Sir_NutS

It makes sense, as the main torb counters are pretty bad on console.

I feel the konami jingle at the start, while cute, is unnecesary to the whole arrangement, as it doesn't segue into the rest of the song and there's a very long pause between it and the intro of the song. I think you're doing a good job so far with the sources, and I specially enjoyed the first section, but I think you could do a better job with the transitions, we encourage natural arrangements instead of medleys that tie songs together. If you try and marry all your sources together, cross-referencing them and transitioning between them in a way that it feels like a whole arrangement and not a collection, I think it will fare better with the panel. So far the instruments are being humanized pretty decently and the mix seems ok, but humanization can certainly be improved, even though what you have is alright, and the busier sections could be a bit cleaner. Overall I like where you're going wtih this, keep it up.

The arrangement is close to the original, yes, but there's quite a lot of interpretation going on in the different harmonies and small variations. I had to listen several times to spot the difference as on the first couple of listens it did seem too conservative. That being said I'm not too keen on the samples here. Rebecca has used her libraries pretty effectively on other songs, but in this one I think the failings of the sample quality weren't well hidden. From the very initial string notes at 0:13 to the places where the cello takes precedence one can hear a certain static quality to the performances and some of the articulations having the same envelope, most evident on short notes that carry long-legato envelopes with them. The woodwind instruments also felt a bit static which was not good given their prominence throughout the arrangement. Overall this arrangement was pretty sweet as most of your submissions but I think you can take the humanization a step further. NO (resubmit)

#quotevote Not much else to add to what Kris said, who summarized the issues very succinctly. I just have to disagree on the overall volume which was fine for me, but I agree on everything else on her vote. Biggest issue for me were the actual sounds used, very mechanical and accompanied with a very odd percussive sound that was incredibly distracting, and secondary to that, the transitions which were all medley-like. NO

Interesting arrangement, but sadly I can't pass this because the production is pretty lacking. The whole mix is overcompressed which is eating the leads and drums most of the time, while leaving only sub and bass. I have some pointers to get started: first, lax that compression ratio and threshold, second, you should try to sidechain more effectively, right now your drums lack the strenght necessary to make the wubs shine. I think the wubs were fine on their own but they're not really coming through because of the overcompression. I also think that the mix gets really busy in some sections when the wubs are going on at the same time with the arpeggios and underlying harmonies and it becomes quite messy real quick, everything is fighting for attention and space. I think your arrangement has potential and it was kinda fun to listen to, but the production needs a ton of work to get it to a good place. Certainly doable, but it's a good amount of work indeed. NO

Have to agree with Gario, the vocals are letting the mix down. I feel they could have more expression as they seem flat, and also pretty dry. They don't sit very well in the mix, as the whole mix has a studio quality but the vocals are more on the unplugged side as Gario noted. That's really my only issue with this track but a very important one as the vocals are such a big part of the arrangement. I think making the vocals sound as studio-processed as the backings, and perhaps adding some harmonies in the chorus would make them sit better with the rest of the production and the arrangement. NO (Resubmit)

So I hear where you're coming from here Gario, there was clipping but it was not caused by going over 0 db, as that would cause some pretty noticeable digital distortion. There was a clipper device on the master so that's what was causing that effect on the peaks, it's not a bad thing, it's just preference. With a clipper you can achieve more clarity in a mix than with a compressor/limiter at the price of completely chopping off some peaks and that can cause some undesirable results. Nevertheless, it's a matter of preference as I've heard and seen many producers use them on their masters. In this case, I do prefer the new version provided by Kris. Not too many people try to approach these themes because they're so classic and a lot has been done with them already. However I did like the approach Kris took here, which was a fun romp full of effects and quirkiness. Some effects such as the fireballs are used melodically and they're a surprising good fit. I can agree that the fx usage could've been toned down a bit, perhaps around the 2 min mark, to give the listener some rest from them for a while, but it's not as bad as to bring the whole thing down. The production was clear, and the actual synth textures were rich. Rolling bass was pumping and the drums were clear and kept the groove going without going on autopilot. Fun stuff. YES

