Hemophiliac

I don't get the pleasure of hearing where this came from to see the growth that everyone talked about. I trust them all and believe them when they say it. So with that in mind I'd also like to reiterate what some have said about being proud of the progress you have had. It's very important as an artist to occasionally reflect on that, see/hear the gains :) I like your interpretation of the source melody. By taking it and shortening it down it brings a different energy that the original does not have, that's a great way to inject yourself into this track. Unfortunately the repetition of the melody and drums causes the track to be static. A couple suggestions on how to improve that could be changing up or pass around the lead instrument to another or move it up or down and octave. Or you can also cut a repetition or two. The drums are fairly repetitive and change up between sections. They would definitely benefit with small variations within each sections to help keep them progressing. Overall, there is enough interpretation of the source for me, but what holds it back is the static-nature of the development. Another thing of note is the drums and the synths have very different reverbs going on. The drums have a shorter reverb and the synths have a longer tail. This is making them feel like they are occupying different spaces. I would recommend reducing the reverb tail on the synths as the reverb on the drums feels ok where they are. To summarize, the interpretation of the source in the melody is not bad and brings a different and unique energy than the original. What needs to be improved upon is the static feeling the overall arrangement has and the reverb amount on the synths. NO

Welcome to the forums @Nicole Tanner It's very nice and exciting to see first-time posts from long-time followers. I did a very quick listen through and I agree with what you said, there is one big thing that would not work out. https://ocremix.org/info/Submission_Standards_and_Instructions Under Section 4. Arrangement: Aside from the sound effects it does sound like the original sliced up in the background as well. This is well done but would not work as a submission, not everything needs to be submitted. This is a sweet vibe though, and thank you for sharing. I hope you post more things in the future :)

To open the synths feel dry. The open hat sizzle is hot, bring that down ~2db. The arrangement is solid with plenty of interpretation, but the production is what needs the most work. The parts don't feel like they blend together for cohesion so much, they feel like they are all the foreground and I'm not sure what I'm supposed to focus on. The panning is favored to the right it seems, I think it's the open hat just standing out so much. Open sections like 0:58-1:11 and 2:25-2:54 could benefit from having another soft lead play a countermelody or pads with filter sweeps to fill the space in. You give us textural contrast by dropping out parts to create less going on but what about dynamics? Could definitely use some dynamics with the track staying at close to the same level throughout. Fade out? After 4 minutes, it'd be nice to have a more refined and conclusive ending. After all of that it's gonna sound like I'm really ragging on this, but it has potential and I want to see you develop it more.

1:06 gets muddy for a little bit and then comes back shortly after. Not bad to do that momentarily, but I just want to point out that it does happen. The elements pulled in from the source are nice and don't overstay their welcome. Nice interpretation and nice solo.

The synth ostinato repeating for a long time without much of a break from it is rather tiresome, it doesn't feel like it should be the main focus of the piece. I do like pattern it plays and the timbre isn't bad, but a break or a small variation in it would do wonders on a long 5 min+ piece. I'm hearing tiny variation in the second repeat after 3:15, especially in the piano. I'd like to see those variations more as a focal point and some dynamic changes as well. The vibe is cool, and I could enjoy this while getting work done.

This is fun, the groove is nice. My main gripe is the brass sforzandos being very continuous and connected to each other when you have multiple next to each other. I think it might be helpful to give a little breath for the "players" every so often on those. After the 3 minute mark an electric piano or clavinet solo might be cool. Also brass stabs might be the "big thing" you're building up to. Just a couple suggestions to maybe inspire an idea.

Hello, and welcome to the forums. There are some textural changes as you go through the piece that help to keep the piece from being just a sound upgrade. However the dynamics do stay relatively flat throughout the piece, and the lack of humanization is very apparent as well. There is no expression, give us phrasing or dynamics to help the piece move forward. The kick drum that comes in at ~1:51 and 3:46 is very quite and lacks the punch it needs for adding a new instrument. Definitely something you want to increase if you want it to make an impact.

https://ocremix.org/info/Frequently_Asked_Questions#Can_I_use_OC_ReMixes_in_my_YouTube_video.2C_website.2C_livestream.2C_podcast.2C_radio_show.2C_etc..3F I'm sorry my reply isn't in Portuguese, but you can read here to learn more about using ReMixes for streaming.

This source is probably my least favorite on the entire OST. That said, I love it when people take something I dislike and transform it into something more and something I enjoy. I'm a sucker for the genre, and the piano here fits very well. The semi-synthwave-cinematic feel fits the source very well and I would not have imagined the direction this went in. Glad to see some work from Hy Bound after all these years!

There is so much charm and fun in this arrangement. Whimsy and joy in the winds, grandeur in the strings, and majesty in the brass. I can really imagine this from the point of view of a child walking on the beach to only be astonished by seeing large cruise ships docked along the shore. Absolutely lovely and beautiful. Well done!

