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About Rexy

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    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
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    Vocals (Death Metal; Female)


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    Beverley Wooff
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  1. @Jivemaster Please vote on this track and delete this post when you're done.
  2. Let me say first of all that you have guts to arrange this source! With no definite backbeat and muddy melodies, figuring out a direction at all is easily no small feat. The boys above me got the production nail on the head. You have all these lead melodies pushing other instruments into the background, only letting them appear into prominence when they decide to take a breather. The sound design also feels mixed - you have an intriguing combination of meaty synths and percussion, and yet you have thinner sounding leads like the one going through Melody B at 2:42. That, to me, is also a shame because there are some fun envelopes behind it otherwise. If you ever get a chance to re-master it again, consider making some minor frequency cuts on the leads while making room on the other instruments to step through, as well as adding a quiet and warmer under-layer for said leads. The arrangement, while fun, is also flawed. Just like in the source, the Melody A section still felt tough to follow without knowing where all the note rests were. I can't fault you on that, as it's more of the BGM's charm. The Melody B section's writing, despite the thin lead, had a solid direction with several variations. But the main problem I have with the arrangement, however, is source content and a slight lack thereof. Here's what I figured out: 0:06-0:12 - Rising string stab from source intro. 0:17-0:21 - Swept in descending string parts from the track intro. 0:22-0:59 - Melody A. Deduct 3 seconds for source break at 0:46. 1:20-1:23 - Return of the sweeping strings from the intro. 2:37-3:36 - Sweeping string return, before going straight into Melody B. 3:39-4:57 - Melody B, switching back to Melody A at 4:33. That barely makes 45% source content, which offers a good enough reason to cut the last quarter short. As MindWanderer stated, it didn't introduce anything new that wasn't already between 0:59-2:37, so consider figuring out how to close the track quicker. If you insist on keeping it, you can try to find more ways to include the source or other Skies BGM, though this would be a much trickier direction. Honestly, I enjoy this in a vacuum. This remix is the kind of track I'd love to include in a future set on Last Call. For OCR, it's unfortunately not there yet. It'll be nice to hear another version with a much cleaner production, improved synth timbres, and thicker source dominance. You're pushing hard, Glenn - I know you can make it back on the front page again soon. NO (resubmit)
  3. Original decision Remixer name=Audiomancer Real name=Eric Email= game=Dragon Warrior 2 Arrangement name=Epic FootSteps Name of song=First walk-about theme Link to original= I thought I would give this tune another shot at the panel:) I've made changes based on the feedback given, and I hope that the panel finds this to be a more polished version with some better instruments, and small arrangement changes.
  4. Dear OCR Judges Panel, Skies of Arcadia remix coming up. I was told to submit it by the people responsible for the Arcadia Legends album. Contact Information: ReMixer name: Glejs Real name: Glenn Liljestrand Website: User ID: 34608 Submission Information: Name of game arranged: Skies of Arcadia Name of arrangement: Unknown Menace Name of individual song arranged: Zelos My own comments and info: Proud to be part of the "Arcadia Legends" OCR album. I came in to the project late, had only three songs to choose from. Zelos, the final boss tune, caught my ear. I was thinking, hmm drum'n bass hmm techno.. it took a wild turn to trance. The 90s kind of rave-y trance, with a little bit of breakbeats, orchestra hits and synth stabs. I sampled tons of FX, vocals and instruments straight from the actual game. In fact most of (or at least half of) the instruments you hear are from the game. I chose to remaster the song for this single release, because the master that was done for the OCR album didn't really sound the way I wanted it to. I talked to the mastering engineer about it, and he was completely ok with this. Hope you enjoy this one, I had a lot of fun composing it! All the best, Glejs (pronounced "Glaze")
