Rexy
-
Posts
3,547 -
Joined
-
Last visited
-
Days Won
10
Content Type
Articles
Profiles
Forums
Events
Posts posted by Rexy
-
-
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 - during this past month, @bluelighterhas made claims on not one, but two tracks! He has finished his take on "Crystal Tower" (with added usage for Tower of Owen), and is wrapping up an arrangement of "Ancient's Village" at this current moment. I am delighted to have a talented classical-inspired arranger jump in!
If you're a potentially interested arranger, you're more than welcome to send a PM to me here on the forums or in the OCR Discord if you'd like to make a claim yourself outside of the DoD event. I wish all participants there the best of luck, and hype for some great tunes! x)- darmock, Black_Doom, bluelighter and 4 others
-
7
-
I'm one of those who felt torn on the arrangement values. Yes, I heard some neat new additions with the bass writing and changing up of percussion/textures/SFX - but underneath all of that, it felt like a borderline MIDI-rip. Thankfully, what I heard of the added bass - particularly during the first minute - complimented the otherwise minimal source notation. The gate effects during the second minute kept the energy moving, too. Though, I don't think the double-time drums at 2:38 were enough to keep the B section's repeats there any different from at 1:19. I'm in favor of seeing if there can be any subtle changes to one or two of the more melodic instruments so that section could stand out more. You don't need to change the chords or anything - just altering the notation/patterns would be more than enough.
I also concur regarding the mixdown. It starts nice and clear for the first minute, but from 0:48 onwards, the master becomes a classic "waveform sausage," except for a few breaks. The textures on the lead harmonies feel pushed against the limiter, and as they return at 1:19, they completely drown out the established background arpeggio and the countermelody at 1:51. That's two problems pointed out in one go - an over-compressed master, and too much mud going along the mid-range. Consider slackening your limiter slightly, as well as refining the EQ among your leads and rhythm parts to give them a more defined space.
It's an enjoyable mix as it stands, Billy, but two problems hold it back for me - the lost steam regarding arrangement, and an unclear mixdown. It'll be nice to hear another version with both a mixdown pass and some further melodic development in the final third. Please keep at it!
NO (resubmit) -
I'm in the same camp as Joel and Larry regarding the arrangement. The track initially goes through two different textural variations - the first one has an added countermelody at 0:53 and a brisker pace on the piano's glissandos, while the second is much closer to the source. Both also had some manipulations on the lead notation, particularly onto its B section. Then at 2:49, you let loose with a different chord sequence and found a way to integrate the melody over the top. Even the slower glissandos on the piano, particularly during the ending, add more content to those on the source's harp. While stylistically similar, there's enough done with the part-writing to make it stand as a distinct entity, and I'm okay with what you set out to do.
Oddly enough, while the arrangement checks out, the production left me with a mixed bag of feelings. The balance and mixdown are robust aside from the usual low mastering criticism, which is another case where you have a loud peak (3:19) where the average peak size rests 2dB lower. Have you thought of putting some light compression into your master chain, or just normalizing your audio? If you do go for the former route, it's not to be too heavy - just enough to bring one or two rough peaks in line with most of the others. The volume relating to the track's expression isn't a dealbreaker here but is worth something to look into for current projects.
However, what left me feeling torn was your articulations. The samples themselves sound lovely, and it's a good idea to apply vibrato to the flutes when appropriate. Still, the shaping feels off in a handful of places - particularly the woodwind leads, string backing, and choir textures, each of these hardly having any decay (and attack for the choir). The piano glissandos feel robotic and stagnant, which could get remedied with MIDI keyboard input if you have a controller handy. And that buzz on the bassoon also sounds rough - no idea what the intent is with that, but if you intend to add an instrument like that in future works, consider making an EQ cut in the mid-high frequency where the buzz prominently pokes out. It's an uneasy harmonic that really shouldn't be there.
