Hemophiliac

I really want to talk about how this track makes me feel.  That's not something I usually talk about, but this seems to be the appropriate time to do so.
Optimism and hopefulness.  Wonder and amazement.  Eyes open to the possibility of a new world or first-time experience.
This is truly an ode to your son as I know you will give him everything possible within this world.  I have no attachment to the source or Final Fantasy XIV at all, and the thought of all of this has brought joy and warmth to me today.
Stunning, emotive, and breathtaking.  Bravo.

Would be cool to hear either more modulation on the synths or exaggerate the modulation that's there now, because at times the synths do feel stagnant.  Taking 1:30 to get a fuller sound isn't quick and could potentially lose some listeners.  Feels normal for the genre to have long builds like that though.  The problem is now at 1:55 it's back to a pared back section with less going on.  If you're gonna take 1:30 to build up to full, at least give more time in the full section to balance it out.
The same goes for the end section (4:31-5:40), feels long and drawn out and doesn't really go anywhere or it's just an incomplete and unwritten section.
I dig the idea overall, just needs refinement and work.  Definitely workable!

Losing much of the bass movement at 1:30, that phrase doesn't cut through as well as it should.  I think the pad and the bass may be stepping on each other's toes and occupying too much of the same space.  That pad is absolutely gorgeous though.  The addition of the kick is also adding to the full muddiness in the low end too.
The piano that comes in late in the track (4:40-5:20) should definitely come through the mix more.  I do like the addition of the piano itself, it helps bring extra energy to that final climatic section. I'm also feeling like there's a lot missing in the higher frequencies in the mix, I know you occasionally have that FM bell synth come in but maybe it's not often enough?
I also agree about getting more percussive variation, I know you'll get to it in time.
Very lovely so far, can't wait to hear more!

Thanks for the reply Hemo! Yeah, the higher registers is a mix down flaw... I was screwing around with my Ozone master template (I tend to work it out on the fly and as I go along as a guide) and I cut the higher register too much! 
The bass frequencies I haven't even really paid attention to; it's basically there as a guide at the moment, and I think I will change the bass instrument completely. The M1 Fretless is nice, but yeah, I don't think it's the right fit, and it's a spectrum hog. I can't cut it without losing what makes it great, so new bass it shall be!
The Piano I also agree on. It was even softer earlier, but I'll definitely bring it through!
Thanks for the feedback!

Consider shortening the length of the bass notes (or maybe it's a low pad) so that they aren't playing as much.  Similar to how you have it at 1:28 and after.  It will help give space to the other parts, and sounds much better.  I'm not sure what it is, but the beat isn't gelling with me for some reason and i'm not sure why.  Consider adding a hi-hat to it to help fill the space maybe?
Changing the lead sound at 0:23 is a good call.  Switching up the lead to other instruments is a good way to keep the listener interested.

Evaluation:
Don't worry about the vocals sounding robotic.  They fit in the genre that you're going for.  Interesting source, haven't heard it before; thanks for sharing it!
It doesn't feel fully developed yet even though the original is short.  It feels like there is still space for more exploration and development with yours coming in at 1:49.
Low end does feel muddy as the bass takes up a lot of space, make sure you're applying EQ on it to remove unnecessary frequencies on it and EQing any reverb that may be on the bass as well.

After Measure 26, at 0:46 when everything comes back the track gets very full and looks like you really pushed the levels to be as loud as possible.  Gotta keep some space in there for all elements to come through and have breathing space.  You could achieve this with remixing the levels or through utilizing compression to duck certain elements out of the way.  It's during this section that the percussion gets nearly buried completely and can barely make it out.  You want to have the mix look more like the first half in the image above, you can see all of the peaks clearly and there's space for all of the elements.
Does the vox have a lower harmony?  It sounds like there's something maybe a 5th below the melody line, but I can barely make it out.
Maybe try looking for another track that sounds similar to what you're going for here and reference it.  Using comparison could help you clean up the mix if you really listen critically.

Evaluation:
Very enjoyable track, even if it's quite busy and muddy.
Arrangement feels like it's in a good place, and I'm definitely getting a source dominant track.
Compositionally, we have distinct beginning, middle, and ending.  Good, take us on a journey and tell a story.
Production is where I feel another look needs to be taken.
The bass is huge and some EQ to sculpt it could help a lot, I'm thinking the high end of the bass synth needs to be reduced some.  Might help to do this to create space for all of the other parts going on above it.  There's a lot going on above the bass to be causing mud too.  Definitely look at cutting frequencies out of other parts as well to make space.  I struggle to really hear the arps at times, especially when the guitar is going because they both share a lot of the same space.  Also pumping compression will also probably help too.
The reason why you feel it lacks "Oomph" as you say is because there's no space in the mix for the parts to breathe.  When you can adequately make space with ducking or EQ it will let the other parts come through better and feel stronger just because of contrast.  Right now it's a bit of a sound sausage and it's all peaks on the waveform, no valleys (except the intro because of the low cut)
TL;DR look at production to find a way to make space in the mix for all of the parts.  Nice work so far!
 

