prophetik music

uninspiring original. it sounds like this is using a keyboard that's got a synth guitar patch and recorded on a cell phone. i can hear the buttons being pressed pretty clearly. either way it's just two minutes of meandering noodling that doesn't really relate to anything that's in the original. if indeed the right audio was uploaded, it's not anything for the game. this doesn't appear to relate to the game, and it doesn't meet most if any of our standards around sound quality, arrangement, or execution. NO OVERRIDE

unfortunately this breaks a number of the Submission Standards. while 1.1 details a wav requirement with no size restrictions, it's reasonable to assume that a 1.4gb file in 192k 32-bit float is excessive. while your track does contain content up past 80khz, our ears don't, so that's not really needed. 3.1 specifies that the music for the arrangement must have been actually used in the game. this does not appear to be true. 4.2 details what constitutes an arrangement. as this is instead something original to you, none of this is fulfilled. 4.3 details a requirement around identifiable and dominant source material. there is no source material used, so this isn't fulfilled. 5.2 details production requirements. none of this appears to be followed. 6.1 details evaluation requirements. the ownership and source material requirements are not fulfilled. we aren't going to be able to evaluate this, nor does a track inspired by but not an arrangement of vgm have a place on OCRemix, unfortunately. it's an interesting exploratory piece when it's not scaring my cats away from my desk, but ultimately a mono solo improv like this isn't going to have wide reception. NO OVERRIDE

Persian Improv Sword Marth from Super Smash Bros. Melee. Marth was one of my favorite playable characters from this game. I bought it in February 2002. The 5:00 mark is loosely based on the oil level from Sonic 2 for Genesis. This song is roughly based on the Persian scale from The Guitar Grimoire: G-G#-B-C-C#-Eb-F#-G The book has about 40 different scales in it by the way, you should check it out. It made this song possible as I learned it in 2005. No, I am not sponsoring them or accepting any endorsements from them. Epic sword battles have taken place from Marth against Donkey Kong, Ganondorf, and Falco. Marth and the final opponent are both at 100% damage, one life left each. This is battle music folks. There’s a fire flower, proximity mines, and poké balls. Who will win? The sound bank you hear comes as MONO by default and I wanted to explore the realm of a solo improv piece using a MONO soundbank. The Lo-Fi sound here is killer like Dave’s Killer Bread (the bread even shows this guy playing a guitar lol). I just keep hearing epic sword battles from Marth, as he is one of the quickest and most agile characters as well. I am not sponsoring or endorsing that bread either people. I have perfect pitch, so I am navigating the keyboard improv MONO. Creativity is in demand by ethical people, this proves it, no? OK, so, the song is 8mins 15 seconds long, but this is an improv piece, one that I cannot really get down to a "T". Please forgive me for making the song more than 7 minutes. I hope this song will be an exception to the golden rule here. The Upper Maridia song from Super Metroid would be one of my next contenders in a song for OCRemix (besides a long-lost OCRemix tune). Thank you! — dolphin92329 Games & Sources Marth from Super Smash Bros. Melee for Nintendo Gamecube. Not a soundtrack, my interpretation of Marth. So, yes, is VGM.

opening synths are pretty basic - just a verby arp and some drum machine samples. lead comes in soon after this point and is a wide, fuzzy lead that sounds pretty dated. there's some odd notes right after the 0:30 mark both in the melodic and countermelodic synth - there's a lot of switching between major and minor, and it doesn't work well. the track autopilots through the melodic material a second time in a row in a very similar fashion to the first, and there's a shift to a less beat-driven sound at 1:34 for the B melodic material. the track switches back to the A material for a third time at 2:20 - lot of repetition already! - and does some more similar noodling through the melody before it's done at just over four minutes. i think there's a good concept here - a lo-fi, chill arrangement of the beautiful theme from the game - and i think this just needs more time in the cooker. there's no real dynamic shape to the piece, and that's something that needs to change to avoid it being boring. beyond that, improving the quality of your synthesis and drum elements and ensuring they're always doing something interesting will help a ton. i think the workshop's a great place for this one right now as it's not close to passing - iterating elements from most of this will make for a huge improvement. NO

