Sir_NutS

This is a though call. on one hand there are a couple flaws that stick out to me with this mix. The big hits starting at 1:09 are, as Chimpazilla puts it, "ouch". But damn are they ominous. The usage of samples wasn't that impressive but it was good enough to work. I find the piano a bit on the quiet side but its not a dealbreaker. I liked the high-pitched synth at the start, it gives a sense of uneasiness which fits the overall production which is filled with frills and tremolo strings that enhance the feel of dread. The arrangement was good, not too interpretative but it hits the right cues and expand on both themes sufficiently. Buildups work well and energy is managed adequately, the transition between the themes wasn't jarring to me, and the ending, albeit sudden, did give a proper sense of finality. Overall, there are definitely some flaws that are pretty evident and easy to notice (and also easy to fix), but that are also not so harmful as to destroy the whole experience, and on closer examination there's also a solid offering that feels right in the middle of our bar, but edging towards the positive. If the artist could be contacted to fix the issues that'd be a plus, but if not, this still would be a: YES (Borderline)

Source usage: 00:00 - 00:27 : Source's Intro 00:27 - 00:40 : Expansion of the source's subsequent 30 seconds after the intro 00:40 - 01:40 : Adaptation of the source's marcato strings melody into the main motif. 01:40 - 02:06 : Mostly original, perhaps an adaptation of the source's buildup. 02:06 - 02:19 : Source's main motif 02:19 - 02:54 : Mostly original but with some underlying aspects from the source's brass section at 1:20 02:54 - 03:00 : Main Motif variation 03:00 - 03:12 : Mostly original 03:12 - 04:14 : Main motif, very clear with plenty of variations. Source usage is over 75%, so good to go. This is really, really good. I'll go ahead and say that I prefer your version over the original. Production is well above our bar: clear mix, good usage of effects on your instruments, great instrument quality and extensive humanization. If I have to nitpick production here, I would say I wasn't sure about the synths at 01:42, as they sound a bit more like artifacts than intentional. The marcato strings at 02:30 could've been a bit more dynamic. But again, those are nitpicks that don't take away much from an otherwise good execution. Your arrangement is original, full of detail and emotion. This really evokes feelings of impending doom, anxiety, and near the end, realization. You managed to make the arrangement much more robust, full and detailed but managed with the proper care as not to make it feel overly crowded. Performances feel natural and oozing intensity. You've managed to surpass the original in my opinion. Not much else to say other than, Nice Work. YES.

Source Breakdown: 0:00 - 0:15 : Bass groove is a derivation of Endless' Mine 0:15 - 0:30 : Percussive element plays a variation of Aqua Planet Zone's Main melody 0:30 - 0:46 : Vocals sing the Endless Mine first lead melody 0:46 - 1:40 : Endless Mine's second verse 1:47 - 2:07 : Aqua Planet 2:07 - 2:18 : Mostly original 2:18 - 3:20 : Vocals sing the Endless Mine first lead melody, different variation. 3:20 - 3:40 : fading out, same source elements as in the intro More than 90% is some variation of the sources so we're good to go. I don't mind the sudden start, but try to start your song loop a few miliseconds before the first measure before you export it if you're going to do this, because it does eat up a fraction of the starting loop. I remember this song from the Sonic Zone competition a while ago. There are some issues that I'm confident you will be able to fix now because this song was done quite a while ago and your abilities have improved. First, I liked the effects on the vocals and they fit the mood of your song, it's almost whispering, like a beach breeze. But they could benefit from better clarity. As mentioned by DA some words are difficult to make out, specially when going up in pitch. The tamb/hats sound lo-fi, not in a good way. Given the latin-house feel of the track it would benefit from better quality samples instead of lofi ones. They are also not getting along very well with the higher vocal frequencies and there's a clump of sound near 4k-7k hz. The kick is very flat sounding. It does has presence which is good, and when it plays by itself you can hear the sub which is absent throughout the song, which means the bass' sub frequencies are interfering with its clarity. Try some sidechaining and EQing there. The overall mix balance feels very biased toward the mid-highs. The glowing aspects of this song are in the arrangement. I love the implementation of both sources and the adaptation to the genre. It sounds tropical for sure and now I'm thirsty for a Piña Colada. The lyrics work well, and the vocals don't feel tacked on. You changed the melody to better fit your vocal range which is smart and also helped the arrangement. I have to agree with the other judges regarding variation, even though I did hear small details that you included to differentiate between similar sections, more should have been done. Lovely remix, as Djp said "Uber-creative", but needs fixing in the aforementioned production issues, and a small push in the arrangement front. As I said at the start I'm confident you can pull this off, so I'll be asking for a resubmit. NO (Resubmit)