  5. ReMixer Name: COEURLAMARI Real Name: Sarah Arsenault Website: Userid: 34683 Name of game arranged: They Bleed Pixels Name of arrangement: CLAWSHANK REDEMPTION Name of song arranged: SCOURGE Additional information about the game: Developed and published by Spooky Squid Games Soundtrack composed by Shaun Hatton (aka megashaun or DJ FINISH HIM) Released on Steam for PC, Mac and Linux on August 29, 2012 OST in full is on Mr. Hatton's Bandcamp Comments: This is the first time in the ten years I've been making my own music that I've felt ready enough to submit something to OCR's evaluation process, but even if it doesn't make the cut, I'll be more than happy to take on critique so I can grow as an artist and do better next time. They Bleed Pixels is one of my favorite indie games, and has one of my favorite game soundtracks. I waited for years after playing the game before trying to remix my favorite track, SCOURGE-- I wanted to do it justice if I was going to tackle it, and hopefully I managed that much! Imagine for a second that you're a particularly discerning shambling horror-thing hitting the R'lyeh party scene on a Friday night; this is probably what you hear thudding out of the hottest discotheque in town when you roll up. Place is packed. Yog-Sothoth probably bought everyone a round of drinks in there. It's a pretty good time. That in a nutshell was the kind of vibe I was going for. I differentiated my track from the source material mostly by trying to abridge the longer-haul, more ambient arrangement of the original and give it a more dynamic dance tune kind of sound with clearer, brighter instruments and different, varying drum patterns and some quicker movement through the melodic sections it has, since SCOURGE kind of has that grungy, bitcrushed, dark 80's dance hall aesthetic to it that reflects in the whole OST. There's a background synth pad I used to kind of apply a flanging, panning "growl" tone to try and give it a bit of a dark undercurrent, a little Lovecraftian madness under all the fun. I made this remix in an iPad app called Auxy, using some of both the free and paid-for instrument packs it comes with - it's super useful for super impoverished musicians like me. Since it's designed to be very loop-based and drum-machiney, I did my best to bend the app's limitations, give my remix a lot of variety and avoid any lazy outs to keep it from becoming too repetitive. Source link
  6. I appreciate the cinematic palette here. The structure is merely one run-through of the theme and an ending, but the instrumentation and effects changed up the entire mood while maintaining the source's most melodic components. It's a more subtractive take, which I highly acknowledge for a track of this length. There are a few things that held me back, though. Firstly, the mixdown feels fine for the most part - great use of spacious reverb, the instruments are panned appropriately, and the components are mostly cleanly mixed. But I have to give a push to the staccato trumpets (starting at 0:32) and the string section (beginning at 0:46). In their respective segments, they're carrying a significant amount of source representation, yet they're too faint to identify them at first glance. The bell sequence at 0:32, albeit not holding source, also is way too far into the background. Try bringing their volume levels up - yet for the staccato brass, you ought to cross-check with the EQ on the tuba, so their frequencies don't bleed into one another. Additionally, the execution sounds painfully robotic. Don't get me wrong - your samples are beautiful and make the concept feel so much more vibrant. But when the velocities are constant across all instruments, the realism gets taken away. I'd like it if you can take some time to go over your notes' velocities, then decide which one you want to emphasize and which can be better off more subtle. No real-life performer would play all notes in a sequence the same way, so do take that into account. It's a respectable concept, but I don't think it's quite there yet. I can respect the brevity of the arrangement, but when mechanical writing and some quiet instruments become concerns, it's ended up as a hard sell. It'll be nice to hear a version that addresses the production flaws, so I hope you get a chance to return to this. NO (resubmit)