It's no secret that I'm a huge fan of the AoS and DoS soundtracks, so I may be a little biased here. I think your arrangement is pretty good, great textures and ambience, but the vocoded vocals are a very big issue in this mix. First, they have some very resonant peaks, and sound very nasal. Also I can't tell what they're saying most of the time. This is not too hard to fix though, I recommend you run a compressor on them to tame those peaks, or run an analyzer in solo mode and check which peaks have too much resonance (I'm seeing them around 5.5k and 6k, a big one specifically at 5.5k in many places). I also think they could be a little less loud. To increase clarity you can try using a vocoder setting with higher resolution or layering your own clean vocals on them, this works well if you spread the vocoded vocals in the stereo spectrum and leave the clean ones in the center. You can run a pitch-correction device onthe clean vocals to keep them robotic if you wish, if they create too much contrast with the vocoded ones. I've said this before but, I think that if one's going to use vocoded vocals this heavily they need to be recognizable. Using vocoded vocals that can't be recognized is totally ok but they fit better as a detail or flair, or in small doses. I like to give "Talkbox Intended" as an example of using vocoders throughout a track the right way. I could also advice to try to play with harmonies with your vocoded vocals in some sections, it could spice things up and keep it from feeling static. Another issue I have is with the structure, I don't feel like the mix ever reaches a peak or that there's a resolution, it feels like a large buildup that remains static. I would've liked the track to reach climax around 1:50, which was a good opportunity to bring an energetic beat to drive things through. There was another opportunity at 02:20 but I think it would've been better earlier. Other than that I liked your arrangement, and I think this are easy fixes. Fixing structure may prove a bit problematic or may change the direction of the track too much, but I feel it's a bit too static atm, though other judges may feel otherwise. For now though I would like to hear a revision, you're on the right track. NO (resubmit)

I have to agree that there's a heavy falloff in frequency content right around 6k but I think this is not the case where the mix was low-passed but more along the lines of the instruments and pitch ranges used fall into the low and mid-range of the frequency spectrum, as when high bells and cymbals hit I can see them pop up on the analyzer pretty well and most importantly, I can hear them pretty clearly. I don't think EQing will help here (I did try some hacked up EQ as you're suggesting in your vote), the problem is simply that there isn't any content in the high registers to boost. Nevertheless, I wasn't too bothered by the predominantly low/mid range mix, it didn't sound unnatural to me. I will also agree with the comments on humanization around 0:50, although the rest of the instruments sound fine to me. The arrangement was sweet and to the point, verging on the mysterious and sad a some points, which fits since it's Undertale we're talking about here. Not a huge amount of interpretation but just enough for me. Overall if anything has to be done about the frequency balance it needs to go beyond eq'ing and more on the arrangement side, introducing instruments that actually live in the higher registers. Other than that I'm fine with what we have here, it was short but there was no meandering or wasted space. If other Js want a revision I'm ok with that too but this is solid enough, IMO. YES (borderline)

This song oozes badass. Really cool vocals, they go from jack black to Lenny to black metal band #345, and they're great all around, I was pretty surprised about how well each range was nailed honestly. Guitars are chugging low and hard, and solos are on point. I don't have many issues production-wise, besides the drums getting a bit lost in the busy mix a few times. I'm not really familiar with the advance wars soundtrack, but after listening to the source once it was easy to identify it in your arrangement. The source already has a bit of a metal/industrial feel to it so I guess the adaptation was too hard to make but its a great adaptation regardless. Nice Work! YES

^ Quote vote ^ Very clear cut and evident issues. I do think that you had some interesting writing here, around the first minute mark and after the breakdown at 01:20, interesting ideas, and I think you have a lot of talent when it comes to arrangement and it shows in how you took this song to places that are completely unfamiliar to me (but really good). Tons of detailing in the harmonies too. I think this closer to chiptune territory and as a chiptune song is fine but as per site standards is not exactly what we are looking for. NO

Fat drums yo. I feel the mix is on the empty side for the most part, but that has the benefit of bringing clarity to the instruments. I still think that some padding or background textures would've lifted the mix rather than hinder it. I liked the usage of chip sounds, and you managed to use different pulse width settings on the different leads to keep things interesting. I of course loved the vocoding as I have a huge bias towards them. Still the usage here was on point to accentuate certain sections. The arrangement is strong here as we've come to expect from Jorito, with extensive interpretation and additions to the original melody. You did a great job keeping familiarity without falling into repetition. easy YES