This track got so close to me, and I can see either case for mixpost or rejection. Ultimately, I don't think enough work has gone into the humanization to see it get posted just yet, so it'll be nice to hear that aspect get revised. Don't touch the arrangement - it's serviceable as it is. Whatever happens, Rebecca, best of luck with the rest of the vote and your next batch of subs.
NO (resubmit) -
If the track passes, it will need a different title.
-Rexy
Remixer name : jmabate
Real name : abate jean marc
Email :
website : https://www.youtube.com/user/jmabate
userid : 35644Name of game(s) arranged : Ecco the Dolphin
Name of arrangement : Open Ocean cover
Name of individual song(s) arranged : Open Ocean
Composer : András Magyari, Spencer Nilsen, Brian Coburn
System : Sega Megadrive
Original :
Best regards
jmabate
-
Not noted in the submission email, but this track also features Steven Higbee on the ocarina.
-RexyRebeccaETripp
Rebecca Tripp
http://www.crystalechosound.com/
ID: 48262
Game(s): Skyward Sword
Song Title: The BeginningSongs Remixed: Sealed Temple
-
Remixer name - Terra GenesisReal name - Billy BarnesUser ID - 36712Game - Super Mario WorldArrangement Title - Koopaling’s CastleName of original arrangement - Castle ThemeI’ve always loved this piece of music but wanted to put some extra dark vibes on it by tapping into dark synth/dark techno vibes. This mix was made with serum and the Korg M1 for some of the more organic sounding instruments and some layers from my Korg Minilogue.
-
Greetings OC team,
below the information about my submission.
Contact Information:
- ReMixer Name: powerpilz
Submission Information:
- Name of games: Jazz Jack Rabbit 2
- Name of arangement: Power Jam
- Name of individual songs: Medieval Jam
- Link to the original song: https://ocremix.org/song/25195
The inspiration behind this track was my personal affection to electronic music, medieval sounds and the combination of them both. I guess it's a great combination which can really be something great. Also I really like to have some humorous style considering the wolf howl at the beginning and some other elements. The arrangement should be a mix of modern techno and trance having some dark touch. It shall drag the listener into it's setting.
I'd be glad to answer further questions if there are any or if I should have forgotten something
Best regards,
powerpilz
-
Hi ocremix team,
I would like to submit a piece of music I recently composed.
It is my first submission to this site.
I'm known as: Mental
Real Name: Ly Tai Luu
I have a bandcamp as my website:
https://mentalpainmusic.bandcamp.com/
The name is: Force of Nature
Rearranged from the game: Golden Sun (GBA)
TItle: The Elemental Stars
Kind regards and stay safe,
Ly
-
That arrangement is excellent, no doubt about it. The adaptation to a 12/8 time signature over the original's 6/8 completely changed the intended accented beats, which I love a lot as a rhythm buff. The metal-synthwave combo allowed for plenty of additional textures relevant to the genres, and you also added room for a guitar solo between the one run-through of the theme and the return to the source riff in the lead-up to the ending. The intro's slow-down effect is tremendous and built anticipation for the one run-through, but I'm not so sure about the end. I know a particular Black Sabbath song inspired you - but for perfect mimicry, did you consider gradually boosting the tempo in addition to the pitch? Nevertheless, I appreciate your artistic vision a lot.
I also concur with the drums being stale. To your credit, though, you had varied writing on the hi-hat, and the flourishes there kept up the palette's high-end tones. But to hear the kick and snare stay four-on-the-floor outside of fills feels sluggish, and the tracks I heard from Dance of the Dead spiced up those aspects more frequently. See if you can find one or two sets of 8-16 bar sections and add some off-beat uses of the kick and snare.
The production is okay, and the instruments are cohesively balanced, but it can do with some further tweaks. Firstly, I'm afraid I have to disagree with Joel - I feel the rhythm guitars' tones are clear enough to carry the track through. It fits well with the rest of the instrumentation, but once other elements get put in like the synth pads and leads, there's a competition for dominance in that same frequency space. I'm more in favor of seeing you alter the EQ of those synths rather than the guitar, letting them push through elsewhere, and the rhythm chugs continue their intended role.