  7. Compared to the previous submission, this is a substantial improvement. The aesthetic is still there, the source remained dominant, and the instruments remain clean. The bass drop-out at 1:07 got reworked as a breather, and the revised groove and added source permutation at 1:32 added reasons to hold back. That second section alone added more meat to the framework for sure. Not only was it different enough from the first variation, but the groove's progression felt different. There's the vocal sampling, the stutters, the non-static presentation for the percussion, and that pitch shift at 2:00 that threw me into a loop. The only thing I feel that's missing is a hi-hat sequence, but when brought into a lo-fi direction, they would've been hard to hear anyway. Much like prophetik, I still don't quite see it as vaporwave as the second half went into more experimental pacing territory and emphasized the glitched effects. If anything, it quickly turned into the musical equivalent of a shitpost - which is fine, as the arrangement and presentation values have set out to meet a clear goal. Based on this, I believe the track can get onto the front page in its current form - a mix that emphasizes creative drive, but it won't be a popular one based on style alone. Michael, if you are to get a debut, let this track be it! YES
  8. Link Original Decision ReMixer name: bsolmaz13 Name of game: Mega Man 4 Name of arrangement: Cossack Skies² Name of song arranged: Dr. Cossack Stage 2
  9. I'm not sure how you did it, but you made the track source dominant without using any part of the main melody. With source use stripped back to the arpeggio in section A, I can see why you opted to go for the "evolving soundscape" route - and with the way the track paced itself, it makes for a calming listen in a vacuum. However, it's how the arpeggio got used that counts - and all I heard was the same 8-bar formation, with 4 bars of the original scale and 4 bars of it transposed down two semitones. Even with the pleasant subtractive writing, the source's use doesn't develop throughout and remains static. While it can be possible to change up the pacing of the arpeggio, these open spaces are ideal for you to fit in whatever parts of the main melody you see fit. The production sounds serviceable, but two further issues stuck out: First of all, the track distorts whenever the kick pedal shows up. As you have a big sub-bass tone, the two instruments as they are have left the mix prone to clipping. Since both of them are slow-moving, I can see a side-chain on the bass taking the edge off. An EQ cut could be possible if you don't want to side-chain, but it'll also be riskier to execute. The Rhodes piano carries the source, thus it shouldn't sound shrill and bone-dry. In an ambient setting, leads are expected to feel just as aired as the accompaniment around it. Additionally, the shrillness is present because the resonance is overpowering, especially during the intro and at the breakdown at 1:47. To address the first part, consider adding some subtle reverb; and for the second part, see if making a high EQ cut can ease it off. As it stands, I can't accept the track in its current state. The source use is underdeveloped, and the harsh sounding kick and Rhodes piano didn't do any favors either. It'll be nice to hear another version with more arrangement content and the two problematic instruments fixed. With ten years of production-related passion behind you, I hope you get the chance to contribute to the community as well as return to the inbox in the future. NO (resubmit)
  10. Since I took the track out of the inbox, I'll start. Honestly, I like the idea of turning a track like this into a French House inspired arrangement. The use of jazz-like chords and instrument palette served as an enticing backbone for the source, and that's despite how little of it got used. It also paced well, used that familiar B section for the hook, and is source dominant overall. But regarding said source use, this is what I detected: 0:00-0:26 - B section hook 1. Deduct 10 seconds of blank space. 0:30-1:00 - Straight-up sampling of the opening 5 seconds. 1:00-1:26 - B section hook 2, plus a reference to the 'hey' vocal in the source. Deduct 6 seconds of blank space. 2:00-2:30 - Straight-up sampling like before. 2:30-2:56 - B section hook 3, now filled with source, but 10 seconds of it sampled the intro again. 2:56-3:15 - Straight up sampling once more, only this time, it's at its most intrusive. I appreciate the idea of wanting to reference the vocal SFX here, but when they're more dominant than any non-sampled arranging, that becomes a problem. It's possible to keep the samples as they are, but increase the amount of non-sampled arrangement in its place. The A and C sections went unused, so consider adding or playing around with them in any blank spaces. I also feel a high-pass EQ on the sample would be useful as well, if only to filter out the drums and bass. As for the production, it feels heavy on the high-mids. It works for the acoustic guitar as you'd want to hear the string noises, but the closed hi-hat is too overpowering. Lowering its volume is one thing, but it also sounds lossy in its exposed state, so consider making a mid-high EQ cut on it as well. On the flip side, you have instruments like your clavinet at 2:00 sounding too quiet, even with the kick drum and bass taking a breather. I can see that getting fixed with simply bumping up its volume, though do try either cutting some lower-mids on the acoustic guitar or even boosting the clavinet's lowest frequencies. They sound like risky ideas, but it's worth thinking about taking advantage of this groove break. To sum it up, it boiled down to not enough non-sampled VGM, as well as needing another pass on the mixdown. I didn't mind the loops on your backing instruments as they served a purpose appropriate to the genre, and all in all, it was a fun idea to explore. I hope you get a chance to revise it, so keep at it. NO (resubmit)
