Rexy
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Posts posted by Rexy
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I imported the track into Audacity, and while I usually would see red marks where clipping would be, the software gave me nothing - it's entirely under the line. It does have a brick-walled sound to it, and yet despite this, I can identify all parts in the mix, and nothing seems to stick out. The main concern that I have other than the choice of compression is a questionable small frequency gap occurring between 300-500Hz and varies in size and location at different parts of the track. Usually, such a spot is an excellent place to emphasize another instrument if the mixdown is too muddy, but it's not the case and is not a constant issue.
I also echo everyone on the arrangement - it's fun and rarely stays in on place! The source is dominant, primarily due to the arpeggio filling in gaps during melody absence - and the variety of underlying arrangement, timbres, sweeps, modulation and gates keep it engaging throughout. But do watch out for dissonance, though. 1:20, 2:40 and 3:22 have a B note in the melody like with the source, but the bass is in B flat. They sound weird, and I hope you can find a way to fix it before release, but I won't be opposed if it stays.
As it is, I heard a stable arrangement with some minor intonation flaws and a loud master that luckily didn't break itself. Those values alone are enough to get over the bar, but I hope the experience can teach you both some things about the dangers of over-compression. Stay safe, and keep making fruitful efforts!
YES (borderline) -
I have no problems with the headroom, first and foremost. Yes, there are many spikes, and the average headroom would've been -6dB otherwise, but there's enough space for the pizzicato cello and hand drums to resonate in the mixdown.
I found the mastering to be serviceable, too - aside from the chimes, the main melody instruments have got their presence in the mix, and each part has its place in the spectrum, which is intriguing to witness. I would've wanted the pizzicato cello's volume level lower down in the mix, but it established its purpose here otherwise. The articulations aren't the best in the world, with some more constant velocities across the board, and the woodwinds and synth voice not taking a break for air. But the vocal itself makes up for it with careful use of attack, release and vibrato, and the dynamic shaping takes advantage of the soundscape to accommodate multiple layers that drop in and out whenever they choose.
The arrangement boils down to two loops with some gentle bookends using the A section. I appreciate how at the beginning, you decide to bring in just a few notes of the bell chimes in the A section to open, then have the full sequence ready at 0:16. Some subtle details went beyond simply re-orchestrating, too - the single bar of 4/4 at 0:35, the doubling of textures at 1:02 to add more emphasis to the chimes, and the alteration of the B melody at 1:38 as it set itself up to harmonize with the arriving C section with its false start at 1:41 and official use at 1:57. The tempo drop at the end almost left me paralyzed with how well you pulled it off - the feeling was like a cloud slowly evaporating into the sky, if you want a poetic nature metaphor. It's calming, it did its purpose, and there's enough substance to carry it through.
Once again, I see the arrangement to be spot on with only a few small flaws in the production sticking out. In this form, the positives outweigh the negatives, so I feel it's done enough to make it over the bar and onto the front page, preferably with a chillout genre tag. Sweet stuff, Rebecca - you've probably cured someone's insomnia with this one.
YES -
Contact Information
- Remixer Username: Audio Mocha
- Real Name: Daniel Florez
- Preferred E-mail:
- User ID: 33297
Name of games arranged: The Legend of Zelda: Majora's MaskName of arrangement: Surfing In The Haunted SeaName of individual songs: Great Bay CoastSource materials:
Comments: I wanted to give this traditionally creepy tune from the four lands of Termina an upbeat surfy twist. I realized that the melody actually had a pretty happy feel to it when played with less creepy-sounding instruments. Even though this song is heard in all four worlds in MM, I naturally wanted to associate it with Great Bay because it just makes sense it being a surf rock remix. -
- ReMixer name : Mole Machine
- real name : Jérémy Alcaraz
- email address:
- website : www.molemachine.net
- userid: 36466
Here is a cover of Legend of Zelda main theme I did. Thanks a lot!
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The intro and first half of the first loop caught me off guard, with the melody sticking with A minor and the accompaniment going through a progression five semitones down. In fact, with some further transformation happening with added grace notes, playing around with the B section at 2:08, and no source-covered part sounding identical, it's an engaging treatment throughout. Add plenty of intensity into original melody writing too, I see it as a stable arrangement with nothing to change.