Secondly, Wes pointed out the synth lead having minimal expression - a sharp attack, but that's it. Turning it from a polysynth to mono could allow for glides when notes overlap, using the mod wheel for expression can also shape up the tone, and automating different parameters from your VST can also bring in some ear-catching results. I understand that you made the timbres yourself, and some of these ideas may go against your vision, but they're suggestions that ought to get checked out if you hadn't thought of already doing so.
This writeup is a long wall of text, and I am sorry for articulating so much all at once. But to recap - it's a great arrangement with some production flaws holding it back at this moment in time. It'll be nice to hear another version with more varied kick-and-snare writing, a more involving tone on your lead synth, and another pass on the mastering that makes your rhythm guitars and synths more identifiable. I see potential with you, Schneider - keep going, and I hope to hear from you in the inbox again soon.
NO (resubmit) -
Yeah, VGMix was more of a community rather than a label. I can't speak for everyone who was active there at the time, but any albums spawned from them were primarily original ones from friendly competition. (And yet the only album I can remember from such an endeavor, for obvious reasons, is Gwilym Logan's "The Meinpenis Zeitgeist"...)
Either way, the closet thing to an album release from VGMix 2 in particular was the Cave Story Remix Project. It had a lot of faces active there at the time, and a lot of the organization happened through a forum thread But it was never hosted on VGMix itself, and k-wix released it independently. You also need to remember that it was 2005, and there weren't as many album-producing VGM communities as they are now, so whether VGMix staff wanted to go through with publishing albums in the first place is anyone's guess. -
Like I've come to expect from you now, Reuben, you've kept a tight performance across all instruments, and everything feels clean. And while using a recorder in a mix can meander for better or worse, Natalya took great care with a natural performance that compliments your gear. The balance is firm, and all parts have clarity in the mix - though, while I've commented on hearing quiet renders from you before, this is an instance where the volume should've been toned down by no more than 0.5dB so that it doesn't quite touch the ceiling.
I also concur with the sudden transition at 2:28. I feel how to make it smoother would be to overdub the acoustic guitar on there to transition from strumming to arpeggio much smoother well as add a resolution to the drum fill you started. Thankfully the accordion and banjo's tails finish just before the shift, so it's not too rough as it stands.
The arrangement is also stable - translating the source to 6/8 and putting the melodies over a set of chords when the original never really had any. There are four textural variations throughout, and thankfully there's not as much autopilot as in previous submissions. The drums and bass kept a constant groove throughout, yet the other parts evolved around them. It has the marcato intro, the main run-through with Natalya's recorder, a run-through with accordion chords and banjo comping, and a repeat of the second variation's ideas, albeit with a gentle lead-in.
Similarly to Larry, I felt the banjo solo had some carelessness moments, with notation straying away from the identified D minor key. Next time, consider the idea of recording multiple solo recordings and picking out what you think fits best with the backing.
Ultimately, the pros outweigh the cons. It's an involving arrangement, and it's tightly produced, with some human imperfections on both sides. Great stuff, Reuben - you're plowing through with your ideas as of late!
YES -
Arrangement-wise, you owned it. You pushed through with two distinct variations with textural and melodic shakeups across both, and the drum writing is very energetic to boot. The breakdown at 2:11 using the banjo backing in the source is also very welcome and paced itself well for the B section's final use. The mixdown is also clean - nothing's clashing tonally, and nothing is poking out of place either.
However, I'd have to agree with the gentlemen above regarding the lead guitar's articulation. I checked your video upload on YouTube for any clues, and I learned that you use Impact Soundworks's Shreddage series for your guitar and bass tones. You're not wrong - the work gone into engineering said VST is fantastic, and a lot of the key switches available are smart. But the stiff timing has made transitions from note to note, especially in denser melodic sections, feel more plinky on impact. Consistent velocities and not much note transition variance have also contributed to this robotic feel.