  11. Once again, Joey, your vocals are sick! The delivery is as enthusiastic as I expect from you, the lyrics delivered on their promise, and they've been well-mixed to the point that I can hear every word. The other accompanying VSTs also sound well mixed, with the saxophone and flute licks having a surprising amount of articulation for their brief appearances - not to mention great use of sweeps and low-pass effects to pace the arrangement. Talking of which, it's an expected direction from you - short and sweet, with those aforementioned subtractive changes and a decision to double up on the source material's A section (0:38, 1:35). I want to say that it works, but the problem that I have is the presence of the source audio itself. I didn't mind it for the 19-second intro, but it became more upfront when the B section got in play (0:57, 1:55) - and even when the A section got reprised during the fade-out, I could still identify the source audio underneath the VSTs. It's more intrusive than I anticipated, which is a shame because the rest of the groove complimented your vocals. Due to this, the track had put me in a corner. In a vacuum, it's a powerful rap adaptation of one of Yuzo Koshiro's lesser-known tunes and a fun album opener for your Video Game Rapper album. However, I'll need some time to reflect on whether the amount of source audio present makes it acceptable as it is for the front page. There have been mixposts with sampled game audio before, but not at this level. Hence, it's left me unsure about where to see the line. [EDIT 11/25: After much contemplation, I too feel the sampling is too much for OCR. It’s a shame, Joey, because I enjoy the concept a lot - so if you decide to rework it, it’s best you remove the audio and rework with your VSTs when appropriate. Keep going and don’t lose heart.] NO
  12. This submission feels peculiar - you aimed for a four-on-the-floor dance direction, but the decision to use 10 bars of 4/4 before leading into another section gives it a pinch of prog. Before understanding this figure, I found it difficult to follow the groove - mostly in part to the deep arpeggio and piano providing the bass. It's a slow and straightforward progression, but the occasional presence on upbeats threw my anticipation off-course. I would suggest sticking to 8 bars of 4/4 per section, as it's an EDM standard, and it would make the track much simpler to follow. Talking of the piano, it provided the bass riff for the source throughout, so you got the source dominance part set. You also sprinkled the key arpeggio in various places, as well as the actual melody at 2:16 - an interesting choice that favors original writing for the core motif (0:53, 1:53, 2:46). But when combined with the previously mentioned quirky section length and the 6/8 source slapped onto 4/4 with its backbone stripped away, it makes the arrangement feel less overt. I get the idea that it's the first time you've made something like this, so it's best advised to bring the source melody away from a bridge and take center stage - both as a hook and as something to play around. Similarly, the production couldn't hold up well either. I appreciate the use of sequenced gates on some of your synths, though applying it to the source melody at 2:16 is an odd choice. Regardless, the soundscape feels empty. You've got bass instruments, percussion, and some mid-high melody lines, but you have nothing occupying the mid-section of the EQ spread. Consider adding a new rhythm section like gated synth chords or a more subtle pad to fill in that frequency space. On top of that, the four-on-the-floor drums can also get a refresher. For sections that don't have the core hook, try playing around with them by changing the kick sequence, swapping the hi-hat to a ride cymbal, throwing in other percussion parts like a tambourine or shakers, or any different idea not mentioned here. I also would feel some judges versed in FL Studio would give some advice to bring the best out of what I presume are default instruments - nothing wrong with that as we've had mix posts with default FL sounds before. Still, it's a more difficult task to polish them up than it is to find nicer organic VSTs for free. Regardless, I had a lot of critiques here. A structure without direction, rough application of VGM, and an empty soundscape are my primary reasons as to why I can't accept it. It would be difficult to bring it into a more acceptable state, but not impossible - which is why I suggest a more accessible option to practice EDM writing with more straightforward 4/4 source material. You've grasped the idea of what makes a VGM arrangement, so I hope you'll learn more with continued experience. NO
