloadable via the link above).
 
Hopefully I didn't make any miscalculation because I was in a rush. The winner is correct for sure, hopefully the votes are readable because I see a lot of <p> and stuff like that.
 
http://compo.thasauce.net/votes/index/PRC422 for the votes and comments.
PRC423 already started: http://compo.thasauce.net/rounds/view/PRC423

I got really busy and tired so I couldn't finish 100% but here is my submission. I also got locked out of registration and then realized where the answers were posted haha...Oh well. The link should be okay for download.
https://drive.google.com/file/d/166qewkUBGGLapLYh_8dnHzStdGnmcvOL/view?usp=sharing

I got really busy and tired so I couldn't finish 100% but here is my submission. I also got locked out of registration and then realized where the answers were posted haha...Oh well. The link should be okay for download.
https://drive.google.com/file/d/166qewkUBGGLapLYh_8dnHzStdGnmcvOL/view?usp=sharing

I'll be entering this one! Never played the game but I like the feel of this song

Thank you! The woodwinds actually showed me a lot in sound profile. I am really enjoying working more with them after I got spitfire woods. 

I'll be entering this one! Never played the game but I like the feel of this song

I'll be entering this one! Never played the game but I like the feel of this song

I'll be entering this one! Never played the game but I like the feel of this song

I'll be entering this one! Never played the game but I like the feel of this song

Hello again! I'm doing a transcription challenge for this month's February Album Writing Month and my second song was this guy here
 
I had a lot of fun experimenting with the percussion since I'm...really bad at it to say the least haha. The vocalist within me also couldn't help himself and added some tidbits there too. I won't take this any further since I can't really fathom how to make this song OCRemix worthy in terms of adding enough of my own flavor to make it original. Still, it was fun! I also lost a lot of quality on YouTube so if you want the HQ version here is a link to that as well.
https://drive.google.com/file/d/1eIT-B2M19X8rm32ZCvvJBtwrwLCzbwBa/view?usp=sharing
edit: as an aside, I'll say I know its rather loud of a recording (the HQ version at least). So maybe turn it down if you wish lol

Hmm, keep in mind I am unfamiliar with the source material but I'll try my best.
Things that are worth thinking about.
1. The one big agreement I had with the above is that this just seems like a hell of a journey. Like at no point was I able to sort of...pin down a melody or a sort of feeling. Maybe put another way I felt like it was a rollercoaster of a journey and I had no time to stop and appreciate some of the more beautiful aspects of the track. There were some really beautiful chords and moments but I think I needed more time to process them.
2. Speaking of those pretty chords. Around 2:42 starts this beautiful play on this chord progression. I'm unsure if it is supposed to be open fifths with a hint of the thirds just aren't coming out. Maybe you purposefully don't want them to be strong? I feel like here it would really benefit from that time slowing down and being able to let me gush over that little progression/motif. The same thing with the ending of that section before the next vocals. I almost feel like...it is meant to be a major chord but the the full triad is being suffocated there somehow? If this is a stylistic thing though then no worries!
3. There is a bit of an issue with the lower frequencies...which is a bit odd since the lower range seems like it isn't really being hammered a lot...I wonder why? EQ or a filter would help but I'm thinking maybe it is one instrument that might be the culprit. Maybe a bad sample...hm, curious indeed. Try EQ first or a pass filter and see what happens. Don't want it sounding empty though so be careful.
 
Lastly though, I wanna praise the amount of work that has gone into this. Obviously you put an immense amount of time making a lot of wonderful instrumentation and taking us along this journey. Surely a lot to see and take in and some real beauty there. I wish I knew more about the source so I could comment on what is being done exactly, but as a song in and of itself it surely has a lot of substance and I think you and Souperion are to be commended for that. Still, I think I come away having wondered what was it I listened to because it was so much! Give us some time to chew on a few things I think. More than anything, I think doing more with a little less here will let me really just dig into this more. Congrats on a wonderful start and I look forward to hearing more soon!

Hey guys, maybe some of you guys know of this page already, but I recently discovered Vienna Symphonic Library's Instrumentology section here
https://www.vsl.co.at/en/Academy/Instrumentology
I often compose using at least somewhat of an Orchestral profile (not necessarily well lol) and one of the things I can struggle with is the roles of the instruments in the orchestra. My background is choir mostly so this to me has been a great help. Particularly helpful though is the sound combinations section for each instrument. I'm mostly familiar enough with the instruments individually but combinations I highly struggle with. 
I hope maybe some of you guys can find use in this as well! I'll probably never own their library (nor do I need it really) but what a heck of a resource. Be curious to see if it helps anyone else as well.
 

