Rexy

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About Rexy

  • Rank
    Judge, Project Chaos Asst. Director

Profile Information

  • Gender
    Female
  • Location
    UK

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  • 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. Wait, Guild Wars 2 had a brief retro seasonal update? If that isn't GOTY quality, then I don't know what is. Arrangement-wise, it's more straight-forward than what I usually expect from Dustin, but the framework is a stable one. It's centered around two variations of the source, with only the A section between them sounding identical. The breakdown at 1:15 also used the intro's build section effectively, along with the genius manipulation for the B section's melody at 1:25. The calmer variation of said B section at 2:06 staged itself well for a building climax that brought the guitars back in and the drums pacing along at half-time. His writing keeps improving with each sub, and I'm so glad he took up the offer to participate in this album project. The production is very satisfactory - the mixdown is the cleanest I've ever heard Dustin pull off (!!), the recorded guitars are free of artifacts, and the mastering brought out the best of the instrumentation. I do have a couple of critiques, though. Firstly, the bass feels a touch on the quiet side, which is unusual for genre standards. Secondly, the articulations on the orchestral section felt stiff and could've benefitted with key switches to make them shine whenever the guitars don't take center stage. They aren't dealbreakers here, as the positives here combined with the treatment of the source material exceed expectations. If it isn't apparent by now, I'm in favor of seeing this on the front page. It's fun, the admiration he has for the game had brought out a burning passion with its creation, and it's a strong example of how far he's developed himself as an arranger. Great stuff! YES
  2. That presentation is indeed on the simplified side, but still very pleasant - cohesively mixed down, and the choice of timbres hits the intended feel. The only issue I have is whether choosing a bunch of pseudo-MD tones are enough to carry the rest of the content. I understand that you didn't want to emulate the hardware, which is reasonable - but this choice tied into a dealbreaker in the next paragraph. I'm going to have to slightly disagree with my fellow judges in regards to interpretation. The backing had moments where they deviated from the original, like with the transition at 0:49 and the quirky choice to go into the second half of section B (1:05) with two different chords. The main beef I have is that despite the original writing in the second half, the backing stays the same. I suggest you take a look into the notation behind your second half and experiment with different textures. You can still have it follow the source, but a complete overhaul with how the accompaniment presents it can do some wonders, both with writing and presentation. As of right now, it feels stale and in need of more work done. It'll be nice to hear another version with more attention to the backing's variety in terms of both writing and sound design. It's still not a bad first submission, and I hope you get the chance to continue developing your craft. NO
  3. This arrangement sounds fun. "Song of Storms" doesn't have much material to work with - so going in a dubstep direction is a simple and effective way to take it, allowing more emphasis on subtractive arranging. The choice of timbres, which is especially important with this sub-genre, all sound meaty and packed with energy - and with the bass's LFO being on point as well, you've got an overall appropriate palette for the job. However, the amount of mud and over-compression in the mixdown is overbearing. I know you want EDM to sound loud, but none of the instruments outside of the percussion and bass have their breathing room and keep bleeding into others. Consider going back into your parts and seeing if you can make any EQ cuts to give them their wiggle room. The pumping also makes the drops feel more squashed, so consider weakening the master compressor as well, if there is one. It's a serviceable track otherwise and does its job on the arrangement side, but as of right now, the mixdown needs another pass. I hope you get the chance to do just that. NO (resubmit)
  4. Not exactly. Material posted under GiIvaSunner is the legit in-game audio, while SiIvaGunner is about the memes. The source picked out is fair play. Good to see that MnP is still doing well after over 100 compos at this point. Good luck with this week!