  13. First of all, I have no problems with the production. All instruments are balanced and mixed in cleanly, the sound palette choice is appropriate for this ambient DnB direction, and the selection of envelopes here have made your synths feel more engaging. But I honestly wished I could say the same for the arrangement. The source is present, so that's a non-issue - but aside from the genre adaptation and placement of sections to accommodate for structure, there are no further modifications. In fact, from 1:36-4:35, the source is just covered outright. Instead of putting in a second loop at 3:19, I'd like to hear a section that develops the BGM - in other words, a chance to play around with it. Another thing I'd like to hear more development is your percussion. Upon entry at 0:44, I felt the groove initially sounded neat with the added effects in the background and occasional acoustic kit breakdown. However, you've continuously repeated this 8-bar loop, and it outstayed its welcome too quickly. It is possible to make more noticeable adjustments as the track goes on. You could change the pattern of the hi-hats/effects, alter the notation for the acoustic drum fill, substitute the closed hi-hat for a ride cymbal - the possibilities are endless. I'm sorry, Sandro, but repetition and an underdeveloped arrangement are dealbreakers, and I can't accept the track in its current state. It's a shame because the production chops are tight - and I do hope you're able to do another pass and bring the arrangement over the bar as well. NO (resubmit)
  14. ReMixer Name: funkyzukin Game Arranged: Sonic CD [JP] Name Of Arrangement: Stardust à la mode Song Arranged: Stardust Speedway --- For this, I was inspired by the sounds of more modern Sonic games (Such as Unleashed,) as well as the sounds of french house. I guess there's not too much to say about it other than I made it on a whim and I had lots of fun making it. I hope you enjoy it!
  15. It's a bold move packing 11 different sources in the space of 4 and a half minutes. For the most part, they link together seamlessly, got played around when entering the big picture, and follows the dreamy soundscape that you put together. Of all of these sources, I only sensed Ballad of the Windfish getting a reprisal, which makes the most sense given the track's direction. That doesn't necessarily mean hearing more of the others, as long as VGM is dominant. Two things stick out for me, though. Firstly, I sensed two transitions that sounded off. The switch to "Gerudo Palace" at 2:25 sounds jarring and sudden, so it would be nice to soften the change from "Deku Palace" before it. I can say the same for the move to "Dragon Roost Island" at 2:50 - it's a sudden change from not only your moods but the key as well. Secondly, I also like how you decided to overlap "Song of Storms" on top of "Song of Time" at 1:40. It's a reliable technique that reduces the impact of medley-itis, and it's something I would've liked to have heard in other places throughout the track. Going towards the production, I'm impressed with the shaping of dynamics and articulations on your instrumentation, so you've made a positive start there. Yet, I find it interesting that it remains pleasantly minimalist for most of the track, and there's clarity going on between parts, but there's an emphasis on sub-bass frequencies for its duration. They're meant to act as a companion to bass instrumentation, so this is something I feel a high-pass on 50Hz in the master chain can soften. Also, the panning here sounds harsh, with most of the leads placed far to the right. Narrowing down the stereo field can help with this, as is the possibility of moving some of the more important sounds like the piano closer to the center. It's a pleasant direction for a multi-source track, but I don't feel it's quite there yet. I'd like to hear a revision with fixes on the sub-bass and panning, with the transition tweaks also being desirable. It still isn't bad for your first remix, Jérôme. Whatever you decide to do next, I hope to see you submit to the inbox again in the future. NO (resubmit)