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Rexy

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About Rexy

Profile Information

  • Gender
    Female
  • Location
    UK

Contact Methods

  • Website URL
    http://www.studiorex.co.uk

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    Reaper
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
    Piano
  • Instrumental & Vocal Skills (Other)
    Vocals (Death Metal; Female)

Converted

  • Real Name
    Beverley Wooff
  • Twitter Username
    freqrexy

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  1. Great source pick! Believe it or not, I've put more hours into Tekken 2 than any Street Fighter game - so I can relate with your blurb, Jani. It made a lot of sense for you to adapt the source into a cyberpunk feel like this. The progression goes through one loop with some developed segments, each with some unique textures and shaping. I sensed it with the arp's application on the bookends in shaping suitable for the genre; the original's polysynth adapted to the half-time breakdown at 0:52; the mid-section piano brought to the mellow plucks at 1:08 with some chord transformations; pl
  2. Contact information ReMixer name: Devastus Real name: Jani Syrjänen User ID: 24166 Submission information Name of game arranged: Tekken 2 Name of arrangement: HEADHUNTER Name of individual song arranged: Black Winter Night Sky Link to original: Comments: In the year 2077, the umpteenth King of Iron Fist Tournament begins with a bang, as the Mishima Corps' head figures are attacked by an unknown, ironclad assailant. This song is a huge nostalgia trip, I played the hell out of Tekken 2 and 3 as a kid and really liked this intro. A friend of min
  3. This track is a resub of a Direct Rejection from May 2019 - hence the prefix. -Rexy Name: Michael Hudak Game Arranged: The Legend of Zelda - Ocarina of Time Songs Arranged: Zelda's Lullaby (plus a bit of Prelude of Light at the very start and last final minute) ReMix Title: Princess's Narcan Sources: Notes: I know the main source for this is first heard in A Link to the Past...but several other remixes of it are listed under OoT, and that's when I first heard it, too, so I'm going with the flow in that regard!
  4. I appreciate how you turned this 6/8 source into 4/4 and let the new time signature dictate the genre direction - a very charming idea with an alt-pop vibe. The mixdown has an intriguing emphasis on warmth - felt more in the snare and the timbre behind your pads. If you want my thoughts on the balance, I believe the vocals should be louder in the mix as they're doing half of the melody work here. Some further EQ separation between said vocals and pads won't go amiss either, but see what happens with the vocal volume boost first and then decide. But Joel has nailed the pacing spot on.
  5. Contact Information Your ReMixer name: Ian Martyn Your real name: Ian Martyn Your email address: Your website: https://www.ianmartyn.com/ Your userid: 35158 Submission Information Name of game(s) arranged: Final Fantasy III Name of arrangement: It's On My Mind Name of individual song(s) arranged: Below the Deep Blue Sea Additional information about game including composer, system: Nobuo Uematsu, Famicom Your own comments about the mix, for example the in
  6. This event had been discussed behind the scenes, and after much deliberation, I feel it's time to spread some holiday cheer! Anyway, I'm sure by now you know how a Secret Santa works - get assigned to someone, send gifts and the like. You can do so either physically or digitally - though, whether's the most convenient option is up to you. Please use this form to add your details. This will make it easier for me to keep entrants organized, and less clutter in my PM box. The deadline for signups is November 1st at 2PM Eastern Time. I will then match people up and send details o
  7. That's exactly it! Just submit as normal, but make sure to mention you sent it to the DoD x)
  8. Hey there! 2004 is more and more of a hazy time for me, but I suspect Blue Magic tagged the track in advance before sending it into the submissions inbox (as indicated by the instructions back then). And yet, there’s no record of him sending it to OCR, which is odd. The VGMix archive (where Chrono Compendium obtained a fair chunk of coverage back then) has a similarly titled track known as “Tower of Nightmares”, and it’s safe to assume they both are either identical or follow the same principal idea. So I have a feeling you got the track from VGMix when it was active. I hope t
  9. Rebecca, you're no stranger in dealing with short sources like this - and similarly, you made sure to not only keep all three variations distinct throughout but also molded a cinematic framework through it. The tempo fluctuations and dynamic bursts are well placed, the minute-long dramatic twist caught attention off the bat while slowly preparing the listener for the slower main body, and the textural switches are all on point. Even the bridge between the second and third runs at 2:25 experimented with several ideas. You kept the chord structure, did brief re-harmonization on the oboe, and
  10. Hey The Dwelling of Duels is an anonymous competition, so it's best that you don't mention what you're arranging outright. Just participate through the DoD as normal, and then when the competition is over, you're more than welcome to submit to OCR's inbox.
  11. I wouldn't call the arrangement "straightforward" by a long shot. What you did was adapt the airship theme into a minor scale, then transposed both sources to the same key and worked with them that way. Your way of arranging is clear and distinct - breaking down the sources by sections, restructuring them to fit your vision, and using different performance techniques for further distinction. I consider that to be your trademark approach at this point - an expected one, sure, but not baby steps in the slightest. It's a good presentation, too, with a lush piano tone and render on par wit
  12. It's a simplistic take - two variations with the electric violin solo between them, and going back to the intro and A section for a sudden ending. But there are indeed some subtle variations to keep things refreshing. Firstly, credit to Max for the bass riffs in each intro use (0:00-0:28, 1:13-1:26, 2:23-2:36) being completely different. Secondly, both theme variations had completely separate leads, and the rhythm guitars handled their roles differently - sustained strums in the first, and more concentrated and muted ones in the second. The only elements that kept more of a stagnant role w
  13. There's nothing wrong with a two-textural-variation route, and I can see that with the full-on doom metal vibes (bad pun!) for the first one and a cute non-overdrive breakdown at 1:32 marking the start of the second. However, aside from the textural shaping on the rhythm guitars, the notation is note-for-note, even with the pads doing the same thing. To shake off similarities between leads, try and play the melody with some minor differences, like adding other notes, articulations, and any original lick replacing a written sustained note over 2 bars. Some methods off the top of my head to c
  14. It's not a bad thing to make an arrangement that echoes shades of the old-school trance of the earliest OCR mixposts, but to approach a similarly-styled source like that runs a risk of not having a unique character. You've given it a good go, though. You swapped out the original's bass buildup with a pattern you made yourself, cut out the melody's A section entirely for something more simple, and spent more time on the source quota using the choir build in the intro and the B and C sections to appropriate effect. The choir rise at the source's tail-end also got used well at 2:35 and 4:45, b
  15. I hate to double-post myself, but there is some big news regarding album development. This album trilogy has had a history of collaborating with the Dwelling of Duels, and so, September 2020 is the OC ReMix Crossover FF3 Month! If you main a live instrument, go check it out - if you take part and you decide to send it to OCR's submissions queue, the evaluation will get fast-tracked. Any track from the game can be chosen, though there are still some uncovered spots on the OST (including some not even listed in the OP) that would be nice to have some representation. Talking of which
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