I can't help but smile while listening to this.  The arrangement is not at all what you would expect to hear from the source, but this silly polka is what I expect from @General Grunt.  Nice work to everyone involved.  Prost!

Fantastic! I'll make those tweaks, get my submission together and I'll let you know how it goes!  Thanks for all your help!

Project Director: @Darkflamewolf (Director of Arcadia Legends, Mizar Attacks!, and SeeDs of Pandora)   Project Concept: After much prodding and poking by a multitude of people/remixers, wanting me to get this Star Fox album project off the ground, I decided it's high time to get the pitch started! Hot off my take on the SeeDs of Pandora album, I figured we could do a similar thing where we had 'themed' discs with tracks that best matched the core essence of what the disc was aiming to be. However, since I'm not sure the overall interest and response to this album, I'm not going for a large multi-5-disc album like the FF8 one. Instead, I'm going to start off with a smaller 2-disc scope and see if we expand from there or get enough tracks to fill the entire ambition.

To sign up, you must join the Community Remix Album Collaborations Discord server. We use it to communicate between all members on the project and makes things insanely easy to coordinate and keep track of the project as a whole. Once there, you can find the Google Form to submit your claim on a track and be part of the project!
Discord Link: https://discord.gg/T4XhB8TR   The two Disc types*: - ACTIVE: You can interpret your chosen track into any genre/type of music you want, but it needs to maintain the frenetic feel of the original track. It's basically giving the Star Fox fan more of what they want. They got a fast-paced, edge-of-your-seat Corneria theme? Well, we'll give them that and THEN SOME. Keep it active! Make it hard, fast, loud, crazy - go wild! These are tracks I want to really turn my speakers up high and just rage/rock out to! Let the walls pound with the beat.
Note: But what if you want to remix a slower song from the OSTs into a crazy, active style? YOU SURE CAN! If it is active and fast, it belongs on this disc, regardless of the original source tune.   - INTERPRETIVE: This disc is for everyone not looking for those crazy times, but wants to explore the melodies and themes beyond their original incarnations. Complete freedom of genre, style and mood. You can stay within the genre/style/mood of the original track or you can go off in wild new directions with it and remix it in a way nobody has ever thought of. Can we have active tracks on this disc? Sure, but those probably won't be the focus, but that's not stopping you from making some beats. This is truly the 'freedom to remix' disc. So, if the first disc was giving Star Fox fans more of what they loved, this is giving something they never knew they needed! Be unexpected! Don't repeat what has been done before - do something fresh and new with these tracks if you can!

* - More discs and their types will be added depending on how big this balloons as a community project.   --- QUESTION: What if a track has already been claimed by another, but it's for the ACTIVE disc and I want to do the same song more INTERPRETATIVE, can we both claim it?
  ANSWER: YES! However, this is the only instance doubles can exist. We can't have two Star Fox 64 Corneria's on the ACTIVE disc, but we can have one Star Fox (SNES) Corneria on the ACTIVE disc and one Star Fox 64 Corneria on the INTERPRETIVE disc. One variant per disc. Likewise, each Corneria theme is different from game to game, so we CAN have Star Fox (SNES) Corneria on the ACTIVE disc and a Star Fox 64 Corneria on the ACTIVE at the same time since, if you listen, they are different themes for the same place - this also applies to any track claims on the INTERPRETIVE disc.

QUESTION: What if a track I want to claim isn't on these track listings?