Source usage checks out (Damonz already detailed it, but I was doing my own anyways) Emunator nailed my main issues with this track very well, which are mostly production-related. The usage of the piano library could be much better than what is presented, for such an emotive arrangement, the piano is as subtle as a lead hammer. It needs better humanization specially in handling the different velocities of the notes. The performance is very robotic at the highest points of the track, and even though you did try to be subtle at some spots, the excessive compression cancelled the delicate tones. The guitar was also mechanical and lacked emotion. I wasn't too bothered by the static drums, in a track like this they fill they purpose well, as the real rhythm can be found in the lower piano notes, and you did keep a groove going around the middle of the track with it. The arrangement however was a plus in this track. You managed to marry both sources effectively and I can hear an emotive and effective arrangement behind the overdone piano performance. The pause at around 1:36 was a bit odd, intentional or not, but I think you succeeded in making the arrangement feel more melancholic, which wasn't a quality of the original Persona track. Very powerful moments (in a good way) can be found towards the end. Work on making your performance believable, charge it with the subtlety your arrangement deserves, and you'll have a yes from me. For now though, NO (resubmit)

I love the sound design in this track, very intricate and detailed. I have to concur with DA, the melody is being overpowered by a rather unruly synth bass, specially in the first section at 0:31 until around 1:04. I think the bass, specially at this section, could use some compression and/or toning down to leash it under control. You can notice how the amplitude is varying wildly depending on the pitch, it makes it feel unstable and a bit incoherent. This behavior is likely also causing other balance issues related to how the main elements aren't taking precedence. This problem is very prominent in this starting section, but its not a big issue later. The later sections are more intricate, balanced and interesting as well, sound-design wise. Finally, the snare could be more snappy, it lacks any kind of power right now. About the arrangement I think the track gets a bit lost around 02:16. The unchanged beat and bass contribute to this feeling of lack of direction. I also feel like the main instruments, being at around the same level as the backings, also contribute to this. I suggest that, in case you are changing this last section, to tweak the previous section instead (perhaps a simplified version of the beat/bass) so this one can shine through. Beefing up the last version could run the risk of overcrowding the sound space. I did enjoy the glitched out presentation and as I said in the start the sound design is awesome, reminds me a bit of Mr. Bill in its organized madness, but with more bite and dirt. This is very close but I can't pass it in this state, I'd like to see the first section brought to a balanced state and a less stale last section. NO (Resubmit)