  5. Altering this particular section of "Dancing Mad" to common time opened up a lot of room to not only tweak the source's progression but add more to the notation within the newly created space. The syncopated feel on this arrangement has a lot of bounce, the performances are tight and on point, and the use of the opening bassline as a recurring rhythm pattern is a fun way to layer a motif on top of the main one. It's great stuff all around. However, working with four piano parts playing all at once at its busiest also meant the production values should've been treated less like a single piano and more like an ensemble. As of now, they are prone to not only note overlap but also getting buried behind other parts. Assuming you still have your MIDI data, you could change the timbre of three of the pianos, put the lower-scale notation on a darker one and higher-scale on brighter, and give them their unique positions in the stereo field. I'd also appreciate a small touch of room reverb, but it's best to decide the intensity when you figure out the separation first. As it is, the arrangement is fantastic. I, too, would like to see it on the site, but in a revised production that defines it as a four-piano arrangement rather than multiple ones hogging the same space. Keep going with your work no matter what you decide to do, Adeel - I see potential! NO (resubmit)
  6. What a fun soundscape - I appreciate your "clown-like" intent with mixing orchestral sounds and glitched tones together in a whimsical palette like this. The orchestrated sounds themselves aren't the most realistic when left isolated and could've done with more articulation and humanization, as prophetik stated. Combined with the synth work, though, they just needed to co-operate together so one doesn't overpower another on a timbre standpoint - and that's what this track achieved. However, it's got some nasty flaws. First of all, the mixdown is unbalanced. It's a muddy mix where instruments bleed into each other, to the point that I can barely even hear your leads. The glitch tones and pads also overpower the rest of the instrumentation on a volume standpoint, so consider doing another volume pass in addition to any EQ cuts. Thirdly, most if not all of your instruments are drowning in reverb, and while I understand that is the norm for orchestrated sounds, it amplified the muddiness too much. Consider bringing the wet mix down for those affected instruments. And of course, the arrangement isn't interpretive enough. The glitch tones, arpeggio and trumpet solo at 1:54 were all fun additions, but the source itself didn't end up with any significant tweaks outside of instrument changes. prophetik listed some sweet ideas to add personalization to your work, so do take them to heart. A couple of fun ones I can add on top of it are to put the melody on top of a different chord progression, or the sillier thought to change everything into a major key - though I doubt you'd go in that direction for this particular track. And while I understand the constant kick-cymbal pattern to be an artifact of the source, that too is also constant and can do with some changing up after each section, so it sounds less like it's on auto-pilot. It's not a bad first pass with a fun sound palette idea, but the arrangement and mixdown both feel lacking in this current form. I hope you'll be able to go back and improve on those aspects in the future, whether on this track or future works. NO (resubmit)
  7. Contact Info: ReMixer name: about:blank Real name: Chris Bouchard Email address: ReMix info: Name of game ReMixed: Sword of Vermilion Name of individual song ReMixed: Stats ReMix title: Treacherous Road With the original track being about a minute long, I tried to take this in a few different directions to keep things interesting. I took the most liberties in the first half of the song, and in those softer sections the arpeggio is based on the original's bass part and the melody is based on the original's arpeggio. Aside from that and a few new lead melodies, the rest of the song stays fairly faithful to the source material - at least in terms of composition. As for production, I tried to emphasize the original song's intensity by writing mellow sections in an effort to give those grittier sections a greater impact.
  8. This arrangement isn't terrible, but it's undoubtedly on the static side. The source is dominant, but its parts were used verbatim on top of an otherwise pleasant set of bass and gated pads. The only source modification I heard was changing the last chord in sequence from Bb minor to G minor 7. You have a static second half that repeats the first melody variant with a different lead, so instead of repeating previous ideas, that could get used to explore and develop the motif. I should also elaborate more on Sir Nuts's concern about the piano on top of the clavinet at 0:33. You have the piano playing in a straight rhythm, but the clavinet has a swung one. Usually, a listener expects consistent rhythms, so consider changing the pace of one instrument to that of the other. The mixdown isn't too bad, though - there aren't any frequency overlaps, and you've panned your instruments appropriately, but the e-piano that appears at 1:03 is too loud for its role. That same timestamp also has a jarring 9dB volume jump - way too unexpected for the genre as it is. The piano has some pleasant velocities to it but can be more realistic, with one such idea being to layer two or more piano tones on top of each other for a unique timbre. The swelling legato on the saxophone also sounds cool, but the attacks and note cuts are too constant and can benefit from manual articulation tweaks. I do have credit where credit is due, though - the synth and pad selection is lovely and appropriate, so if you do go on to revise this track, please keep those patches are they are. While the track is pleasant enough to listen to at night, it is, however, bogged down with a static arrangement, very minimal interpretation, the jarring volume jump, and some smaller issues regarding realism. It's not bad, Gary - and whatever you decide to do going forward, I hope you get to take this experience to another level. NO
  9. Stretching out a source that's less than 20 seconds long is always going to offer different methods of interpretation. Still, even then, the "theme and variations" route is suitable enough to twist the foundations and keep them recognizable at the same time. No two run-throughs sound identical, the use of "Zelda's Lullaby" as a countermelody is charming and compelling, and I liked how you placed the core motif of the source into a broodier minor key development at 1:14, spread across multiple wind instruments. Arrangement-wise, the sum of the parts are simple, but get their job done effectively. Naturally, this track has a similar quirk with prior submitted works, what with it having a fair chunk of headroom. But when the instrumentation is both mixed down and articulated well, it's something that I can easily overlook. It would've also been nice to have added more opportunities for your virtual performers to breathe too, but I consider it something of a desire rather than something that goes against the standards. As a collective whole, the arrangement and production values are both simplified - but with a focus on a short source and a minimalist set of instrumentation, they set out to achieve their roles and create a robust package through and through. Great work, Rebecca - let's see this on the front page. YES
  10. Remixer Name: RisenLP Real Name: Keith Woods Website: https://soundcloud.com/rcstudio (err.. don't have a proper one) UserID: 36058 Submission Info Game Arranged: Delta Rune Arrangement Name: Surly Operator, Kind Acts Song Arranged: Rude Buster Original Author: Toby Fox Own Comments: I'm a huge fan of Toby Fox's music and a huge fan of the sound you can get out of a Sega MD/Genesis. I created this via FL studio 20, a synth called FM_DRIVE and Super PSG by the wonderful Aly James. This arrangement is not made to be accurate to the hardware but more what I felt was good. Thanks, This is my first submission, kind of nervous about it but thanks.
  11. Contact Information ReMixer name: Gianny Abel Your real name: Gian-Luca Abel Your website: (I have no dedicated homepage, so i will just link my social media information instead) https://twitter.com/GiannyAbel, https://soundcloud.com/user-569017777, https://www.youtube.com/user/SparkyxDSparky Your userid: 23513 Submission Information Name of game arranged: Diddy Kong Racing Name of arrangement: Starlit Darkmoon Name of individual song arranged: Darkmoon Caverns Your own comments about the mix, for example the inspiration behind it, how it was made, etc. As with most of my remixes, i tried to stay close to the original idea and expand upon it. My interpretation of the original song is that it highlights the serenity and loneliness of being on the dark side of the moon and only having the starry night sky as a source of light, while also still delivering the "drive" of a racing game ost. The track is written entirely with VST-instruments and WAV-soundfiles (the latter only used for sfx). I approached this by mixing as bass heavy rhythm guitar and a juicy bass, in reference to the "darkmoon" in the title aswell as to the racing game aspect of the song, with a grand piano that is playing in a high octave to emulate the glitter and shine of the stars, in reference to the "starlit" in the title. A lot of reverb was added to the piano to both emulate the vastness of space, aswell as the natural reverb of caverns. The "Starlit"-aspect is further supported by the ambient sfx that appears from time to time, aswell as the bright synthesizer bits and string ensemble, to give it more of a "spacy" feel. Furthermore a tenor sax plays the second lead to balance out the high pitch of the piano. The most notable changes from the original are the addition of a new part, that acts as kind of a pre-chorus to the B-Part of the original track, aswell as the structure of the track, deviding it into 3 distinct variations, one representing each lap. The newly added part acts as a centerpiece and is supposed to really deliver on the core ideas of the remix. If you are familiar with the original game, I like to think of this part as the section of the track where you boost through the two loops at max. speed. I apporached this by having the piano play arpeggios in an ascending manner to give it the maximum velocity feel, aswell as adding ambient sfx and synthetic sounds to give the listener a feeling of open space in contrast to the more compact A-Part, as if you would leave the caverns and now find yourself below the night sky. The 3 lap structure is concieved to give the remix a climax. The first lap acts to introduce all instruments, the general feel and the newly added part. The second lap has a pianissimo part with the sax taking over the lead in order to break the flow up a bit and to contrast the fortissimo of the final lap. The final lap is where the remix recieves it's resolve, accentuated by the key- and tempochange. The piano is now only loosely playing the original melody and the B-Part is an extended piano solo. All in all I think that this remix, while having major variations, is still faithful to the orginal track. Im looking forward to your feedback! Kind regards, Gian-Luca