I'm so glad you decided to resub this track, it's awesome! That breakdown video is great too. Very curious to find out what the right panned transition sound at 0:56 is. In a way, this feels like some of zircon's work with the big beat and guitar underlying progression, fantastic. Keep subbing more stuff!

Thoughts on the round 1 entries: Red Harvest vs. Wir Sind Team Peitsche: This one was really close but in the end it came down to production execution. Both arrangements were very good and mashed up the sources in very creative ways. I really liked the last section of Wir Sind Team Peitsche with the group chanting. That was a great way to bring everyone together onto it. A couple specific notes on Wir Sind Team Peitsche. The brass in the first 0:36-0:58 is very "blatty". Would like to hear more humanization on that section for the orchestral samples. 1:53-2:32, I didn't even notice there was chiptune elements here until multiple listens. Red Harvest: 0:41-0:50 the melody for Brinstar here is very washed out, like when you turn the wet on reverb all the way up and dry all the way down. IMO it got very buried here. Adrift Eternal vs. Back in Cold Blood (Dracula Flow): Difficult to vote for a "joke" track. When I say that I mean, the track was for laughs rather then to be taken very seriously. Back in Cold Blood: The production on the background work is pretty clean and stands on it's own pretty well. I know I mentioned it on voice to you, but changing to the Alucard audio at 3:18 of the way through was a good choice to keep the track moving forward and preventing the Dracula Flow bit from being stale. Good call on the change. Some percussive elements ping-ponging left/right are a little disorienting. Adrift Eternal: This is starting to sound like the modus operandi of Emunator at this point. I have no idea who contributed what on this. Electronic cinematic take on both themes seamlessly transitions back and forth between sources. Very well done. At 4:23 it's suddenly major for some reason did feel a little odd, but I can understand wanting to change the color at the end of the piece to bring more energy. The Heart of Atlantis vs. No Castle for Old Belmonts: This was the toughest call of the 3 pairs. For me I chose No Castle for Old Belmonts due to how the melody was interpreted, used, and embellished upon. Both had good production, and it came down to arrangement/usage. The Heart of Atlantis: The organ echoes of the guitar such as at 2:07 and 2:43 were a little awkward for having close intervals in a low register, makes them get harmonically muddy. No Castle for Old Belmonts: I don't know why, with the title I was expecting this to be country song-like "Take me home country roads". The bass is a little muddy, sounds like someone humming doubling the bass in the first ~minute or so. Not sure if that is a production issue or recording thing. The guitar playing from 2:57 to the end is fantastic and I absolutely love the embellishment here. Whip sfx towards the end is fitting and I'm surprised I had not heard it in any of the other tracks at this point. Production could have been a spoiler on this one, but I preferred the arrangement here.

0:59 - The melody from the original comes in and I think it is the same sample as the game. If you're planning on submitting that, you're gonna need to change to a different sample or instrument, because that's directly from the original game just sped up some. That also applies to the other ones you used later on as well. https://ocremix.org/info/Submission_Standards_and_Instructions See section 4 and 5 of the standards for more details. The drums are very static the whole way through and could use variation to make them more interesting and keep the track moving. The track could also really use more dynamic changes, you give a textural change, but the dynamics stay mostly the same. Fade-out ending after 4 minutes doesn't feel good either. A more definitive ending would be ideal. I'd like to point out 2:28-2:57 because you start introducing your own flavors and ideas to the track, that's the thing you wanna be doing! Add more to it like that!

"Track not found"

Very chill and lush texture. Quite enjoyable. Production sounds better on this one, compared to the last. The kick is not overpowering this time :) I am feeling the source plenty here, again like the previous i'd like to hear more of your own ideas imparted onto it. Could be things like more melodic development, countermelodies, reharmonization, a new original section maybe. The dynamic level stays pretty constant throughout as well, some contrast there would be good. You did a good job of delivering textural contrast. Since this stays relatively sparse throughout the track adding more energy as you go along would be really helpful. You do change things up texturally at the right times, so the 4 minutes does breeze by, but it could really go to the next level with more (see earlier comment about adding more of your own). The feel is mostly the same as the original, which there isn't anything wrong with, it just means you need to add more of your own flavors and spices to get it by. Really consider that if you plan on submitting.

This really encapsulated the warmth and inclusiveness of Mr. Rogers. It brings so much joy and happiness to me when I listen to it that I can't help but smile. I'm really glad you kicked my butt in the third round of the compo with this, and I'm glad it's on the front page.

The main issue I've noticed is the imbalance between the percussion and the rest of the parts. The kick is much louder then the rest of the parts. While the original source does go ham with that decending arp through the whole track, it would be nice to get a break from it or a change of pattern. Something just to give some contrast to the texture of the piece. You do a good job of changing the other parts up at good times to keep the interest going especially with it being a longer piece. When we get to 3:50 in particular it's lovely because the textural change feels so impactful. It does feel very much like First Steps still because the sound design choices feel very similar to the original too. Aside from the kick being too loud, there really isn't much else "wrong" with it. If you plan on submitting to OCR I would strongly considering adding some more of your own variation and vibe to the track. Also, some more humanization, especially with note velocities. I enjoyed the track's mellowness. It is pretty.