Source Breakdown: 00:00 - 00:57 : Piano chord hook is derived from the original main hook, melodies, embellishments and details derived from main melody in the original 01:42 - 02:54 : E-Piano hook derived from original lead, however other than that there's not much source-wise going here. 03:10 - 03:25 : Stickerbrush Symphony (more on this later) 03:26 - 03:53 : Original lead melody 03:53 - 04:15 : Sparse derivations from the orignal melody 04:15 - 04:38 : Stickerbrush Symphony 04:38 - 04:54 : variations from original melody If 1:42 - 02:54 is to be counted, that makes 3:52 total, or around 56% source usage. The section after 04:54 could be considered "source inspired" but not directly derived from it. This Remix is also using parts from Donkey Kong Country 2's "Stickerbrush Symphony". I don't know why the author didn't mention it. With that out of the way, I'm afraid the production issues hold this track back from approval. First I'd like you to get some sort of signal analyzer, so you will better understand whats wrong, even if your listening hardware (or your ears) isn't pointing you in that direction. If your software supports VST I recommend getting Voxengo SPAN, which is a free tool. Now, the main problem in your mix are the low frequencies. Your bass is all sub, and your kick has no punch whatsoever. Now if you use a signal analyzer, you can verify that the signal range from ~100 to 350 hz is empty most of the time, or has little content. Generally, what goes here is the punch of your kick and the low-mid frequencies of your bass. Having a bass that is only sub can work however this one is too loud in relation to all the other elements in your track, and goes too low in the pitch range. You can also use an equalizer with a low cut mode, or a high pass filter to filter out frequencies below 30hz, which are hurting your mix because they are mostly inaudible to the human ear but will affect compressors which can detect them. Your kick is also very low in the frequency range and needs some mid range punch. It gets lost in the kick rolls along with the bass, because it also has a long release time in the low end which you aren't taking care of. So if you're doing kick rolls try to shorten your release so the track doesn't drown in subs. When you manage to give your kick and bass their own space via eq and sidechain, then you can work on the rest of your mix. I don't have many issues with the rest of your mix but your sidechained chords could be a bit less dry and have presence to them, a small high end boost and slight midrange cut could help them cut through your mix better. Try layering your chords with a less static sound to give them depth. Also, loosen up a bit on the compression. Your percussion elements could also be mixed better, the conga for example, sounds louder than it should and separated from the other elements. Production issues aside, I liked your arrangement. Sometimes it was a bit sparse but that helped it mantain the ambience. I think you could cut a bit on the repetitive sections such as near the start at around 0:50. I found your transition to the climax at 02:51 to be really weak. The pervasive sub bass and lack of effects to accentuate the buildup may be culprit here, and I suggest working on your buildup to this section. I think you're on the right path and I liked the idea. You know how to keep things changing, I liked you didn't go autopilot on your drums, the little embellishments, the use of filters on your chords, and the attention to detail on your arrangement. I would like to hear a better executed version of this track in the future. NO (resubmit)

Hah. This remix is fun. The intro is a bit out of place when taken in context with the rest of the track, but it's not a big deal. The usage of the source is full of personality. I have to agree with Emunator, the panned guitar and bass are sloppy and off time, but not all the time, the timing just falls for a second or so at a time that's why its hard to pinpoint. This is distracting but not enough to take away from my enjoyment of the mix. Mix levels are balanced, every instrument has its own place and production is clear. Drums have variation but also know when to stick to a groove to keep that disco feel in place. Some may feel like the breakdowns at 3:09 and 3:22 are out of place but this wasn't uncommon in classic progressive rock and I find it works in this song. Overall I think this song is walking on a tight rope most of the time. It tries to throw you off balance with odd timing, odd breakdowns and questionable lenght but it never goes off balance enough to completely go awry. Plus, when it clicks, it REALLY clicks. I love the reinterpretation, the adaptation, how true it represents its influences, and how its breathing new life into the original. New funky, groovy life. YES

Instrument quality is good. I think you managed to do a lot with the originals here. Extending and expanding on its sections and motifs, as well as bringing a lot more emotion to the composition and tying it all up in a neat package. It feels as if whereas some of the originals tell a short story, your remix tells a long tale that feels adventurous at times and ponderative at others. There's a fair amount of attention to detail and I thought it was also carefully paced. This remix expresses a wide range of emotions throughout and that is very impressive.I think a couple of things could've been worked on to make the song better. First, humanization at some sections was a bit lacking. the piano in the break felt like it could've been softened a little. Biggest issue for me was in the fuller sections with all the instruments such as 1:08 seem to have some slightly loud resonances with the brasses and wind instruments that could be eq'd better. Overall, I think that besides getting a bit of a better eq in the fuller sections, most of my gripes are nitpicks and this track is solid. YES.