ANSWER: Then when you fill out the Google submission form on the Discord server, claiming a track, request it to be added to the list and that you're claiming it! ---     TRACK LIST   I am listing all available tracks from all Star Fox games, but that does not mean they all need to be claimed/covered. We'll take whatever we can get, but this album is meant to be a tribute to the series as a whole, thus the entire listing.   Star Fox (SNES)
1 - Title Screen
2 - Course Map Select
3 - Corneria
4 - Meteor
5 - Titania
6 - Fortuna
7 - Asteroid/Venom-Orbital
8 - Macbeth
9 - Space Armada
10 - Sector X/Sector Z
11 - Sector Y
12 - Venom Base
13  - Boss (Any planet theme or multiple medley)
14 - Boss (Andross)
15 - Black Hole
16 - Ending

Star Fox 2 (SNES)
1 - Title Theme
2 - Records
3 - Andross Returns
4 - Star Map
5 - Venom
6 - Titania
7 - Macbeth
8 - Eladard
9 - Meteor
10 - Planet Base Boss
11 - Fortuna
12 - Flotilla
13 - Missiles
14 - Battle Carrier
15 - Space Boss
16 - Star Wolf Team
17 - Satellite Platform
18 - Astropolis
19 - Astropolis Boss
20 - Andross
21 - Staff Roll

Star Fox 64 (Nintendo 64)
1 - Title
2 - Select
3 - Map
4 - Corneria
5 - Meteor
6 - Titania/Macbeth
7 - Sector X
8 - Zoness
9 - Area 6
10 - Venom
11 - Sectory Y/Solar
12 - Fichina/Sector Z
13 - Bolse
14 - Katina
15 - Aquas
16 - Warp
17 - Boss A-C (Any theme or multiple medley)
18 - Star Wolf's Theme
19 - Battle
20 - Andross
21 - Final Battle
22 - Staff Credits

Star Fox Adventures (Gamecube)
1 - Main Theme
2 - Main Menu
3 - Krystal vs The Galleon
4 - Krazoa Palace (all variants)
5 - Krazoa Shrine
6 - World Map
7 - Arwing
8 - Thorntail Hollow (all variants)
9 - Sharpclaws
10 - Ice Mountain (all variants)
11 - Dark Ice Mines (all variants)
12 - Puzzle (all variants)
13 - Boss Galdon
14 - Volcano Force Point Temple
15 - Moon Mountain Pass
16 - Lightfoot Village (all variants)
17 - Cape Claw
18 - Cloudrunner Fortress (all variants)
19 - Ocean Force Point Temple
20 - Krazoa Test (all variants)
21 - Walled City (all variants)
22 - Boss King Red Eye
23 - Dragon Rock
24 - Boss Drakor
25 - Andross Battle
26 - End Credits
All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you.
 
Star Fox Assault (Gamecube)
1 - Theme of Star Fox Assault
2 - Title Screen
3 - Mission Briefing
4 - Theme of Great Fox
5 - Oikonny's Fleet
6 - Fortuna
7 - Boss 1 (Oikonny)
8 - Katina
9 - Sargasso
10 - Fichina
11 - Asteroid Belt
12 - Boss 2 (Pigma)
13 - Sauria
14 - Corneria
15 - Theme of Star Wolf
16 - Boss 3 (Aparoid)
17 - Aparoid Homeworld
18 - Homeworld Core
19 - Boss 4 (Aparoid Queen)
20 - Final Boss
21 - Ending
22 - Staff Roll

Star Fox Command (Nintendo DS)
1 - Main Menu/Select Screen
2 - Where is Star Fox?
3 - Main Headquarters
4 - Select Your Training
5 - Faithful Friend, Rob 64
6 - Planet 1: Corneria (all variants)
7 - Great Leader/Fox McCloud
8 - Mr Genius/Slippy Toad
9 - Planet 2: Fichina (all variants)
10 - Boss Theme
11 - Lucy Hare/Bunny of the Skies
12 - Oikonny Strikes
13 - Planet 3: Aquas (all variants)
14 - The Loner/Falco Lombardi
15 - The Skillful Flight of Falco
16 - Sector X,Y,Z (all variants)
17 - Asteroid Belt (all variants)
18 - Battle with Emperor Anglar
All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you.
 
Star Fox Zero (Wii U)
1 - Star Fox Zero Theme
2 - Main Menu
3 - Prologue
4 - Corneria
5 - Crisis-Fichina
6 - Monumental Crisis
7 - Enemy Down
8 - Boss A
9 - Stage Select Screen
10 - Sector Alpha
11 - Inside the Salvadora
12 - Activate Security System
13 - Area 3 - Neighboring Space
14 - Pigma Appears
15 - Inside the Colony
16 - Hurry, Star Fox
17 - Mobile Weapon Gigarilla
18 - Zoness
19 - A New Crisis
20 - Asteroid Field
21 - Sector Beta
22 - Star Wolf's Theme
23 - Fortuna (all variants)
24 - Boss B
25 - Titania
26 - Sector Gamma
27 - Boss C
28 - Sector Omega
29 - Interplanetary Combat Ship/Attack Carrier
30 - Return to Corneria
31 - Andross's Trap (all variants)
32 - Venom
33 - Corridor of Illusion
34 - Dr. Andross
35 - All Clear
36 - Credits Theme
All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you.
 