Now, the production values are peculiar to me. Yes, it's a clean mix with careful balancing between all parts, but it's thin sounding overall. You have some ear-catching synths with multiple layers, but there are parts like your drum and bass that sound thin and can benefit from some additional textures or delay depending on what you see fit. Pads won't go amiss either, but that depends on whether their absence was intentional. It's also a dry mix, with a slight emphasis on your leads and rhythm parts that get obscured whenever the bass is in play. To take the edge off the dryness, see if you can add more reverb onto your leads and run a high pass EQ onto that same reverb effect, so it doesn't bleed into the bass.
This track is almost there - it just needs another pass with some more TLC given to the soundscape. You've been quick off the mark with close resubmissions before, and thankfully you don't need to do any writing cuts this time. Keep at it.
NO (resubmit) -
Arrangement-wise, this track went through some fun places. It goes through one run-through of the theme, then further development starting at 1:44, culminating into an intense guitar solo at 2:29 that keeps the momentum going into the D section's return at 3:17 and an ending based on the intro. Hence, the source is dominant throughout and handled with good intent, with no segment repeating the same idea.
I feel you should've watched out during the buildup at 2:51, with the backing brass breaking away from the chord progression halfway up the scale. Changing the G note in the sequence to F# is a quick fix and more appropriate for the D major chord at that measure.
Alas, I am with Larry about the production - mixing is way too hot, with clipping at 1.3dB and pumping all over the place. Consider bringing down the sound levels for all of your instrumentation to make it easier for your master chain to process. With that out of the picture, the guitar tones are mixed in well with the drums and synth instrumentation - yet, not the orchestral parts. When present at the same time as the brass or string sections (or both), the guitars get lost in the mix - so see if you can make some adjustments to the EQ on any of these instruments to give them their own designated space.
Different articulations for your orchestral parts would also be nice to have. You've demonstrated velocity variation thanks to your pizzicato strings at 1:44, but finding places for extra attack and release changes can further add realism, as well as slightly adjusting timings to before or after the start of each designated beat. With the rock part of the arrangement sounding solid, this aspect won't be a dealbreaker if not addressed in a newer version, but it is something that should at least get checked out.
I do not deny the raw energy, and you're not wrong with the "fierce determination" direction. It's one that I'd like to hear on OCR in the future, but in a revised form that revises the mixdown. Bring the levels down, and look into both EQ changes and added realism for the orchestrated parts. Keep going, Devin!
NO (resubmit) -
Ooh, I remember being a second ear to this one! So glad to see you brought it to completion, Wes - I'm all for something more positive on the front page, and you know that.
Indeed, this is an excellent treatment of the source. There is a single run, with the A section getting doubled with textural variations, plus there are some small and effective changes to the melody line as well. There's a variety of countermelodies, grace notes aplenty, some minor notation modifications that stay musically pleasing, and some added harmonies for when the situation calls for it. Playing around with said A section for the calming ending also felt satisfying and appropriate for this "getaway port town" feel you're going for here. And even the brief 5/4 bar at 1:52 felt organic and smooth - I wouldn't have guessed you were self-taught by the execution alone.
The production values are pleasing, too - careful attention to each instrument's frequency space, a well-balanced mix, and a palette with an emphasis on mallets. Because of their lengthy tails, they are not easy to tame and keep to a clean mix at the same time - and I am thankful that you took my initial advice on board when you showed the initial WIPs because they sound so clean now. Great work!
This track needs to head to the front page - a well-crafted take on a modest source, pushing more of your musical capabilities. And now this is making me want to go on a boat trip.
YES
[EDIT: 2020/08/06 - I heard the revision based on Brad's note mismatch critique. Even when comparing both side-by-side, I found it really tricky to catch the problem parts that he pointed out. Nevertheless, it still sounds fine to me here - let's get this posted.] -
See, when I checked out the track, I felt the variance with this 10-second loop was more than enough to get it checked out on an interpretation standpoint. And indeed, there is - six loops in total, satisfying breaks between sets of two and subtractive contributions thanks to textural variation and some well-executed rhymes. The drum writing had also prevented any autopilot issues, with some careful embellishments to separate the first pair, and some more intense rhythms to go through the guitar section at 0:49. I loved how you "let the air out of the band" for the ending fanfare - proof that you wanted to get a laugh out of anyone who listens, and that just sealed the deal!
Even the production values are tight - a clean mix, artifact-free recordings on the guitars and vocals, and is mostly well balanced. The vocals also have some strong effects for a thickened presence, with even some variance in filters letting them shine. Like with Chimpazilla, I would've liked to have heard the guitars go a touch further to the front, but it's no big deal in this case.