Big departure from the other WIPs I've heard from you stylistically. 1:09 the descending chromatic line doesn't work for me since we've had so much stuff within the key up to that point. To suddenly have the chromaticism it stands out too much. If you were to prepare it by having other stuff from outside the key or chromatic lines prior it would lessen the impact. The crescendo of the tremolo strings to start sounds very nice. I like the short vocal phrase included right before we get the flute 0:15-0:22, it would be cool if you could expand on that some more. At 0:32 the new section starts, and it feels like an abrupt cut in the audio from the section prior. Maybe there's no reverb tail carrying over or just a note that's truncated when it should be ringing out and then playing a decrescendo? See if there's a way to smooth out that transition. All of the parts, especially the solo flute need humanization. After 1:01 using the articulations with staccato notes helps the realism a little bit, but still it's very stilted and doesn't move like a human would. Velocity and dynamics in that part are what stand out as needing growth and change. I totally understand if you're still just in the writing phase and haven't got to that yet :) 0:32-0:58 pay close attention to the flute phrasing here. A real performer would yell at you for not giving any spots to breathe! Exaggerating the end of phrases with a spot of silence from the flute can allow the sequencing to sound more real. If you also add tempo reduction (ritard) at the end of the phrase it can also help with drama and a human feel as well. Arrangement has a solid start, and I'm not sure where you're going next. Devil will be in the details of getting this to sound real. Good luck :)

[This is an automatically generated message] I've reviewed your remix and have returned it to Work-in-Progress status, indicating that I think there are some things you still need to work on. After you work on your track and feel that it's ready for submission to OCR, please change the prefix back to Ready for Review and someone will review it again. Good luck!

The piano being panned right feels weird to me. Since we talked on discord and you gave me some info about the pitch correction you did, I'd like to expand on that. I think there are still places where the sax performance needs some more attention with pitch correction. 1:37-1:44 sounds like it's under the pitch. Then it jumps up to 1:45 where the pitch is right, but the blend of the two is close, but could be better. Generally the tenor sax (panned left) sounds like it's probably the one to sink down on pitch more often then the alto. This seems to be the case most often on it's lower notes. 0:17-0:31, 0:40-0:41, 1:31, 1:35, 1:39 are spots I would double check pitch on 0:34 on the alto, there might be a pitch correction artifact coming through. Generally you're looking to have parts blend with each other if they are supporting, and when they are leads they should stand out. 2:52-end does sound good and that's what you should be shooting for. I know Lucas is willing to rerecord for you, and I think the first half could benefit from it. Have him focus on blend of the two parts when the notes aren't moving but are being held out, that's when you can really hear when the pitch doesn't come together. He's really working hard on improving his performances and they have come a long way in the last year. Once you do get that, try working on a mixdown of parts that allows the listener to follow the melody and lets the background elements be supporting. You got this! I'm sorry it took me so long to get back to you.

[This is an automatically generated message] I've reviewed your remix and have returned it to Work-in-Progress status, indicating that I think there are some things you still need to work on. After you work on your track and feel that it's ready for submission to OCR, please change the prefix back to Ready for Review and someone will review it again. Good luck!

Welcome to the forums @SlickWiggler The one word I would use to describe this track is space. There's a lot of empty space in mid-ranges of the the track (around the 300-800Hz range) that needs to be filled in. This is making the track feel thin to me. For the majority of the track there's only 2 elements going on, drums and bass. The upper elements that get introduced later into the track are quiet and unfortunately don't feel like they fill that space in. They absolutely could be used to help fill that space if you work with them. Increase their volume, add stereo widening to them. You could also experiment with taking one of those parts and dropping it down an octave or two to see if they fill out that mid space more. I'd recommending finding a track you want this to sound like and comparing them side-by-side to try to get a matching fullness/sound. The kick is coming through clearly to me, so I'd say the side chaining was successful. If anything I feel you might have lost some weight by increasing the high-pass too much. That's without hearing the previous version for context. I'd also like to comment on the arrangement: I feel you did a good job here, both themes are used in creative ways and weave in and out of each other seamlessly. Don't give up, this is a solid arrangement. The potential is definitely there. Focus on getting that production up, and filling in the track more.

I'll be there! Looking forward to attending for the first time!

Got a last minute entry in. This compo was a great learning ground for me when I was first getting started. I'm grateful that I had the compo as a means to experiment and get feedback as a new arranger. Knowing that it this was coming to a close, I had to do something even if it is small. Thank you to @Bundeslang, @Doulifée, @Rexy and anyone else I may be forgetting who ran PRC at some point.

I apologize, I really should have pointed out that. Absolutely, there's improvements on this from what I remember in the initial version that I heard. Especially the ending. Seriously @Kyaku, I do enjoy your work and am impressed with your growth with only a few years under your belt.