First, source amount seems enough, the original is recognizable here. I have a few issues with this track that put it below the bar, mixing and structure. The drums are powerful, well spaced in the stereo spectrum, and interestingly programmed, however they are too loud, taking way too much attention from the overall mix. The overall ambiance feels muddied because it's too drowned in reverb, which is affecting the low end quite a bit, and the low end is quite busy already. The instrument quality is not bad overall, and could work but needs better humanization. Most of the instruments feel very static and unnatural. I'm not a fan of the percussion element that appears at 1:19 and on. It's very distracting and doesn't fit very well with the rest of the percussion, and it doesn't fit where it appears later on either. Second is structure. Lead melodies take the backstage to percussion elements and arpeggiated staccato strings. Segments such as 1:20 should feel like a climax but they don't. Transitions are often abrupt and lack much needed buildup in energy towards a main section (2:25 as a good example). I also think that the section after 3:03 feels a bit unnecessary. The build up to this moment was great, and would've made for a perfect ending where you trail off the bass and maybe a final note in your choir instrument, but I don't see the point in extending the song for this section. Although I think structure could be better, it's not enough for me to reject this. But what definitely needs improvement are the transitions. I think most of the problems in this track stem from the mix. Try to make the instruments stand out more and reduce the drums. They are very cool, it's true, but you also want the arrangement to shine. Work on having more clarity in your sections. Perhaps a choir alone isn't ideal to carry the lead melody, try a single instrument and let the choir help it along. Work on your transitions, try to make your climaxes/choruses stronger than your bridges and verses. For now I have to say NO, but this track could work with a balanced mix and some small improvements in the transitions and structure.

At first I was afraid this was going to fall into the "too cover-ish" territory... and I was pleasantly surprised that, although it starts as such, it develops a bit more into a more interpretative, albeit very close to the original rendition. I REALLY like the idea behind the whole track and I think you're SO close to having the whole package. I think that with a little more work in the execution I would be happy to give this a pass and also my recommendation to other people.First, your instrument quality is fair, and I've heard great tracks with orchestral samples that aren't expensive, but you need to make your performance more human and natural, this is key in this kind of arrangements and the key to making orchestral samples work. The piano at 1:05 is too robotic and loud to work in the context. Sections like 1:45 would benefit from being extended and explored, maybe with longer silences (integral part of a great structure in an orchestral track), variations in tempo and subtler re-introduction of elements and motifs. Your legato instruments and choir would benefit from small changes in velocity and less quantized writing. The next full section at 2:25 works well but would benefit from a better transition from the previous section to really hit the listener hard with a great climax. Loved the ending but please make it so it doesn't cut off abruptly!Like I said I really really like this idea so please step it up in the humanization department! NO (Resubmit)

I hear several issues that, sadly, hold this track back from posting. First, regarding the production side of things, I don't have too many issues with the quality of the sounds used, and the mix levels are fair, however the sidechain comp in your track is excessive and is creating tons of artifacts throughout the track. Some very noticeable examples are at 1:42 and 3:20. The section around 2:17 with the synth bass brought some needed energy to the track but the climax is very short lived and we're left with only sub bass for most of the track while the mid-range is basically a void.Regarding the arrangement, it's too basic and I don't hear much interpretation. It's also very repetitive and dull, the buildups don't work very well because the main sections are weak and don't represent a real progression from the buildup, as the same melody is used without variation (again, very repetitive) with the exception of the aforementioned 2:17 section. I wish you would've built up the arrangement and the energy track from there but it just falls back to the same arpeggiated synth we hear for almost the entirety of the track. Also, the track ends abruptly with a literal cut off.EDIT: 4/5/2016 OK so finally got around listening to the new version. A lot of new details were added in the first 2 minutes of the song, and they help the track a little but I still think the arrangement is too repetitive. Even the new effects and flourishes are repeated over and over in the same order. Also the emptier sections feel very bare. 00:30-1:00 feels like it drags too long on very empty space. Really long buildup to 1:30, which doesn't feel much like a climax. I think if it had built up to 1:45 instead, it would've made more sense. I still like 2:14 a lot, and I wish the 2 initial minutes of the track would've got shortened and we had more of this section instead (and variations of it). The added bass at 3:10 is very welcomed, it makes the last 2 minutes of the track definitely the best. Overall though, I still feel this track is still too repetitive and the energy management is confusing, with transitions and buildups to weak sections and a 2 minute intro that doesn't really add much. Some refocusing and variation is needed. NO (but closer now, resubmit)