I would've liked the track to have been longer, too, but it's hard to say no to a remix that did so much in such a short running time - something almost entirely unheard of outside of the first four years of OCR's life. Adrian and Marlon, you are remixing wizards, and I commend you for it!
YES -
First of all, great synergy and performances between you all! Everything sounds clean and tight, and there's some substantial attention to giving each instrument their own defined space in the mix. It's not a perfect mixdown as I would've wanted the drums further front and with a pinch more emphasis on the snare, but I can roll with this setup down to the closeness of the live recording setup.
The arrangement, however, left me mixed. The initial treatment of the source is fantastic - transforming this simple 6/8 melody into 4/4 and with a shift into advanced chords to suit the progression. Even the last 45 seconds worked well with the Zelda theme cameos, plus a softer variant as part of the ending. However, the entire stretch from 0:34-2:49 has no source whatsoever. I get it - fun solos are a significant part of jazz, but the standards say that BGM must be dominant. And with BGM accounting for only 35% of the running time at best, more needs to be done with the arrangement to lift that quota.
So here are some ideas I can think of to remedy this problem. You could get new solos recorded there and packed with many different Zelda BGM cameos. It could be possible to add another permutation of the primary source in-between the noodling. Or you could change the accompaniment entirely in one of the solos to that of the chord progression for yoúr primary source. I'd also be pleasantly surprised if you can think of any idea that I completely missed, so go nuts and see what works.
It's a track that I would've liked to have seen got posted thanks to its excellent first impression and powerful performances all around. But if the remix is source light, I'm afraid I can't see it on the front page as it is. It'll be nice to hear a new version with more BGM usage down the line, but for now, I hope you get the chance to send music over here again - I see potential here.
NO (resubmit) -
CONTACT INFORMATION
ReMixer name:
Obscure Reference Band (O.R.B.)
Band members:
Matt Murphy () - drums, arrangement
Nicholas Terelle () - guitar, mixing
Liz Woolley () - electric piano
Joseph Brenneman () - saxophone
Bradley Mellen () (userid: 18643) - electric bass
SUBMISSION INFORMATION
Name of game(s) arranged:
The Legend of Zelda: Ocarina of Time
Name of arrangement:
Severe Storm Warning
Name of individual song(s) arranged:
Song of Storms -
Hello OCRemix Team,
Here a submission of a remix from a game i love.Have a nice day.Best Regards,Benjamin Oziel.Contact Information
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- ReMixer Name : Ben Oz
- Real Name : Benjamin Oziel
- Email Adress :
- website : https://soundcloud.com/benjaminoziel
Submission Information
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- Name of game(s) arranged : Megaman 2
- Name of arrangement : Metal Step Man
- Name of individual song(s) arranged : MetalMan
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The transformations here are lovely. Changing the key from a modified Lydian scale to straight-up minor key immediately changed the source's character to something less ominous and more solemn. The same is true for the arpeggio's pacing remaining as it is while bringing the melody into half-time for the first 90 seconds. The framework is well structured too - the melody's restoration to standard time at 1:28, the violin countermelody at 2:03, and the bass drums from 2:40 onwards have shaped a robust dynamic curve while still keeping both the source modification and melancholy mood. On a personal note, this track made me feel emotional just listening to it - so consider that a worthy accomplishment!
The execution is excellent, too - a well-balanced mix, a suitable mixdown with layers aplenty, and great attention to dynamics during the track's running time. Your pads, chimes and piano all sound great with appropriate broad reverb, subtle note overlaps, and a careful spread of velocities to keep at its emotive level. The violin, while not the most realistic one I've heard, has substantial attention to detail with vibrato, slow attacks, and equally well-shaped releases. The only issue I have is with the ending tail, which suddenly cuts off - something that I'd like a fix for before getting posted, but is no big deal if it doesn't.
I said during my vote for "The Princess and the Wolf" that I wanted to hear more interpretation beyond a subtractive level - and this track ticked that box. Pair it with emotive writing and execution, and this is a mighty sophomore effort. Beautiful work, Danilo!
YES -
That arrangement is definitely on point! The bossa nova direction with added harmonies set a fantastic first impression, and the fresh additions didn't stop there. The segue to DK Isle at 2:03 felt organic and combined with the melody phrase spacing until 3:03 that one source got a creative transformation. The tempo change and jazzier reprieve for Gusty Garden at 3:56 kept things refreshing as did the rubato piano section at 5:27; and the climax at 6:31 with the eventual "you got a star" jingle reference dynamically drew things to a close. I find it amazing that even though the structure is essentially A-B-A, there's so much to love with multiple genre adaptations, subtle melodic tweaks, and the shaping of the framework. Fantastic teamwork, all!