While it can be possible to remedy it with further humanization and articulation work, all this will boil down to what version of Shreddage you're using, as the more recent releases have a more extensive array of switches to use. If you feel you can't get enough out of the VST you're using, it's best to ask for a session musician to help you out - and I'm sure there's plenty of them available in the Pixel Mixers Discord server at least.
Nevertheless, if you decide to revise the track, keep the arrangement as it is - but think about what direction to take for that more realistic guitar performance. It stings to get two panel-based rejections based on production critique alone, but I know you're capable enough to act. Keep at it.
NO (resubmit) -
Name of primary game arranged - Sonic Adventure 2 (but w/ plenty others)
Name of my arrangement - SEGA Space Station Big Dome, 2094
Remixer name - Michael Hudak
Hello judges. Me again. VGM Con 2020 just recently ended and it was cool to connect some OCR faces to names. With those good vibes, I wanted to finish this remix up.This piece is heavily inspired by a lot of 90s DJ club sets that I used to listen to in college (on YouTube...I'm not that old!). What better way to do a medley-but-not-a-medley (or a mashup-but-not-a-mashup) of a big handful of 90s and early 2000s SEGA jams than by re-creating a chunk of one of these sets? But here's the rub: it's set a hundred years later. In a giant space dome. I figured we spent the 2010s riding the 80s retrofuturistic synth-wave, so let's see if we can't get a 90s thing going this decade! I guess I already tried that with my Skyward Sword tune, but...let's keep it going :p
"Space Trip Steps" from the Meteor Herd stage in SA2 seemed like a perfect foundation for this idea, and I had to do a lot of Vectorman as well to finally get it out of my head after 25 years. Really wanted to add something from Vectorman 2 and another Rouge theme from SA2, but couldn't make it work. I apologize for the complicated breakdown. I tried to de-clutter as much as possible.
Name of games arranged in bold. Songs used from them in italics in the order they appear - - - - - - - -
- Sonic Adventure 2 (Space Trip Steps; I'm a Spy)
- Jet Grind Radio (Electric Toothbrush)
- Vectorman (Day 2: Metalhead; Day 3: Tidal Surge)
- Sonic Spinball (Toxic Caves)
- Sonic the Hedgehog 3 (Knuckles' Theme) – I directly sampled the source tune snares and pitched them a bit.
Vocal sample SFX from Sonic 3's Miniboss Battle music are also used throughout, as are Vectorman game SFX (like when he blows up the delay pedal and then grooves along...and then dies at the end of the song). “SEGAAA” as well......
TIMESTAMP BREAKDOWN WITH SOURCE TRACKS
Space Trip Steps is used from 0:00–2:02 & 3:45–5:00. And the pizz violins pop up constantly throughout the song outside of that.
I'm a Spy coming in on top of Space Trip from 0:45–1:00 & 1:10–1:16. (1:17 and 0:35 in the source vid). Again from 4:10-4:23.
Electric Toothbrush plays on top of the big pad 1:49-2:02.
Day 2 goes from 2:20-3:04. I used the first 24 seconds of the source.
Day 3 briefly hinted at several times starting at 1:47 but starts in full at 3:05-3:37.
Toxic Caves 3:22-3:35 (0:55 - 1:05 in source) & 3:46-4:08 (first 7 seconds in source).
Knuckles' Theme 3:38-3:44 & 4:40-4:44.