Reference Links:
Star Fox OST: https://www.youtube.com/watch?v=byIjMomjWkA
Star Fox 2 OST: https://www.youtube.com/watch?v=oODu0MAG9l8
Star Fox 64 OST: https://www.youtube.com/watch?v=8FdW6cTHs4c&t=1s
Star Fox Adventures OST: https://www.youtube.com/watch?v=RSE3q9ktpy8
Star Fox Assault OST: https://www.youtube.com/watch?v=b9naJ4i6fO8
Star Fox Command OST: https://www.youtube.com/watch?v=xiEfudt7Vy4&t=1s
Star Fox Zero OST: https://www.youtube.com/watch?v=55N8LLKYIy8&t=1s

Best sounding mix (in terms of balance and production) from Lucas to date.
I'm here for the awesome organ work.  Blues structure helps keep this one from going off the rails because it's wild and very fun.  Great work!

Something happened in the second half with the snare that's causing it to be chorusing.  I start hearing it at 2:04 and through to the end.  It happens on most, but not all of the snare hits after that point.
Nice job adding variation to the bass and drums in various places!  They definitely help and prevents the track from getting stale quickly.
1:19 and 1:28 still have some kind of distortion going on.  Like I said before, it might be clipping or it could be some other distortion effect getting too hot for a moment.
At this point, those minor issues could be addressed and then it's up to you to decide how much you want to add things to take this to the next-level.  When I say that, I'm talking about ear candy.  Melodic embellishments, additional background elements that change (like synth modulation), or anything else you can think of that will add interest to the track.  Those things are not necessary, but recommended if you want to take it to the next-level.

Excellent feedback, thanks dude. The section where the bass takes the lead is actually one of the brass lines repurposed. I deliberately wanted to keep this stripped back as I have a tendency to succumb to feature creep and end up with way too much in the soundscape cluttering everything up. I'll take your feedback and see what I can implement. Thanks again!

6.5 years since the last track...too long, give us more!

The detailed synth work and interplay of variation on rhythm is superb. Very enjoyable, and it's gonna be tough to get this earworm out of my head.  The chip arps are a particular stand-out for me as they seem to come out of nowhere, but feel like they belong.  This track would not be the same without them.  Awesome work!

He's talking about the chords build upon those scale degrees in the parallel minor key, not the scale.  Don't think about the key of F major.  He's only talking about the keys of G major and G minor.  So each time he shows a chord symbol at the top of the staff he's indicating what chord it is not the key.
So a chord built upon the third scale degree of G minor is Bb major.  If you build a chord on the seventh scale degree of G minor you get F major.  He's making an assumption about "generic" sound based on his own experiences.
When notes and chords are "borrowed" from relative major and minor keys, it's usually done to change color or add interest.  The composer chose to do these things to achieve a sound more interesting than using just G major.
I hope that helps in your understanding.

This is a very good explanation, and I appreciate you answering in a way that isn't confusing for me. The part that confused me about this video is that he uses the G major chord. At least I assume this because it says G and not Gm. So that's partially the reason I got confused as to why he said it was borrowed from the parallel minor key while showing in text "Both borrowed from G minor". But after reading your post, I think I now understand where the B♭(sus2) is coming from. I'm going to go ahead and keep the information you shared so I have a better understanding in case I somehow forget in the future. Thanks again!

He's talking about the chords build upon those scale degrees in the parallel minor key, not the scale.  Don't think about the key of F major.  He's only talking about the keys of G major and G minor.  So each time he shows a chord symbol at the top of the staff he's indicating what chord it is not the key.
So a chord built upon the third scale degree of G minor is Bb major.  If you build a chord on the seventh scale degree of G minor you get F major.  He's making an assumption about "generic" sound based on his own experiences.
When notes and chords are "borrowed" from relative major and minor keys, it's usually done to change color or add interest.  The composer chose to do these things to achieve a sound more interesting than using just G major.
I hope that helps in your understanding.

