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Rexy

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    3,493
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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. Contact Information Your ReMixer name - glenji2k4 Your real name - Glenn Murawski Your email address - Your website - gmmtunes.com Your userid (number, not name) on our forums, found by viewing your forum profile - couldn't find this Submission Information Name of game(s) arranged - Legend of Mana Name of arrangement - A World Unknown Name of individual song(s) arranged - World of Mana Additional information about game including c
  2. Hello OCR team! I'd like to submit an arrangement from a quite popular theme. ReMixer name: JavitoVk Name of game(s) arranged: Sonic the Hedgehog 2 Name of arrangement: Drilling Oil Name of individual song(s) arranged: Oil Ocean Zone I wanted to make a song close to the original, but a lot heavier in sound, so I got some real warehouse sounds and mixed them with heavy synth music and strong percussion to create an "industrial environment". The soft part of the mix it's a bit funky too. I hope you like it! Ja
  3. Much like Schala's theme itself, this track is simple in its overall design and utilizes source components to create a composition that doesn't outstay its welcome. All melodies got used straight yet personalized within this mesmerizing EDM setup, with the CT and Gato themes getting their respective appropriate roles as closure and breaks. I love how there are moments aplenty where that familiar arpeggio got used on two separate instruments with one instance running at double-time - they both naturally gelled to me. I would've wanted more moments where the drums did the filling in and trans
  4. Yeah, source usage was never a problem, to begin with - and adapting it to an unusual time signature drew my attention on first listen. The adaptation had a lot going for it right out of the gate - fitting the opening piano riff to establish an early groove, then the A section's melody at 0:44 and letting it shift among the soundscape. It relied on manipulated direct audio for 13 seconds at 1:13, which I can put aside as it's very brief - then building up more of the groove via variations on that intro riff. The break at 1:54 was welcome, allowing the bells to bring in the B section within
  5. Larry got the approach analysis spot on - it was more of a case of breaking down the different patterns in the source, then using them in a unique build altogether. I was a little concerned when from 0:29-1:29, I didn't hear any of those source fragments at all - but from that point, the motifs became way more recognizable and dominant. The intro allowed a modified arpeggio from the A section to lead into the beat-building area at 0:29 - a role to play in the track despite no source use. That beat-builder section leads into a breakdown and the first appearance of the original bass riff.
  6. I'm afraid I'd have to disagree with Brad regarding interpretation - it deserves a lot more credit for what it set out to do. Everything that wasn't a melody or a chord sequence got thrown out of the window, not leaving much room for interpretation. It's a simple structure - bookends with the A section, with the two B section melodies having the second half of A attached to the end plus a callback in the ending. These segments have brief original performance transitions between them, utilizing arpeggios (0:35), scale descents (1:13), and delicate rubato passages (1:49). The realization on
  7. Your selection of segments to interpret seems interesting - you based the entire groove based on its B and D sections, only going into the A section at 4:02 while closing out. You kept the textural shaping varied throughout, with the hard side-chain intro, the established four-on-the-floor groove at 0:34, the calm at 1:25, the fast pushing kicks in the pad-heavy section at 1:43, the drop to the kick drum and whole-note bass at 2:34, the closure from 2:51 onwards reprising the intro, and the calm piano wind-down ending from 4:02. This track relies more on backing arrangement and pattern shapi
  8. Oh, I agree with Wes here for sure. When I heard the track via the inbox, I looked out for all criticisms I wanted to see get addressed. I detected the more varied beats and fills, some new synths with some fantastic modulations that shape their way through the mix, and a considerable cleanup effort that brought out your backing parts more. Not only did my main issues get checked there, but you threw in that bonus of the tempo shift at the end! I wasn't expecting my silly comment about making the ending sound more like "War Pigs" like you intended to get looked at, but that alone flat out
  9. Hello, I am submitting an original remix mashup of Chrono Trigger. I’m titling this “Zeal”. The style is melodic progressive house and is a mashup of several Chrono Trigger Songs, mainly Schala’s and Crono’s theme, with Gato’s theme as a lick. I started producing about 4 months ago and I’ve been loving it so far. I have several inspirations, but this remix was inspired by my love for melodic and progressive house music. This song takes you on a slow, progressive, and melodic journey that eventually builds up to an epic end. One of my goals is to make videogame remixes with EDM e
  10. The production values are indeed lovely - with a well-performed violin part, powerful articulations on the backing parts, and careful attention to the levels and dynamics. The mastering direction feels crisp and clear but a touch heavy on the high shelf and making it feel stuffy. As long as I can hear the part-writing, it's all fine. As Brad pointed out, the similarities in style, chord progressions and pacing make the arrangement way too problematic in comparison. The structure going from source to source like this doesn't help things either, as it hardly leaves room for further inter
  11. Original Decision Contact Info: ReMixer name : Schneider Souza Real name : Schneider Ferreira Reis de Souza email address : Website : https://www.youtube.com/user/SchneiderSouza / schneidersouza.com UserID: 36702 Submission Information: Name of game: Chrono Trigger Name of arrangement : The Journey to the Darkest Depths Name of individual song(s): Ocean Palace ( or Undersea palace) All th
  12. Hey, glad to hear you've been re-inspired! And I promise we collectively will be more considerate than at your last sub. I feel your confidence in the source's presentation, handled so that no section repeats ideas aside from the bookends, making the scope significantly ambitious. You've got: Bars 3 and 4 of melody B getting brought into half-time on the piano at 0:29 and 5:49 Using melody A as a repeating arpeggio pattern throughout with the core component from 1:08 and its last bar from 1:45 Use of melody B's defining hook at 2:29 both for the high energy segment an
  13. RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF5 Song Title: A Dream of Home Songs Remixed: Distant Homeland
  14. Hi, this is my first submission in ages. Below you will find all the info about me and the remix. Sincerely, Tobias Nylin ----------------------------------------------- Contact Information ReMixer name: Tab Newflax Real name: Tobias Nylin Email address: Website: https://www.tobiasnylin.com/ Userid: 2108 Submission Information Name of game(s) arranged: Mega Man 2 Name of arrangement: Heat Up (Twelve Thousand Degrees) Name of individual song(s) arranged: Heat Man Comments about the mix:
  15. Yeah, I heard that the USPS got jammed up over the holidays. Unless you've marked it for tracking, I don't know of any other way you could check and see if it's moving along the system D:
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