Rexy

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  1. Like
    Rexy got a reaction from Pyrus in OCR03986 - *YES* Super Metroid "The Loneliest Bounty Hunter in the Universe"   
    Yeah, Youtube links aren't a great place to host submissions for us.  I'll give the benefit of the doubt, but please host it in a cloud drive or attach to your email in the future.
    Anyway, the source treatment is mostly safe and conservative, but there's plenty of subtractive interpretation that makes it stand out.  And there's so many I'll need to dish out the bullet points again!
    * The intro and first run-through use the source's elements straight with the drum and bass grooves controlling the pace, varying slightly as the rack goes on.
    * The pitch-bending harmonies during the second run-through (2:52) are expressive and caught me off guard.
     *The slow chugging guitars at 4:18 added a more ominous tone to lead out of the track's first half.
    * The section at 4:35 had a cool use of time signatures alternating 2 bars of 4/4 and a single bar of 7/4.
    * 5:40 added a dramatic rising choir that gets revisited at 7:49.
    * 6:07 has the stereo-shifting guitars on the upbeats forming an effective countermelody against the piano.
    * The 7:09 section revisited ideas from the first and second iterations of the source along with the latter's harmonies.
    * And 7:49 also had moments where the rhythm guitars would go into triplets and occasionally have an engaging gate effect at the same pace.
    As heard, these ideas all come and go with one or two getting revisited.  With the source's familiar framework, it all ties in with enough ideas to fit this track's prog-rock feel.
    Even the production doesn't pull any punches.  The instruments are easy to pick out, the guitars had so many tones they didn't outstay their welcome, and the performances are all clean and tight.  I do agree with Larry regarding the lead guitar's sloppy introduction at 0:57, but it corrected itself quickly, so I don't see it as a dealbreaker.  And I do sense inconsistent writing - notably in the first half - with the drums going back and forth between working with the other instruments and working independently.  But at the same time, it doesn't grow stale and adds to the arrangement's engaging nature.
    Overall, this track pleasantly surprised me despite its insane length.  The performances are on point, there's plenty of interpretation to justify the framework, and the presentation is both clean and matches this vision of loneliness.  Impressive stuff, Andy!