Evaluation:
There's a lot to like here, even though it's "conservative" you've added quite a lot of subtlety to the track.  The original is basically solo acoustic guitar after all!  Love the style, and you know I'm a sucker for the choir.
All of the added strings carry some very emotive work.  Their new countermelodies you have added is the highlight for me. IE (1:06-1:26) is heart-wrenchingly beautiful.
After the opening ends, we are introduced to a new element; choir!  This is where the majority of the problems lie for me.  The attack on the samples is lagging just so slightly behind the beat and it's very noticeable especially when laid next to the piano as it is.  I'd suggest to try a couple things:  try getting more of an accent whenever there's a reticulation of a note or move up what's there currently to line up with the piano better.  The other aspect of the choir is that it sounds like it's in a different space than the other parts.  The choir is pushed back in the space and the piano and strings are much closer to the front.
Definitely address the humanization as you mentioned as well, can't forget that.
If you want to take it to the next level, my idea would be to bring back the cello towards the end playing some more lyrical and interesting countermelody to add to the choir.

Thank you for the feedback! I'm glad you liked the adaptation. The length of the track was limited due to the contest's requirements, and the main focus was to keep the main melody almost identical to the original game's tune. However, I've been considering creating a longer version with more variations.
Regarding the mixing and mastering, it's true that it can be challenging. I tried using an online mastering tool this time, and in Cubase, I only adjusted the volume levels of individual instruments. I'll definitely try your suggestions and work on improving the mix and master. Thanks for the advice!
This style of music is quite new for me, and I don't listen to it much either. That's why I'm especially happy that both the audience and you enjoyed it! If I find some time this summer, I'll make some modifications and try to create a more refined version. Thanks again for your support and constructive feedback!

Nice changes!  The ending is great.  Although, you should definitely humanize the piano in that new ending now, it's rather stiff and velocities feel very similiar.  Exaggerate the velocites some to give a more human feeling.
Something that didn't occur to me before in the loud piano section 1:04-1:20 was the dryness of the piano.  I think I was more concerned with the overall volume.  Definitely could use a touch of reverb here, similar to how you have it in other parts of the track.
Very nice work.  I think you should fix up those minor issues and submit this.

Here is the new version. I think the ending is more telegraphed now, and the drum fills are less stiff.

First of all, welcome to the forums!
Thank you for sharing the story, I hope you'll be able to create more and more with time.
It's lovely to hear a first attempt from someone new that's already pretty strong as is.  I like this arrangement, it has the changes I look for in a remix.
0:16-0:21 and 0:24-0:29 Has a background synth off-beat and it feels like it lands on unusual beats as well.  The synth works, but where it lands feels odd to me.  It comes back later at 1:54-2:02
1:04-1:20 piano is SUPER loud, definitely look at reducing that some.
Look at your drum fills such as 0:47 in the snare and add some more exaggerated velocity differences into those rolls so they don't approach "machine-gun" type fills.  I find this is especially important when using acoustic-style drum samples.
1:46-2:02 Nice original additions.  I dig the change to half-time right before it.
Ending feels sudden and comes out of nowhere.  How you ended is fine, it's just sudden.  If you wanted to elongate that some it could help it's suddenness. I suggest to do a slow in tempo (ritardando) into the last few chords and hold out the last chord longer.
Overall, very solid arrangement; there are just a few minor production elements that should be looked at.  Awesome job!

I've been producing music for quite a couple of years, but until recently, I never really cared to share it. After my father passed away last year, I could not make music anymore, until last week, when something unlocked. I dedicate this track to him.
Production standards are high on OCRemix, and I don't know if this is considered good or not, I tried to make this spin on a classic song a fun listen. But I am looking for any sort of actionable feedback so I can improve as a musician and producer.
Thank you.

Hey folks, it's been years (decades?)!
I'd stopped doing music for a while but got back into it recently and made an instrumental rock guitar album with strong retro video game influences.
Allow me the shamelessly plug it @:
Spotify: https://open.spotify.com/album/1J4ORYXownWtYqcNjVevdm

Apple Music: https://music.apple.com/album/un-autre-adieu/1681984400

YouTube: https://music.youtube.com/search?q=Pascal+Jette+Un+Autre+Adieu
Or delete this if this is against guidelines ¯\_(ツ)_/¯

As always, Hemophiliac, your feedback is much appreciated.  You are a generous scholar.
Noted about the compression, I feel like mixing and mastering are what separates the novices from the advanced and I am still very much in the former category with lots to learn.  The drums are actually sample and were the closest to what I had in my mind's ear after trialing so many different loops.  Problem is the sample comes with that strange compression fade out on a few of the kicks and snares so I'm kind of up a creek there.  I have no doubt I'm making it worse, but I think I may have to revisit what I want out of the drums in general.
You are also correct that the Chrono Trigger song is the back seat to Shinra here, which was sort of a natural evolution as I laid things out.  You are not wrong.
Time to get back to work, and thanks again!