-
Remixer name : jmabate
Real name : abate jean marc
Email :
website : https://www.youtube.com/user/jmabate
userid : 35644
Name of game(s) arranged : Dahna, Megami Tanjou
Name of arrangement Opening theme cover
Name of individual song(s) arranged : Opening Theme
Composer : T’s Music
System : Sega Megadrive
Original :
Guest : Audio Mocha – solo guitar
Best regards
jmabate -
Remixer Name: Paper Coelacanth
Real Name: Owen Henson
Email:
Game Arranged: Guild Wars 2 - Super Adventure Box
Name of Arrangement: Rytlock's Super Critter Rave
Original Song: Rytlock's Critter Rampage
Composed by Maclaine Diemer
Last year, Pixel Mixers did a free tribute album, Try Hard and Tribulations, for the annual April Fools Day event in Guild Wars 2, Super Adventure Box. This track was my contribution to that album.
The moment I heard the rising arpeggios in the original song, I knew I wanted to extend it into a poppy dance tune, and I had a ton of fun with it! I even tried to take a little inspiration from the FX in the HTML game of the same name.
-
CONTACT INFO
ReMixer name: Apollo MerriwetherReal name: Robert Cain Jr.Website: apollomerriwether.bandcamp.comUser ID: 36707SUBMISSION INFOGame: Shovel KnightName of Arrangement: Deep SixSong Arranged: An Underlying Problem (The Lost City)Additional Info:Composed by Jake KaufmanOriginally released on PC, 3DS, and Wii U, since released on just about everythingRelease Date: June 26, 2014Comments:I’m a huge fan of Jake Kaufman’s work, especially his take on the Ducktales soundtrack for the Ducktales remake; the Lost City track is a favorite of mine and I decided to have a shot at giving it a Jake Kaufman treatment myself, “modernizing” it while including sampling the original work in tandem with my sounds, keeping it close enough to the source material to feel at home in a remaster but still maintaining my own ouvre. I’m pretty happy with this one.~ Apollo
-
Real Name- Alexander BurgetE-mail-Websites- https://www.soundcloud.com/blinxtunesUser ID- 36749Game Arranged- Donkey Kong CountryArrangement name- Crunky KongOriginal Song Name- Funky's FugueGame console- Super Nintendo Entertainment SystemOriginal composer- David WiseOST-
Producer notes-
I was actually listening to San Holo's remix of the intro theme to DKC, when inspiration struck. I created 2 remixes from this game, Crunky Kong being the second of the two. I decided that this song would be a bit better to submit, due to it's higher quality production, and it's differentiation from the original song.Hope you enjoy, and have a great day! -
Hey, thought I'd chime in with some second judge feedback.
I've seen your form letter in the inbox and while I disagree with the minimal source connection - in fact, the bass and synth strings carry it all the way through - I do however understand your critique for the bass connection getting pushed under. Perhaps doubling the bass riff (but not the repeated non-source notes) onto another instrument, preferably an octave higher, can give it another boost. The arrangement structure itself is solid though, going through one variation of the theme with textural variations between similar parts - even with a fun solo for the last minute. For what it's worth, the transformations are reasonable, though as mentioned, layering your parts can help bring out the source more.
Addressing the other production crits - sample quality here spawns more from your individual instruments sounding like they've only got one VST per part, meaning leaving an exposed impression on the mastering. It is possible to import non-Propellerhead VSTs into Reason whether you decide to invest in some or find some freebies, and it's not impossible to get a mixpost done with just the defaults (but it takes a lot more work). Whatever direction you go in, if the sample itself doesn't have more than one layer, it's best to layer it with some other sounds. Like, if you want a bass to have more sub-bass, find something that has a square or triangle tone and cut all frequencies above the highest note your bass ever plays. If you want more air in a synth, use a harsher saw tone and cut all frequencies from the lowest note the synth plays. Here is a chart with every frequency on all notes on an 88 key piano - that should help with figuring out where to make cuts.
Another way to give your instruments life is to take a look at envelopes. Bear with me, as it's been years since I've last used Reason for anything - but I believe you can set envelopes for certain parameters within a VST, and not just volume and panning. You could use it to manipulate cutoff, resonance, modulation, the wet mix of an external effect, or even bending the pitch if you want to get that creative. It would make your synth solo sound more like a lively synth rather than something that gets tapped multiple times a second.