Now, the mixdown is an intriguing one. A lot of the sharper instrumentation (particularly brass) is over on the left side of the stereo field - but it becomes less problematic as more rhythm parts, woodwinds and muted brass appear from the right. If anything, it feels like a more organic live setting. Yes, the mixdown also feels bright, particularly on the brass and cymbals - but nothing got damaged, and I see it as a necessity to prevent blending into other parts of the ensemble, so good call. The recording quality across all parts is clean too, and the performances are tight, so even with the steep headroom taken into account, it's a good production.
I, too, am all in favor of seeing it get posted - but that's providing John can do the volume and silence fixes. People need to sit back and enjoy it, champagne in one hand, and a wristwatch on the other!
[EDIT 2019/05/28 - John sent me a revised version with not only the volume boost and silence cuts, but also addressed Wes's drum mixing critique. I'm delighted to see it get posted now.]
YES -
Now, this is what I call an example of making something substantial out of something so minimal! Once again, Rebecca took the "two variations" route with the arrangement - but in this case, the melody treatment feels unique on both sides, and some of the phrases even got developed multiple times with some occasions involving multiple lead part switches, before moving on to the next. MindWanderer nailed the description better than I can - taking all the silence out and remixing what's left - which is basically what the listener will get.
As of today, we've also got an updated version that bumps up the track volume - so I'm glad to say that the headroom issue got fixed. The mixdown is clean, nothing is poking out on a volume perspective, and the velocity variations and sustain control feels very human. I'm with prophetik on the rigid timing, though - not only on the piano but also on the other instrumentation. Hence, I would've preferred the pacing to be more rubato-like, but it's no big deal when many other aspects got done right.
Nevertheless, it's an explorative treatment of a source with little content - and with the polish sustaining it, I'm all in favor of seeing it get posted. Good work!
YES -
This track originally got submitted in September 2019, but for some reason it never got to the submissions inbox itself. The brevity may be a concern, but I feel it's done enough to keep a 10-second loop interesting, and so I find it worth a shot for judge feedback.
-Rexy
Contact Information
ReMixer name - Seizure Machine (Marlon Sinvergüenza and fxsnowy)
real name - Marlon / Adrian
email address -
website - seizuremachine.com
userid - 36273
Submission Information
Name of game(s) arranged - Super Mario Bros 2
Name of arrangement - Birdo's Revenge
Name of individual song(s) arranged - Boss
We were inspired by Birdo's egg spitting.
Lyrics :
I was just kidding
JK… Rollin’!
Up on my nemeses
Vacate the premises
I take vacations in Hades with Hades
Make booties shake like the…
Ground in Haiti
Hercules, you’re an obsolete hero
Jesus is a copy
Scorpion, Sub-Zero
Sailors hear the siren song that you relish
I killed Achilles cause I have a foot fetish!
[break]
Now, we’re back and the beat’s on full blast
I take over these streets like Critical Mass
Divide by volume
You’re so fucking dense
Your cranium’s uranium
Mine is hydrogen
Conquest, I navigate
Port and starboard
I’m so fly like the motherfucking Conchords
Conker had a bad fur day, didn’t shave
My dick is Donkey Kong with a condom for a cage!
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Working with a minimal source is always going to be challenging, so I respect your decision to do the "two separate variations" route on this one. I can see what you aimed for - keeping the notation while making some minor tweaks, changing lead for the second run-through, and putting in an assortment of mainly middle-east inspired instrumentation for the accompaniment. While this is pleasant-sounding, it fell in the same pitfall as a previous submission of yours - the melody interpretation is identical on both sides, and the backing's static nature didn't contribute much to it either. The suggestions that I had there to interpret your melody further apply here, too. See if you can find ways to change things up.
The mixdown is also a mixed bag. As prophetik pointed out, there's more attention up the front with the choir and pads - and the former is understandable as it provides the lead for the first half. Said choir also held notes at the same sustained level and then suddenly dropped out, so I'd appreciate you using envelopes to express them more realistically. Your instrumentation was also mainly hitting notes in the low to low-mid range, leaving very little going on in the mid to mid-highs, so it would've been nicer to have heard some of those layers transposed up an octave to get that area covered. And of course, there's the issue of headroom - a recurring issue that I'm sure you know how to handle by now. (But do feel free to talk with me on Facebook if you don't.)