    YES
  2. Like
    Rexy got a reaction from prophetik music in OCR03970 - Super Mario Bros. "Reflecting Pool"   
    Oh boy, I remember this!  Sir Nuts linked me to the decision thread not long after I got added to the Judges and asked which way I'd vote on it.
    Here's what I thought: once the melody started at 0:21, the source clicked for me there and then.  The harmonies and effects contributed actively towards subtractive arranging, which is heard as the main arrangement attraction.  The horn performances and manipulations were spot on, added to that textural thickness and are all cleanly placed out in the mix.
    And do you know what else this track brought to mind?  It reminds me of the Tortoise section of Camille Saint-Saens's Carnival of the Animals suite.  Saint-Saens used the main melodic riff of Offenbach's "Galop Infernal" (otherwise known as the Can-Can) and slowed it down by 2.5x, while here the source is brought down to 4x its speed.  This arrangement is a more extreme case, but at the end of the day, the BGM is dominant and has an interpretation approach seldom seen around the VGM scene, period.  If I were on the panel at the time, I would've been in the Yes camp.
    Nevertheless, you did boldly, and I hold mad respect to the result that popped out.  The original Super Mario Bros has tunes covered a vast number of times, but this is a sign that proves there's still room to make something unique out of it.  Nice work!
  3. Haha
    Rexy reacted to Mr. Hu in OCR03970 - Super Mario Bros. "Reflecting Pool"   
    This is certainly an experimental approach to the water theme (which I couldn't pick out last night but did today!), and a lot of good experimental music divides people. But I think this remix will find/has found an audience that will appreciate it for what it is. 
    YouTube is maybe the biggest forum for video game music ever, and is also the land of instant gratification. People like their EDM, chillwave, orchestral, etc (me too), and will slam that dislike button - even if they don't truly dislike it - and quickly move on. If this remix was created to be a patience-tester, you've dropped it in the right sample group!
  4. Like
    Rexy got a reaction from djpretzel in OCR03970 - Super Mario Bros. "Reflecting Pool"   
    Oh boy, I remember this!  Sir Nuts linked me to the decision thread not long after I got added to the Judges and asked which way I'd vote on it.
    Here's what I thought: once the melody started at 0:21, the source clicked for me there and then.  The harmonies and effects contributed actively towards subtractive arranging, which is heard as the main arrangement attraction.  The horn performances and manipulations were spot on, added to that textural thickness and are all cleanly placed out in the mix.
    And do you know what else this track brought to mind?  It reminds me of the Tortoise section of Camille Saint-Saens's Carnival of the Animals suite.  Saint-Saens used the main melodic riff of Offenbach's "Galop Infernal" (otherwise known as the Can-Can) and slowed it down by 2.5x, while here the source is brought down to 4x its speed.  This arrangement is a more extreme case, but at the end of the day, the BGM is dominant and has an interpretation approach seldom seen around the VGM scene, period.  If I were on the panel at the time, I would've been in the Yes camp.
    Nevertheless, you did boldly, and I hold mad respect to the result that popped out.  The original Super Mario Bros has tunes covered a vast number of times, but this is a sign that proves there's still room to make something unique out of it.  Nice work!
  5. Like
    Rexy reacted to GSO in OCR03192 - Final Fantasy VI "Gestahlian Sonata"   
    hats off to you @Rexy god I love the piano here
  6. Haha
    Rexy reacted to Garpocalypse in OCR03968 - Plasma Sword "Eclipse of the Fourth Empire"   
    What is with this track? I don't know but the judges were way off with this one. It's like someone turned on a noise generator and tried to pass it off as a ReMix.  
    <_<  >_>
  7. Like
    Rexy got a reaction from timaeus222 in OCR03958 - *YES* Tangledeep & Dungeonmans "In the Heart of Home"   
    I undoubtedly see it as a more unusual Timaeus arrangement.  There's more of a focus on subtractive arranging with additional instrument layers under the primary source, which even goes as far as keeping the 6/8 time signature and general atmospheric feel.  I also like the impressive tricks with the integration of other Tangledeep BGM (and the occasional riff from Dungonmans), as well as adjusting the source to a Persian scale on a couple of occasions.  It matched the goal of a more calming mix that evolves as time goes on.
    The production is also very charming.  All the instruments are well mixed, the percussion sounds gorgeous, and the pitched percussion (harp, bells, piano, etc.) had proper attention paid to dynamics.  And as an added bonus, the synth leads combining with the soundfonts generate a unique timbre that respects the pseudo-SNES nature of the source material.  The stated extra time spent mixing the track to this meticulous detail paid off, that's for sure.
    It's an easy decision here - it's a lovely crafted arrangement and an equally thorough presentation.  That means a spot on the front page -  great work as usual!

    YES
  8. Like
    Rexy reacted to WesternZypher in OCR03941 - Puyo Puyo "I Just Skipped Time Yesterday"   
    Feels like it could fit right into a recent remake.
  9. Like
    Rexy reacted to WesternZypher in OCR02705 - Sonic Colors 'Go into the Light'   
    My OCR listening heyday seems to stretch from near immediately after the site's inception thru the end of its first decade into the 21st century...so mostly missed Rexy's work, as I somehow never heard her mix fr '05; gonna rectify that now. Mellow, jazzy, hopeful - good stuff.
  10. Thanks
    Rexy got a reaction from RaphvsMaximvs in Lost Mega Man 1 Ending Remix?   
    There had been, but it was one of those tracks that got erased during the pre-1500 lockdown due to a standards violation.  In fact, there's been a history of tracks that have been present on the site before, but had been removed with a clear reason.