And let's go back to the last statement you received - the "needless sizzle", or the mastering being way too bright. If you air the track in a music player that has a visualizer, you can see that the higher frequencies are pushing as hard as the bass and low-mids, which isn't normal. Higher-pitched instruments are there to add some sheen, but definitely not too much. Assuming Reason comes with a decent EQ plugin, it's best to make mid-high EQ cuts from instruments that don't benefit from it (bass, lower synths, strings) and let those higher-pitched instruments just shimmer. If the problem still persists, consider bringing down the volume for your hi-hat, cymbals, bells and rhythm parts in that range.
Anyway, I hope these critiques can help you out. It's frustrating to push yourself so hard and get a DR, but don't lose heart over it. The fact here is that you're willing to improve yourself, and whether you decide to refine this track or work on another, it'll be cool to hear from you in the inbox again. Keep at it x) -
Contact Information
ReMixer name: Reuben SpiersReal Name: Reuben SpiersE-Mail:Submission Information
Game: Digimon World
Name of Arrangement: FAT32 At NightName of Original Song: File City (Night)Ft. Kain White on kalimba, shakers, and most importantly, triangle.
-
You're not wrong with "Bloody Tears" getting various approaches, so I can understand why you went for a more subdued direction. Echoing what Larry and Jive had already said, the arrangement structure checks out - three textural variations, with the bookends at full strength and the middle one at 2:00 taking a quieter direction. Despite the stiff timings across your parts, the choices of velocities and articulations are solid, though I would've wanted the string lead at 0:47 to have a faster attack so it could cut through the mix more.
The mixdown also leaves much to be desired. While I appreciate the idea of dynamic contrast, it's an issue when the louder parts hit the limiter's... well, limit - partially forming a sausage at the bookends. And then there's the softer part from 1:48, and as Larry pointed out, that section is quieter than it needs to be. A quieter mixdown with less limiter hugging would harm the middle section more - so it'll make more sense to go over the layers, and see if any could get removed so other parts can push through. Only then can you consider the idea of master automation to bring the dynamics that pinch closer together.
It's not a bad effort, Alex, and I'm in favor of your arrangement ideas. The orchestration isn't a dealbreaker, but the squashed mixing is. It'll be nice to hear another version with a mixing and mastering revision.
NO (resubmit) -
Arrangement-wise, it's a simple run where the textures are very close to the original - though it's nice to hear your unique additions with some other woodwinds and strings lightening up the palette. The swing rhythm on the source is a bouncy triplet rhythm; meanwhile, you decided to opt for a hard swing - i.e., bringing the swung note closer to a 16th. This modification works well with the slow nature of the backing instruments against the melody, but not including a couple of phrases in the B sections keeping the original triplet feel and not getting adapted. As neither swing pattern overlap, I'm afraid I have to disagree with Wes on it sounding "awkward."
However, this pacing has also exposed some very rigid sequencing on the e-piano. That instrument has no random overlaps, no variations in note length imperfections, and all timings are dead on the beat. If you have a MIDI keyboard, that problem can quickly get resolved with a live performance. Otherwise, it would need a lot more work to humanize, as articulations on keys rely on velocity and timings alone.
The mastering is also a quiet one. Yes, it peaks at -1.8dB, but only on the left speaker and during the third textural variation. The main reasoning for this one is simply because of the e-piano's placement in the stereo field. Because it assumes its role as a melody and bass instrument, it should get moved closer to the center. Otherwise, -8.5 for the rest of the track is still light, so a volume boost overall would be good. While I also appreciate the sparse instrument writing, that does leave a lot more room for some of your instruments to take more prominence in empty frequencies. Hence, Wes's criticism for the e-piano needing more bite makes sense, as the parts occupying the mid-highs aren't powerful enough to carry that frequency by themselves.