It's a nice and peaceful track, but the combination of an underdeveloped/static arrangement, a choir in the uncanny valley, and the quiet mixdown all add up to sending it back to the drawing board, unfortunately. Rebecca, I know you're capable of getting some pretty new age onto OCR - and I do hope you keep going with that idea.
NO (resubmit) -
Greetings, OCR Team.
I'm Vladimir Kuznetsov, producer behind World Beyond - an instrumental soundtrack music project, also representing my collaborator Marica Vilibic, a talented violinist and singer from Croatia, with whom we do film and videogame music covers. We would like to suggest this new instrumental medley for review.
Contact Information
• Remixer name: World Beyond
• Real name: Vladimir Kuznetsov
• Your website: www.worldbeyond.net
• Userid: 31732
Submission Information
• Name of game(s) arranged: The Elder Scrolls III: Morrowind, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim
• Name of arrangement: The Elder Scrolls Violin Medley: Nerevar Rising (From "Morrowind") / Reign of the Septims (From “Oblivion”) / The Road Most Travelled (From "Morrowind") / Dragonborn (From “Skyrim”)
• Name of individual song(s) arranged: Nerevar Rising, Reign of the Septims, The Road Most Travelled, Dragonborn
• Original soundtrack music composed by Jeremy Soule.
• The idea to create this cover came from Marica, as she was willing to record the violin on top of an orchestral instrumental track. I liked this idea very much but instead of covering just one song from the TES soundtrack I tried to write a medley that would seamlessly transition between the most notable themes of the series. When the draft was done she played her part in one take as best as she could and I fine-tuned the track around it. At the final stage of production I tried to make the original audio sound more cinematic, using significantly less compression, much more reverberation and a mellow, warmer EQ profile.
Violin:
• Violinist name: Marica Vilibic
• Email address: mvilibic@gmail.com
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Contact Information
ReMixer name: Reuben Spiers
Real Name: Reuben SpiersE-Mail:Submission Information
Game: Legend of Zelda: Ocarina of Time
Name of Arrangement: Downtown Hyrule
Name of Original Song: Hyrule MarketHulusi is an instrument not enough people use.
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Remix: THE 7TH FANFARE
Source(s): Final Fantasy 7 FanfareOriginal Instrumental: N/AGame: Final Fantasy 7Name of Arrangement: The 7th FanfareName of Original Song: FanfareOriginal Composer(s): Nobuo UematsuBeen a while eh? The victory theme from FF7 has got to be one of my favorite versions of the FF Fanfare, and so I decided to give it the 'ol remix treatment. Hope it's enjoyable m'friends.
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Hi, I’m a remixer from Japan. This is my first submission. Thank you.
- Hassan A Nojo
- Hiroki Ando
- (No website)
- 36035
- Kirby’s Dream Land 3
- Matango on Iceberg
- Iceberg
- I have dreamed of making a ‘mixture rock’ song with Kirby’s soundtracks.This remix contains rock, metalcore, heavy metal, pops, chiptunes etc.
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Wow, that source is sparse. It's so simple it can translate to an 8-bit chiptune with minimal note modifications.
Either way, the treatment is surprisingly engaging. It doesn't go through any straight loops - which makes sense, as source use accounted to two melodic riffs throughout, and all the percussion got changed entirely. Dominance checks out, as one motif or both is present up until the ending at 2:35. And so does the interpretation - while the melodies themselves remained as they are, that left a lot of room to flesh it out with an evolving orchestrated accompaniment that gets increasingly lively as time goes on. It's so captivating to listen to - good stuff.
The presentation is also serviceable - the articulations are gorgeous, and the balance is spot on overall. I did, however, feel there was a touch too much emphasis on the low to low-range, which I believe bringing the levels down for the deeper-sounding instruments can fix. It isn't a dealbreaker, as it did a lot more right, and it serves as more of a nitpick in the soundscape.
What isn't a nitpick, and something I've experienced, is wondering why the track got submitted with 15 seconds of silence at the end. It takes up data, it's not like Rebecca usually, and it's something that should quickly get cut before posting. Otherwise, it sounds great, it's hugely interpretive for what it is, and should get out there for others to enjoy. Excellent teamwork, you two!
[EDIT: One hour later, I got a new render from Rebecca with the silence taken out. It's good to go!]