    There is a hosted archive of removed tracks and the Mega Man track in question is right there.  I hope this explains everything x)
  11. Like
    Rexy reacted to MkVaff in OCR03954 - Fantasy Zone "Opa and Over"   
    This remix brings such a  to my face!!
  12. Like
    Rexy reacted to Rozovian in OCR03956 - Octopath Traveler "By the Flame"   
    Just the other day I saw the track was in the to-be-posted queue. And now here it is. Uh, merry... late summer?
    (also Ophilia best girl indeed)
    For Rexy's benefit: I was playing around with the 1:48 part of source from 3:18 to 4:18, followed by some minor scale variants of melody A until 4:48. (insert appropriate sneaky fox meme here)
    It's worth saying I really enjoy Rexy's analyses of remixes. She's got a crazy in-depth one of Dragonfood, and I keep coming back to that one to remind myself I've made something that someone has listened _that_ closely to.
  13. Haha
    Rexy reacted to Sir_NutS in *NO* Final Fantasy 6 "Re:Figaro"   
    Just for the record, this isn't my arrangement @Liontamer.  It would have way more 80s synth brasses if it was mine.
  14. Like
    Rexy got a reaction from timaeus222 in OCR03951 - *YES* Mega Man 3 "Rock the Masters"   
    This track is an excellent treatment for a 10-second loop!  The combination of retro and modern synths sound clear and engaging, there's a healthy balance to all instruments, and no doubt the source material is present almost all of the way through.
    That simple melody has also been altered and twisted in so many ways that the only way to make a case against repetition is to dissect the track part by part.
    Obviously, no set of 8 bars in the chiptune intro (0:00-0:48) are identical, with the first four variations building things up slowly - drums and backing melody, a more active bassline, harmonies, then the fifth repetition had the source material mostly played straight with the drums and bass muted for the last two bars. 0:48-1:07 has the groove's foundation with the more modernized synth work coming in, with this measure of 16 bars having the first half dedicated to the melody repeating the first four bars of the source before doing the entire thing in the second half.  Also, that same melody has harmonies riding over the top. 1:07-1:26 has the harmonies of the previous section replaced with a new original melody riding over the top, and the percussion has an additional meatier hi-hat over the top of the previously established beat. 1:26-1:45 has the bass changed back to the triangle wave as heard in the intro, the secondary melody part has changed to a sweeping arpeggio, and the beat has open hi-hats brought in. 1:45-2:05 has the melody restored to the variant as already heard in the intro, with a cool call-and-response between solo voice and harmonies.  The bass is back to what it was in the central groove, but the drums instead were changed to a break to add tension for the next segment. At 2:05-2:24, the melody is almost entirely new with only the last beat of the fourth and eighth bars mirroring the source material.  It's the only segment in the track that is like that.  2:24-3:02 sounds almost just like the 0:48-1:26 section before it, but there are a couple of subtle changes.  The fill at 2:42 is a new addition that relies on open hi-hats to segue to the melody part, and the harmonies had extended over to the second half of the section rather than staying with the first. And of course, 3:02-3:23 has the previous part, but with the backing rhythm muted and the drums calming down for the ending. From what I've witnessed, I can conclude that no two variants of the theme are indeed identical and it's all of these details together that have proven the source material has had a substantial amount of arrangement.  Combined with the robust framework and clean production, it's one I can easily see on the front page - so good job with handling something so short!
    YES
  15. Thanks
    Rexy got a reaction from anthonynemer in *NO* Final Fantasy 7 'JENOVA's Witness'   
    Ooh, I sense that Enigma inspiration!  I hear "Sadeness (Part 1)" on the radio occasionally, and that similar groove made me latch onto the idea immediately.

    It does feel interesting to see the fast-paced nature of this source applied to a more downtempo and electronic feel.  The opening pattern of 8 notes also works as an effective arpeggio - whether solo, running alongside the melody, or even as part of the brief F minor breakdown starting at 2:10.
    The source material has a lot of ideas going on, but this mix needed just the arpeggio and melody A - using them in a modest framework adding more layers with each repetition.  These layers are something as simple as changing the hi-hats to a 16-beat pattern (1:20) to adding more pads over time and introducing a countermelody near the end (3:05).  It's a mellow adaptation that works well, so sweet going there.
    However, this is also one of those tracks where I feel needs more work regarding its mixing.  As more layers get added in each repetition, the smashed dynamics got worse, and it becomes much harder to hear the main melody.  It's most problematic under the additional pads and the countermelody as mentioned earlier past the 3-minute mark.  There are many ways to fix this within another mixdown, however.  Examples are EQ separation, transposing the lead or some of your pads, and weakening the limiter by just a touch.  All of these are possible solutions that I can suggest to achieve a less cluttered mix.
    On its own, it's one of the most unorthodox Jenova arrangements I have heard in a long time.  But I'd love for you to clear up the mixing and send it back.  It's a close call, but I'm all for hearing this on the front page soon.