  12. What is this - a club-style EDM arrangement that is source dominant? I'm pleased with this alone! I appreciate the attention done to adapt the source to this style, and I'm okay with the tail ends as the arpeggio from the source is present. I do, however, agree with MW and Chimpazilla regarding the loudness and distortion - so I'm sure you know how to fix this problem. Some other issues crept up as I listened, however: * Firstly, what's with the off-key square wave rolls (1:00, 1:07, 2:09, 2:16)? These atonal pitches don't belong - and the best ways to get around them are to either mute them or fix them with a quick transpose. * Secondly, there's no need for nearly 30 seconds of silence. You can quickly trim it out in a wave editor. * And lastly, consider finding a way to make the arpeggio more dominant in the tail ends. From 0:00-0:54 and 4:48-5:42, it's the only component of the source present and should ideally not get de-emphasized by the rest of the sweeps and effects surrounding it. Here are some ideas I have. You could pull the channel away from the impact of the sidechain, boosting its volume, or even both. It's still up to you as to whether you want to keep the tail ends in or cut them short. As it stands, it's a fun genre adaptation with more than enough source content despite its flaws. The issues brought up here - mastering volume, an out-of-place instrument, unnecessary silence, and potential source de-emphasis - are things I know you can make a quick fix on and re-submit down the line. I'd love to hear a revised version of this one, please. NO (resubmit)
  13. Sweet and simple - I agree with my peers. What I heard was two instances of Temple of Hylia, and some playing around with Cave Shrine to close it all out. Both themes have a significant amount of subtractive arrangement, too, with additions like woodwind counter-melodies, harp flourishes and pitched percussion pushing this business in the composition that the source material didn't have. Ideally, I would've liked to have seen both themes riffing off each other rather than being in this medley format, but they transition well, and the structure is robust. Good stuff. It also checks out on the production side, too - with just the right amount of dynamics without being too quiet. The mixdown is clean, the parts are easy to identify, the instrumentation is all beautifully articulated, and the reversed sounds also have a mysterious yet attentive touch. It's by far one of the better productions I've seen from Rebecca, and I do hope to hear more of that in the future. If not apparent by now, it's a lovely arrangement with an equally beautiful presentation - and one that I feel is suited for the home page. Great collab work! YES
  14. Link RebeccaETripp Rebecca Tripp fern.ivy@gmail.com http://www.crystalechosound.com/ ID: 48262 Game(s): FF7 Song Title: Buried in the Attic Songs Remixed: On That Day 5 Years Ago
  15. For an entirely VST package, the writing has a lot of energy and ambition behind it. The drum writing is top-notch, the usage of the theme at the tail ends are distinct to each other bar the use of melody A, the synth guitar has some sweet expression work behind it despite its nature, and the framework as a whole feels tight. I'd have to disagree with MW and Larry about one thing, though - the notation feels more like non-harmonic notes rather than deliberately being in different keys to each other. What I think they're trying to say is that because they're playing on different parts of the spectrum, the synergy doesn't feel as tight as it should be - so it would be nice to hear all your different parts complement each other rather than go wild on their separate ways. But two things became dealbreakers to me. Firstly, the mixdown is rough and over-compressed. If there's a limiter in your master chain, weaken it. Then consider re-doing the mixdown, making sure all your parts sound good and avoid this painfully distorted crunch. Secondly, while I can identify the source at the tail ends, it's still only 43% usage in the entire track, so consider referencing it or more MMX2 sources in the big comping section (1:01-2:31). As it is, Kouichi, you have potential with the amount of energy and enthusiasm behind this track. But the execution leaves a lot to be desired, especially in regards to the production. Adding more source is a secondary concern in comparison, but is something to look out for when working on future material. Should you ever get to refine the presentation on this one or submit other tracks, I'm interested to see how far you can grow. NO