Hey guys, maybe some of you guys know of this page already, but I recently discovered Vienna Symphonic Library's Instrumentology section here
https://www.vsl.co.at/en/Academy/Instrumentology
I often compose using at least somewhat of an Orchestral profile (not necessarily well lol) and one of the things I can struggle with is the roles of the instruments in the orchestra. My background is choir mostly so this to me has been a great help. Particularly helpful though is the sound combinations section for each instrument. I'm mostly familiar enough with the instruments individually but combinations I highly struggle with. 
I hope maybe some of you guys can find use in this as well! I'll probably never own their library (nor do I need it really) but what a heck of a resource. Be curious to see if it helps anyone else as well.
 

Lol you are too kind. I don't know much Metroid music so I wouldn't have been able to connect!

Thank you for your perspectives as always! I actually never use a xylo or a glock in this piece but there is a Celesta. The rest are pianos layered with effects to create a sound very similar to the the instruments you listed though. I think it helped soften the sound but still give the ringing tone of those instruments.
 
I'll try and give some personalization for Melody and other things too in the future. As seems to be my call, I like to uhh, stay in the lines when I make things initially. I need to learn to spread my wings some more!

Wrote this last night as just kind of an exercise but I think I want to take it to the next level. As written it's mostly just straight forward and in rhythm. Really quantized. I think though I can take some time, play some of the parts myself and really humanize it—take it slow and add feeling. There are some issues with frequencies being cluttered with the vocals but that is fixable. I'd appreciate any feedback on this take as I move forward making it feel more alive.
 

What an amazing analogy at the end. That is so helpful in thinking about how musicians as individuals like to approach their own works. Thank you for your kind and attentive words.
 
Thank you for sharing your experiences! It really does have this dual feeling when you have someone comment on what they like about what you're doing or what feel it has. As a classically trained musician (singer) I feel as though I need to like, be able to compose in proper orchestral settings at least sometimes and be able to succeed at it. Especially if I cite John Williams as one of my key inspirations. But on the flip side, the other three musicians I see explicitly in my music are Yoko Kanno, Nobuo Uematsu, and Eric Whitacre. I think the outcome so far is that I lean more towards a atmospheric sound a lot of the times.
Like you, I want to be able to challenge myself and write other things. Not just as a challenge, but because I like all sorts of music. Michael Jackson is my favorite artist and I have musical roots as a listener in hip hop, R&B, and gospel as well. I also really enjoy prog rock and electropop. I want to make music that sounds like all that too! And yet, I haven't been successful so far. Moreover, it's not the music that tends to pour out of me to the point where I hit the keys and fire up pro tools.
Maybe some of the problems I and others have is we don't know how or are unsure of ourselves when trying to  Branch out. I don't know how to make beats...but I can make 30 bars of classical ish sounding music. I think it's why I get VSTs I rarely use. Hoping I'll one day just learn as I fiddle with them. I never made music with sound effects either but I learned/am learning. I guess the journey continues on!
Edit: I just want to add that in thinking on it more, there may be a big difference between our musical influences as opposed to what one of the guys from spitfire coined as our musical heritage. Maybe...think of it as what or whose music is transparent in and actively affects our pieces being our influences. This is opposed to our inspirations and surroundings that we consumed and used to direct our paths toward music being our heritage. It more passively affects what we make and why. Something to think about.

What an amazing analogy at the end. That is so helpful in thinking about how musicians as individuals like to approach their own works. Thank you for your kind and attentive words.
 
Thank you for sharing your experiences! It really does have this dual feeling when you have someone comment on what they like about what you're doing or what feel it has. As a classically trained musician (singer) I feel as though I need to like, be able to compose in proper orchestral settings at least sometimes and be able to succeed at it. Especially if I cite John Williams as one of my key inspirations. But on the flip side, the other three musicians I see explicitly in my music are Yoko Kanno, Nobuo Uematsu, and Eric Whitacre. I think the outcome so far is that I lean more towards a atmospheric sound a lot of the times.
Like you, I want to be able to challenge myself and write other things. Not just as a challenge, but because I like all sorts of music. Michael Jackson is my favorite artist and I have musical roots as a listener in hip hop, R&B, and gospel as well. I also really enjoy prog rock and electropop. I want to make music that sounds like all that too! And yet, I haven't been successful so far. Moreover, it's not the music that tends to pour out of me to the point where I hit the keys and fire up pro tools.
Maybe some of the problems I and others have is we don't know how or are unsure of ourselves when trying to  Branch out. I don't know how to make beats...but I can make 30 bars of classical ish sounding music. I think it's why I get VSTs I rarely use. Hoping I'll one day just learn as I fiddle with them. I never made music with sound effects either but I learned/am learning. I guess the journey continues on!
Edit: I just want to add that in thinking on it more, there may be a big difference between our musical influences as opposed to what one of the guys from spitfire coined as our musical heritage. Maybe...think of it as what or whose music is transparent in and actively affects our pieces being our influences. This is opposed to our inspirations and surroundings that we consumed and used to direct our paths toward music being our heritage. It more passively affects what we make and why. Something to think about.