Man, I really love just how quirky your rhapsody arrangements are. I wish we got more of this stuff on the site. 03:12 is so Gershwin it's not even funny. *Comes back to the vote after half an hour of listening to Gerswin* Well I got sidetracked there. Goes to show this is something that I really like. I however have to agree with Gario on some points, not all. I think your sample quality while not the greatest its sufficient to me given the way its being used, nothing really feels vanilla here and there are a lot of intricacies in the arrangement and instrument usage. I do have to take issue with the mix which feels overly busy and (oddly) compressed. The big hits and lower drum hits have a ducking effect on the mix that is very umpleasant and unnatural. I also feel like there's too much reverb and the mix isn't as clear as it should be. Regarding the arrangement some of the transitions are rough but they don't take away much from the arrangement. The 1:40 section was particulary out of place in this arrangement and sounded far too serious to fit. Other than that I think you did a good job marrying the sources and the adaptation worked well for me. If the production issues are fixed, I'll be happy to let this one through. NO (resubmit)

Man that bassline! classic and groovy. This remix combines electric guitar and synth elements in ways that are interesting and make sense. I see Gario's comment about the guitar but I had no problem with the nature of the guitar, I feel it fits the arrangement very well. Tons of call and response here and cool effects and details, while using some industrial-style drumming which is varied and on point. The arrangement is good with plenty of interpretation. I liked this a lot. Your basslines are SWEET. YES

Not much to add here as Gario and JM did a great job covering everything I wanted to say about the mix. The main issues here are mix/master and eqing. The sweeps and crashes are distorting and bringing up some very harsh high frequencies. The kick and bass feel very bloated and need separation, as the entire low end feels muddy. When the main trance synth hits they feel distant and powerless. My advice is to redo your mix levels, and add some sidechain to your kick and bass, it doesn't have to be noticeable but even a small amount will help. Lower your mix levels until the distortion caused by limiting/compressing your buses is gone. Try to highpass most of the stuff that doesn't need low frequencies in your mix to clear up space, and try to level harsh frequencies in your instruments that inhabit the higher frequencies. Your arrangement was good imo, and the actual synths used would sound good in a balanced mix. But production needs quite a bit of work for now. NO (resubmit)

This song opens really strong, I was surprised the epic approach fits this song so well. The high strings after 0:30 were a bit static though. The transition into the edm section felt very off to me, it wasn't set up properly IMO. I wasn't feeling the sidechaining at 01:15 but its not that off-putting to me at this point (but it is later). The variation on the main hook is very groovy. The synth at 02:17 is very exposed and doesn't really fit the mix much, felt a bit cheesy for me. 02:53 is where the sidechaining gets out of hand and really doesn't make much sense dynamically. The full stop at 03:43 didn't make much sense to me. After this the sidechaining comes back with a vengeance, but as with the first section it's not that off-putting to me. 04:22 was another full stop that didn't do much for the structure of the song at felt cheesy with the re-introduction of the synth from 02:17. The ending was very uneventful. Overall I wasn't as bothered as Larry with the heavy sidechaining because honestly I've heard worse in actual commercial tracks but it is indeed a problem in a lot of places and even in the sections I don't find it that off-putting I would definitely prefer if it wasn't ducking everything so hard. Sidechaining is not just a tool to clear up space for your drums, vocals or other instruments that you want cutting through the mix, but it is also a dynamic shaping tool. When its not used well your dynamics get wacky and your song loses groove. Most of the melodies here don't follow the dynamic of the sidechaining you've got going so when it's this noticeable, the instruments being ducked (in this case, all of them) start feeling like they aren't following the rhythm of the song. NO

Nice piece of Glitch Hop you got here. There are a couple distracting things about the production for me, first the release on the sidechaining applied to the lead is too long and tends to noticeably duck the lead melodies for longer than it should, if it was shorter it would allow for the kick to come through but also for the lead melody to not feel like it has wacked dynamics. Second was the panning on the ep, which, although not as big of a deal, was indeed distracting. I'm borderline on this one, because the sidechaining really messes things up in some of the busiest sections like at 3:12 and can be solved by either applying a different, shorter release setting to the lead sidechaining, or making it so it doesn't duck on every kick but only on the kicks that form the base of the rhythm. Overall I think I could pass this because I think the arrangement makes up for it, but this particular production issue bothers me quite a bit. YES (borderline)

Quickscoping with wm offers a few unintended advantages, first, it allows you to reposition faster after each shot, as you move slower while scoped. Second, It allows you to see the surroundings for an instant, and denial of vision of surroundings is one of the key disadvantages applied to snipers to keep them in check , that's why the sniper rifle in UT99 was ridiculous. Finally, it gives you both these advantages without losing charge time, because after each shot there's a small recoil time plus a small delay before it starts charging again, this time is cut and instead used to quickly check your surroundings and strafe quicker than intended. I'm sure any of this was something blizzard intended wm to have so it makes sense for them to cut it.