YES -
Behind the wandering source, there is a steady melodic loop with rubato time throughout, so I can understand why prophetik decided to break down the source into a singular set of notes. But by looking at the melodic pattern as a whole, it boils down to two variations of that melody, with timbral, timing and harmony changes. However, the backing stream is a constant stream of pads and bells, which is okay for new age - but ultimately, the pairing of a stagnant backing track and minimal interpretation means there should be more to it. You could add a development section in the middle, add some surprise textures whenever you see fit, experiment with countermelodies, change the backing tones for the second variation entirely - quite a few ideas to pull off while keeping to the constraints of the genre.
The mixdown has a couple of minor critiques, but nothing as drastic as the arrangement. The balance is excellent, nothing is poking out unintentionally, and I didn't mind the amount of headroom as it's appropriate for the gentle nature of this arrangement. You also did well with backing your choir in the first half with a Rhodes piano, as the articulations otherwise are stiff, with constant attacks and sustain, and hardly any release. A real choir would have variety with how they start singing and are more careful with letting notes finish. Otherwise, the choice of pads, bells and effects is lovely to take in for the genre's standards and work effectively despite the issues with the stagnant writing.
This submission is also one that I had looked back and forth on - one of your better productions, and one with some subtle variations on the melody line. Ultimately, the stale accompaniment contributed to an underdeveloped arrangement overall, which is why I can't pass it as it is. If you ever get the chance to add more substance to it, it'll be nice to hear the result. Whatever happens, don't stop making tracks of this nature - it fits your skillset like a glove.
NO -
The bookends are an alarming concern as the mapped instrumentation is identical to that in the original. But past 0:24, it's less of a concern and with instruments more suitable for the style. The basic 4-bar melody present in the source has some slight modifications with an altered notation at the end of the last two - but that change is identical with every variation present, regardless of changed textures. It would've been nice to have heard more variations with each run.
Additionally, while I don't mind the Simlish voice clips, I do feel their integration is needlessly excessive - to the point that a handful of samples got used more than once. Consider cutting some repeats out and finding other ways to raise anticipation for the builds. Additional percussion, synth glissandos, and effects are three such suggestions at the top of my head, and I'm sure you can experiment with any other fun ideas.
You're a lot more on point with the production, though. The mixdown is clean, the balance is tight, and your kick drum in particular packs power - albeit a touch too much, so see if you can bring its volume down by a small amount. I like your selection of gates and EQ sweep envelopes on the synths here - it makes them sound more distinctive in the bigger picture, with articulations that suit the wandering nature behind electronic chillout.
As of right now, while you've got some fun production chops under your belt, the interpretation behind the source is minimal, and I don't feel it's transformative enough to hear it on the front page. See if you can add variety to your variations beyond just switching instruments, plus cutting down on repeated Simlish clips. Whatever happens, keep going - it'll be nice to witness your development within the near future!
NO -
The source dominance checks out, alongside the genre adaptation - an appropriate choice of backing instrumentation and changed chord treatment for the source's A section. While I appreciate what you did there, the static delivery fell flat, with multiple blocks of 16 bars having only eight bars mirrored with very little done on the last bar to transition out. 2:57 is considered extremely problematic, with the only difference between that block and at 3:26 being the different melody done. A change-up in the accompaniment at 3:55 can also add a more distinctive sound, rather than a carbon copy of 1:58-2:57. See if you can find some ways to make those areas sound more engaging.
And as MW also pointed out, look out for the writing on your synth harmonies and arpeggios. Their current writing tends to cause dissonance, particularly on every 3rd, 7th, 11th, and 15th bars of each block. See if you can go back there, think of what chord you wanted in the first place, whether it be F major or an E major or something different - then adapt the writing to fit around it.
The mixdown also has a couple of rough spots. The instrumentation themselves are reasonably balanced for the most part, but I would've liked to have heard the volume brought down on the hi-hats. They've got the high frequencies covered, and they didn't need to be that intense in the mix. Additionally, the sub frequencies have so much power a subwoofer would mask the entire mix - so consider putting a high-pass EQ on your master chain to reign them in.
Nevertheless, it's not bad for your first submission - and to hear you've made the transition after approval from Newgrounds staff is inspiring. But if we're to see it get posted on OCR, it'll have to be with another version that has more variance in the backing, the problematic dissonance cleaned up, and another pass on the mixdown. Keep your head up, and I hope you'll return to the inbox soon.
NO (resubmit)
OCR04115 - *YES* Final Fantasy 10 "A Maiden's Prayer"
in Judges Decisions
Posted
Rebecca has updated the audio with a volume bump. I still stand by my no vote based on the vocal mixing, but those with conditionals and other no votes based on the initial mastering are welcome to revisit their decisions.