    NO (resubmit)
  16. Like
    Rexy got a reaction from Sir_NutS in *NO* Legend of Zelda: A Link to the Past 'Darker Sides'   
    I too sense a lack of realism on those instruments.  The parts sound too static, the limiter squashing dynamics down in the Dark World Dungeon section is unnatural, and a lot of your leads feel dry.  If you're going to be writing for a full orchestra, it's a good idea to:
    Make it feel as if the performance is in a concert hall, with attention to the placement of parts in the stereo field and the amount of ambient space they have. Abandon the limiters and let your parts have room to breathe. And most importantly, go over each instrument and make them feel more humanized.  Loosen up the timings, vary the velocities and emphasize which ones you think are the most dynamic notes. You can even consider using the volume envelope to shape the dynamics for sustained notes. The arrangement has the source present, but there's a four-section medley going through straight interpretations of your source material.  I liked hearing Ganon's theme adapted near the end of the Dark World theme at 1:19, and similarly, Dark World reprised near the end and accommodated at Lorule Castle.  But I would've liked to have heard more of that kind of idea in other areas around the track.
    That idea above is one of a few things that can be done to personalize the arrangement in a subtractive way.  Other possible suggestions include adding original parts in the background, or even some original writing to make the transitions between sources feel smoother.
    It's not bad, but issues on both arrangement and production fronts have weighed this down too much.  It'll be a good idea to take it into the Workshop and experiment with new ideas, then try again.

    NO (resubmit)
  17. Like
    Rexy reacted to Jorito in Final Fantasy III (Finish Song or Risk Being Cut)   
    I know some of the people with finished tracks and wouldn't mind helping reach out, see if we can pry some WAVs out of their hands. You know where to find me if you need a hand
  18. Like
    Rexy reacted to duskvstweak in NEW JUDGES! Welcome prophetik music & Rexy! :-)   
    Congrats! 
  19. Haha
    Rexy reacted to Txai in NEW JUDGES! Welcome prophetik music & Rexy! :-)   
    Congrats to both of you! Nice to see familiar faces recently getting devoted to one of the core tasks of this community.
    Now, I know this forum became as active as a ghost town in the past 5 years. But I thought there would be a warmer reception for such an important announcement. Come on, guys!
  20. Like
    Rexy reacted to orlouge82 in NEW JUDGES! Welcome prophetik music & Rexy! :-)   
    I was out of town when this was posted, so I missed it last week.  Great news!  Very well deserved for both of you, especially since you've been members of the community for so long!!  Congrats!!
  21. Like
    Rexy got a reaction from Jorito in OCR03944 - *YES* Chrono Cross "When Two Worlds Meet" *PROJECT*   
    You know, I too am a judge of fewer words than usual.
    The production feels perfect to me.  Seriously, I can't find anything to fault about instrument placement, the synth timbre selections in Jorito's case or even recording quality on Earth Kid's part.  Even the arrangement is well demonstrated with changing Another Termina into a funk-folk 4/4 shuffle feel, ear-catching bass writing throughout, wonderful countermelodies in the second Termina variation, and a fitting groove carrying it all forward.  The idea of folk and electronic styles just mashing together is an idea that I didn't think we'd deserve! This combination works, it's clean, and it's a powerful highlight from the Chronopolis album.
    Seriously, why the hell didn't this get a direct post?!

    YES
  22. Like
    Rexy reacted to Garpocalypse in NEW JUDGES! Welcome prophetik music & Rexy! :-)   
    Congrats! I've had very positive dealings with both of you in the past. Prophetik with his encyclopedia esque knowledge of modern computer tech and Rexy's radio show I check in on from time to time.   
    ...and I gotta say i'm especially looking forward to the Sega loving @Rexy-Era of OCRemix!  Good luck with new positions. 
     
     
  23. Like
    Rexy got a reaction from Jorito in Final Fantasy III (Finish Song or Risk Being Cut)   
    I should make that five.  I'll box mine up and send it to you later tonight x)
  24. Haha
    Rexy reacted to Liontamer in NEW JUDGES! Welcome prophetik music & Rexy! :-)   
    We scoured the land for the most evil people we could find to join us, and we're proud to add @prophetik music and @Rexy to the judges panel.
    I'm personally aiming to finally have that submissions queue go to 0 by the end of this year, and we're excited to have their help.
    Revel in their fresh perspectives and presence now before they become entrenched in the system and simply become part of the evil mass of musical oppression that the rest of us have morphed into.  (a.k.a. WELCOME!)
  25. Like
    Rexy got a reaction from Garpocalypse in The first video game you bought with your own money...   
    The first video game I ever bought with my own pocket money was the Game Boy version of Dr. Mario.  I had already gotten the system the Christmas before and seeing all the games on display in a brochure in the box, I felt keen to get whatever games really drew my attention to it.  It was a wise choice too - the entire family ended up competing as to who would get good and beat level 20 at the Hi speed setting first!