I agree with Gario here, the arrangement is alright, very very cool soloing with both the drums and guitars, The arrangement starts conservative then expands the source over time, I like this kind of approach myself, as it keep familiarity intact for the listener but offers new ideas at the same time. The issues with this song are mostly on the production side, and Gario again is on point here. The drums are snappy and fat, but the bass is overpowering the rhythm guitars and many other aspects of the mix. The synth lead is very basic and I think it's too detuned to fit in this song, I think using more than one lead synth could help keep things interesting as well, but the lead needs to be mixed in better, it's not cutting through the mix very well, it's also a big contrast to the guitar performances in that it's lacking in the articulation department. The master needs to be limited to avoid clipping. Again your arrangement is solid and I'd be happy to let it through with a better production. NO (Resubmit)

I loved the drums in this one, very detailed and used to more than just a base for the track, they provide a lot of expression to the arrangement. I think the contrast between the hard hitting drums and the calm arrangement was nice. The guitar soloing at 2:40 was great. I'm fine with the extreme slides, i feel they would seem pretty bland without the pitch slides, as they're pretty long legato notes. The arrangement is solid, and you managed the energy levels very well, with a very intense climax that resolves well around 4:15 and ties up the structure nicely towards the end. This will be a great addition to our FFX remixes lineup. YES

Patch notes are out. http://us.battle.net/forums/en/overwatch/topic/20745235963 Seem sensible to me. If any of you watched pro matches or go against a very good widowmaker, you'll have noticed the quickscoping trick they've been doing for some time now. That's now gone and that's fine. Nerfing the bodyshots is ok too, wm has too easy of a time with targets like zenyatta. No D.Va buffs for now.

The subs in your kick are interfering with the bass, your snare is a bit too splashy and thin. The calm sections in this mix work better than the electronica-infused ones. I wasn't a big fan of the lead as it felt a bit too exposed. I hear a lot of sub content in this mix that could be balanced out better, try to highpass instruments that don't need sub frequency content, and try and sidechain your kick and your bass. This needs to find a much better balance before a pass IMO, but keep refining your ears. I think you should explore the calmer sections of your track, those were going in the right direction for me.

Very cool submission marred by ill-advised mix and mastering choices. Sections like 1:50 get too lost in the noise and distortion (and are a bit resonant as well), and the lead basically disappears in the mix most of the time. It's such a wall of sound that it ends up not making much sense most of the time. I liked the DnB drums, but I think more could've been done with them to make them interesting. I feel interpretation is enough for me though other Js may think different. The ending cuts off. Gario and Kris have some good advice to follow if you want to resub, but it mostly comes down to loosening your master by a substantial amount. Distortion as an effect works ok but could also be toned down as well. NO (resubmit)

Like your Deflektor remix, this is a fantastic submission. Clean production, good vocals and performances. Definitely getting an Iron maiden feel in the style, with a little helloween thrown in for good measure. Some of the transitions were a little rough (like 2:04) but not that bad to detract from my enjoyment of the song. I feel like most that needed be said about this song was already stated by Gario and Deia so I'll just give this a very big stamp of approval. I really hope you guys keep sending stuff to us, it's excellent. YES

Gario's assesment is spot-on here. The hesitation was way overused, enough to take away from the track, it's almost at the end of every measure of this remix. It should be used to accentuate a few sections, give a sense of timidity or trepidation, when overused like this it gives the opposite effect, and gives the song a sense of sloppiness. The production isn't that great but with a proper arrangement it would have worked. The arrangement is too conservative and you need to infuse it with your own ideas and spins on the motifs. It feels like I'm repeating what Gario said here but there's really not much else to say, it's very clear why we can't pass this. Take our criticism and improve for the next time. NO