Very basic drum programming. I hear some strange sub artifacts at around 1:15 and onwards. Piano is very mechanical and lacks emotion to it. Compression seems overly harsh and creates very strange artifacts at some points as well (specially on big hits). Mixing issues aside, you need much more than this to qualify for OCR. You need to put more interpretation on your tracks specially if you're relying so heavily on piano and little else. If you want to add dance elements to your piano track, you need more than a very sparse beat. A bass that truly drives a rhythm will help move things along. If your goal is to make dream trance remix, I do recommend checking out the classics such as Robert Miles' Dreamland. By analyzing it you can find how to make this idea work. But the biggest thing I would like you to take away from this review is that you need more reinterpretation on your track. You're trying to make tribute to a great soundtrack, so make the arrangement your own, explore it, and give back something new that pays honor to the original. This is, I'm afraid, not differentiating itself enough from the original, with several mixing issues on top. Also, your idea of having a single hook that repeats throughout the track is not unheard of and can work under the right circumstances. However I advise on expanding your interpretation of the original around it and working on getting a cleaner mix. NO.

Great, great offering here, i enjoyed it thoroughly. Hard hitting guitar chugs, very exciting and fun solos, good production and solid arrangement and interpretation of an already very nice original. I don't have many things to nitpick here, besides perhaps the overall mix being sounding a bit too compressed for the genre, most noticeably on drums. But it doesn't take away at all from the work you've put into it. Specially enjoyed the signature changes and breaks that help the track set itself apart from your run of the mill rock remix and, along with the solos elevate this song well above our bar. I'm so very happy you took risks here and there and were not content with a regular, vanilla rock remix, and it paid off. YES.

There are plenty of issues present here, and I hope I can be of help to you for your future mixes. First, the use of a single lead instrument for every melody in the song is not something you may want to do. In the original, you have several instruments taking turns at leading the song at times and some other times playing off each other, or using call and response. This creates an interesting dynamic that is sorely missing here. The use of a single lead instrument for everything tires the listener's ears pretty quickly, specially since for 90% of the song, this instrument is present and it's relentlessly beating the listener down. I do applaud your skill with the violin but the song will improve if you make so it's the star of your mix, appearing at key moments to steal the show, and not something that is ever present, because then it becomes common and unsurprising. The lead is also oddly mixed with some sort of phaser/flanger that just makes matters worse. The overall mix is pretty muddy, leaving the listener with barely anything else to hear but the lead and the drums, which are also processed weirdly at some points. The overall mix needs clarity and better separation of the different elements that make the song. Regarding the arrangement, it doesn't differ much from the original song, with some exceptions like at 2:37 where the song breaks down into a crazy bridge section. believe me a breakdown was sorely needed but I think you went way too crazy with the lead here to the point where it stops making sense. This remix would have benefited from more interpretation and perhaps distancing itself more from cover territory. Again, I applaud your performance skills, but work on getting a clear production and giving your lead instrument a spotlight, not the entire presentation. NO.