Hey, kinda wanted to jump into this conversation because it seems interesting and I think I can add my own '2 cents' to it.
I just started 'producing' music around early Sept 2020, and I can agree and feel a lot of what all of you are saying, even if I am new to this. I've noticed, between what I've submitted to MnP Compos and a music mix songwriting challenge this past December that, although I do try to branch out and 'conquer' different genres of music, be it New Age (the theme of the songwriting challenge), Synthwave, Hardcore, Techno, Rock--what have you--I always get the same commentary across the board, no matter what other constructive critiques or positives / negatives people perceive of my work:
"You have a good / wonderful / cool / etc concept / understanding of drumwork and percussion and beat, and it sounds LO-FI / HIP-HOP"--which may or may not work with the theme or overall piece of the compo (as it seemed to have not with the song I submitted for the songwriting challenge).
And I have a weird...duality with that and a slight negative complex now, and unsure what to do with it or how to deal with it.
Like, in all honesty, I am proud that at the very least, even if my melody or harmonics is a bit off or dissonant (which I guess comes with the terf of being a newbie, something is going to be off with what you produce until you get the professional ear for it. Maybe any Jo-Shmo wouldn't know, but your peers will know where and how you fucked up, plus or minus their own bias and nuance when it comes to music tastes.) At the very least, I seem to understand beat and rythym enough to not have a complete dumpster fire on my hands. But it's kind of giving me a stigma that everything I do, no matter the genre, is going to have the same lo-fi / hip-hop-style foundation to it.
I mean, is that a thing of growing into one's own style and I guess...trademark stamp of what makes their work, THEIR WORK, or...is that a detrimental fault to the learning process?
It's a real bi-fold quandry.
For example, I've listened to everybody's posted work on here (great stuff BTW), and even if they're described under different genre headings, I CAN hear a fundamental line of style that makes its impression on all your work, be it a string instrument you use a lot, or an orchestral undertone, or even the beat-work.
And then I thought about it further, and juxtaposed that stance with multiple songs I hear across multiple singers / bands. . .
I think we all have our own stamp to our music, that is fomulated over the course of us playing around and learning and even from our individual backgrounds. Like...I think WHY my music keeps coming out with heavy, snazzy beats as such is because I heavily grew up listening to African-American music, because I am Black. Literally since a baby I grew up listening to stuff like Miles Davis, John Coltrane, every Motown-song under the sun, and in later years, stuff like Lauryn Hill, The Fugees, Black Eyed Peas, etc. That's not to say I didn't listen to other genres. My Dad and Mom would play stuff like the Doors, Jimi Hendrix, Dr Dre, Black Sabbath, and in my teens - early 20s I listened to a lot of different heavy metal and rock n' roll and electronica music, from Disturbed to Staind to The Prodigy to H.I.M. ...It's a conglomerate of all kinds of stuff, inclusive of VGMs and RMs.
But almost a good chunk of all of that has the one foundational aspect: they all do heavy bassline and drumkit. Now pair that with the fact my father used to play and practice drumming in the house on a professional level. He never got into a band or anything, but the man knew his shit and even had different sticks and percussion kits, even if it was a hobby. So it's ingrained into my skull so much that even if I can shift in producing different genres of music, it's all gonna come out with similar bass & drum works.
Now, is that going to be a detriment or problem in the long run? I don't really know. Is it the growth of my own style? Maybe? Hell, I am just as bamboozled as the rest of you on that stance.
But I agree with Thunder and Bloo: I think in the long run, it's about building experience and making the WHOLE of a song as awesome as possible, not necessarily it's individual parts. If you're good at something already and that's your artistic stamp, let it be your artistic stamp. No one can take that away from you. It can only grow and blossom as you conquer different genres and make it your own. I've noticed every professional artist has this bent, whether it's a sample they use over and over across their songs (e.g. Snoop Dogg), or the beat (e.g. Savant), or even how they sing (e.g. Mariah Carey).
P.S.: Sorry if this is a huge post, was in the middle of a thought-flow when I typed this up ROFL.