It's a cute take overall, and one where the arrangement is barely passable - but the e-piano has issues with both sequencing and its sound design, and the usual low volume problem persists. If you can do another pass on the mixdown, I'm all for checking it out again.
NO (resubmit) -
If the track passes, it will need a new title.
-Rexy
Remixer name : jmabate
Real name : abate jean marc
website : https://www.youtube.com/user/jmabate
userid : 35644Name of game(s) arranged : Mega Man X
Name of arrangement : Sigma Fortress 2 cover
Name of individual song(s) arranged : Sigma Fortress 2
Composer : Setsuo Yamamoto
System : Super Nintendo
Original :Best regards
jmabate
-
Hello, I am a composer and arranger from France, and I would like to propose a first arrangement to OCremix.
Contact informations:-Remixer Name: Burmecia Dragon-Real name: Vannick EYMERY-Website: https://soundcloud.com/vannickeymery-UserID: 36724Submission information:-Name of game arranged: Final Fantasy VII-Name of arrangement: Reggae of the oppressed people-Name of song arranged: Oppressed people by Nobuo Uematsu
-This song was made in tribute to Nobuo uematsu and to Final Fantasy 7, which made me start learning, playing, and composing music.I wanted to cover a song that is not a "Highlight" song from this game: just a great funny tune, with a strong personality and a Reggae flow that I wanted to maximizeThank you,RegardsVannick -
Contact Information:
- Your ReMixer name: Chalis
- Your website: https://soundcloud.com/36_99 and https://www.youtube.com/channel/UCShxV9_h4iNCBxw0VaO6TXA
- Your userid: 32914
Submission Information:- Name of game(s) arranged: Undertale
- Name of arrangement: Chill Dude
- Name of individual song(s) arranged: Bonetrousle
- Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=zdeZwAk6ULE
-
Your own comments about the mix, for example the inspiration behind it, how it was made, etc: I've always wanted to do a chill jazz-inspired remix of Bonetrousle in 3/4 time, and I only felt I was ready to do it recently, so I took it on.
*NO* Jazz Jackrabbit 2 "Power Jam"
in Judges Decisions
Posted
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, but the patch you chose hardly has a body, making the notation challenging to hear. While a warmer pad there would be nice, the track still hits its source quota without it, so it's not a huge loss.
However, this track suffers from a lot of repetition. Firstly, I co-sign on what Joel and Larry have said about the B section's repeat at 3:26. It's possible to keep the B section's melody and chord structure there while also changing a lot more of the backing parts' textures or writing. The added lead at 3:53 did help to keep things interesting, but it exposed another can of worms in the production, which is listed further down.
Secondly - and it pains me a lot to say it - the drumbeat is as dull as dishwater. Your core groove is the same basic four-on-the-floor beat with the same hi-hat pattern all the way through, with only some change-ups in added cymbal writing in busier sections. Some good fills won't go amiss and are usually implemented every 8 or 16 bars with varying intensities depending on what you see fit. See if you can check out some commercial progressive trance and pay attention to how the drums are programmed. You may get inspired by what you hear.
And now, the production. Firstly, remember what I said about the lead at 3:53? That instrument is way too loud compared to the rest of the present parts, and when paired with your limiter, it made the progression at that segment very unclear. Consider bringing the volume down, but don't be afraid to try any EQ cuts across other instruments to make it sit better. Otherwise, the balance feels serviceable overall. The two glaring small details with the delayed bells from 3:01 and the imperfect fadeout already got touched upon, so hopefully, you know what to do there. And I'm also one for hearing thicker textures on your drums, but that rolls back into what I said earlier about the part-writing being mundane, including listening to similar tracks for some ideas.
It's a good starting base there, but the writing's presentation needs more done to it, particularly in the drum groove and second half. The minor production issues, particularly the loud synth late on and delayed bells, should also get addressed. Whatever you decide to do, keep going with your craft.
NO