Trap is not an easy genre to remix songs into, due to the relative simple structure of the genre's popular staples. As such, I think you did the right thing in not trying to stick too much to whats expected of a trap song, and used the genre as something to build upon rather than a strict guideline. I have to echo some of the other judges' concerns regarding the mix though. Even though I prefaced my vote noting that this isn't a straight run of the mill trap song, and as such it doesn't have to stick closely to what we expect from the genre, I agree that some of the elements, such as the 808 kick, lack presence and character. In trap this particular element is very important as it acts as both your sub and your kick, and sets up the basic groove your song will follow. I find that the 808 kick doesn't sit very well in the mix, and its also not full enough to cover the lower end of the frequency spectrum of your song. It's very hollow sounding and it appears to be layered with a bass synth of sorts that just doesn't work very well. Generally, you want your 808 kick to have presence in your mix, and this one just falls short. Put more emphasis in getting this element right in your mix. It is VERY important. Make your kick less hollow and give your sub more presence and stability. They are your base to build onto. I don't have many issues with the general mix levels, however I wasn't a big fan of the sound design in this one. The section at around 2:09 more like an inexperienced use of the samples rather than an deliberate decision. This also goes, to a lesser extent, to the section at 1:31. These sounds have no release time, and also end before the next beat, which is ruining the flow. As mentioned above, the bass that accompanies the kick is not sitting well along with the kick and I think a more neutral sub bass could work better. This remix shines, however, in the drum sequencing department. There was a lot of detail put into this. I was happy to hear details like the pitched snare at 03:07 and the use of triplets in the drum fills to be executed well and true to the genre's style. The dark, lo-fi atmosphere also fits this VERY well this theme as it's an infamous theme with a dark urban legend behind it. I know I was disapproving the way some of the samples were used, but I can't deny they contribute somewhat to the unsettling atmosphere. The arrangement, although not very expansive, I find it hits the right cues, and given the genre it does what it needs to do and nothing more. It's conservative but substantial enough for a pass. Trap music is generally light on melodic content, and I find this track does enough with it to be passable. It's a good adaptation. The abrupt ending also fits, in the context of an intentionally scary remix. Overall I think that with the above problems solved this could get a yes from me, as the overall track is heading in the right direction. Right now I find the mixdown hurts the enjoyment of the track by a substantial amount and some of the sounds, although spooky to fit the atmosphere, also end up being too awkward to fit properly. NO

My fightpad (same as Darke's, above) works on both PC and PS4. Although for the time being, you have to use a workaround to get it to work, because support for directinput is not there yet. The link Darkesword posted works perfectly and it's what I'm using. If you decide to come please add me and let me know. I have a feeling I'll be playing this game for the following years to come. Unless Overwatch takes all of my playing time, that is.

I love this game. The lack of Arcade mode doesn't bother me one bit. When I get into a competitive game all I care about is: 1-Is the game good and fun? and 2-Is the online experience good too? to those two things I can say Yes in the case of SFV. The game mechanics are fun and interesting, and every character feels different. The online performance, was terrible the first day, then it got progressively better until it's flawless now. When I play people who are on Europe it feels like how it used to feel when I played people in the east coast on USF4. People in places nearby feel as if the game was being played offline. It's that good. Like I said Acade mode doesn't bother me one bit, as it's a mode you play once and forget about it forever. At least in my case, when I play competitive games I prefer to, you know, compete against other people. What will hold people for the next 4 to 5 years is the online experience, not some arcade mode. Also I have the same controller as Darkesword and I love it. This is my first try at getting good at a fighting game (besides a half-hearted try at third strike many, many years ago) so I'm in the proces of getting decent. I need people who are better than me to play against. Even if you're a noob like me, I would still love to play with you, so add me, my Fighter ID is "Macronaso".

Hey MW, how does the three-way match-up works? do I have to remix all 3 themes together?

I am guilty about not properly naming it. I was planning on solving that and also working on some of the WIP issues and maybe give it a makeshift ending at lunch break but I couldn't get home in time, so sorry about that.

I had to submit a WIP in the end, which wucks but it's something at least. I will definitely finish it later on.

Not gonna lie, spent the weekend playing Xcom 2 and didn't work on the song one bit. I'll work on it for the whole night tonight and see if I can finish it. I already had about 2 minutes of music but nowhere near what I would call complete.

Man, I worked on m mix until 4 am yesterday. a power failure messed up my project file and the VST states were all reset when I reloaded it so I had to redo every patch from scratch again. Pretty shity but at least the mix is coming along well, gotta say this one will be pretty dirty.

Geez dude, calm down, it's not a race. Wait, yes it is. I'll be working on my song now, and I'll be streaming the process so if anyone's interested you can tune in.

I love Yamashita's work, but not her love for accidentals. Makes it hard for me to weave in new ideas and even worse to mix in another theme. Anyways I've got some ideas going already.

Oh, so there are overlapped mixing stages, I didn't notice that. I guess that's a good idea to keep the compo going faster. I honestly thought I was starting in february. Also it's fitting that I'm up against one of the classic tunes I chose for my top three. An epic battle of classic tunes!