Xenoblade Chronicles is a game that means a lot to me, and Yoko Shimomura is one of my favorite composers, so I wanted to try and recreate some of her work in my own electronic style. Games & Sources Xenoblade Chronicles - "Hometown"

opens with some podcast-quality voiceovers (that are legitimately hilarious-sounding). the instruments come in around 0:10 and are, as far as i can hear, exactly what the original is playing. we get some real drums at 0:28 but it's still the same as the original through here, and with how short the track is that's a concern. we finally get some added content at 1:03 with the sustained key bits, and some NES Zelda theme riffed in. it continues this way through about 1:58 where we start to get some fun arrangement elements with brass, a synth solo, and some funky riffs. but that's only maybe 20s and then the track's done =( there's nowhere near enough arrangement on this unfortunately. from a mastering standpoint, it definitely feels like it's coming out of a 386's speakers for better or worse. i wouldn't have minded a bit more punch to the overall feel - the bass synth in particular was pretty lacking. but the main knock here is that this just doesn't have much arrangement until the last 20 seconds. you can make an argument that we get something halfway through, but then half the song is just dumped from the midi at that point. it's unfortunately not enough based on the submission standards. NO

opening is just a weak bass, kick without any meat, and a lead that sounds like it's effectively just the original dumped in. the sfx helps but it's pretty blah throughout - there's little here that's really giving it uniqueness. it's the same 30s repeated twice, then a big kick dumped on top of the same thing (but the kick still doesn't have any beef to it) and repeated again. there's some clipping around 2:00. this needs some significant development before it'd be something we post here. i'd encourage you to work through some new ideas and mixing concepts on this, and then bring it to the workshop (on the forum or on the discord) to get some more feedback. NO

this is a pretty hip original. this kind of offset between the ears is something that you never want to see in a track waveform: separately this is also not good: so this is essentially a guaranteed NO right now. but i can at least review it to talk through what's good and what's not so good. the opening elements would be neat if they were balanced between ears, but the sharp tone in the left ear is far too much. overall it's panned really hard which makes it hard to hear what's going on until it comes more centerline by about 0:37. i wound up just changing it to mono to be able to hear what was going on. the various synths are doing really disjointed things for at least the first thirty seconds - i honestly don't know what's going on in there nor can i parse what each instrument is doing. if you're attempting to ape what the opening minute is in the original, i don't think it worked. by about 0:55, it's more balanced and there's a recognizable riff going on alongside the continuing sharp left-ear synth. i believe this is the bass riff from 2:43, but i didn't hear anything else that was fitting around that area - no melodic line, none of the rhythmic elements, etc. this continued until the woobly synth from the beginning came back in at 1:41 and did stuff that i didn't understand again. some other synths that were off-key came in after this (like at 1:52) - this doesn't sound like functional dissonance, it sounds like incorrect notes. this section continued for most of the track and then ended suddenly, and the track was done after 10s of silence. from an arrangement perspective, it's not super clear what you're doing here. it sounds like you're hoping to work with the track in the original that starts at 2:43, but the lack of percussive elements or other strong rhythmic elements outside the bassline and the constant dissonances alongside the very loud, sharp lead tones really make it hard to pick out anything cohesive from your arrangement. i honestly recommend stripping this one back to the bolts and building it back up one element at a time. i'm honestly curious if this is a misrender and some elements were supposed to be percussive but didn't get the instrument assignments or something. from a mastering perspective, the hard panning and wild volumization across the board makes this borderline unlistenable. you're going to want to take a lot more time with managing the individual elements before resubmitting. NO

nickel creek's one of my favorite bands, and TLT is one of my favorite songs by them. i love how each chorus builds on the prior. if folks haven't ever listened to 'progressive' bluegrass, i highly recommend it. opens with a bell arp. the arp's really loud compared to the melodic element that comes in pretty quickly after. the strings that eventually come in are also really not great - they don't feel N64 to me, they just sound fake. the 'full' band sound comes in at 0:43, and the lead feels a bit weak in this section as well as slow (the attack feels a touch behind). there's no real bass through here either, but there is a kick. the lack of beater tone on the kick makes it hard to hear except for where you can feel it. sad girl comes back at 1:43, and there's some weird mallet strike tones through here that would add realism if they weren't repeat strikes next to each other. the strings come back in, and i'm still not feeling them here. the eventual synth lead elements that come in at about 2:34 are really loud, and the lack of balance makes it hard to hear what's going on. i like the patience that comes with the chords after this section, although i think they should be a little closer together as they're encroaching on 'too long since sound' territory. at 3:07 we get copypasta from the opening 40s, and then subsequently more copy pasta from the band section from 0:43 to around 1:35. there's a repeated phrase at the end, one last arp, and a few sustains. i think that the combination of these two originals works really well together. i like the idea of focusing initially on bells and then building up to a bigger band tone, and i like the introspective approach and patience that you show. i think that your synths are letting you down throughout, and your DAW's letting you down from a mastering perspective. everything that isn't a bell sounds cheap and fake, and volumization throughout is a mixed bag. this needs a good amount of work, but there's good bones here. i think that the discord or the workshop forum would help a ton with this track. NO

opens with a really peppy beat right off the bat. roughly the first minute of the track appears to be a sound upgrade off the midi, with a much better drumloop and better synths throughout. it's mastered well and i can hear a lot of the different bleeps and bloops well, so that's great. there's a build section that's original with the original's bassline at 1:01, so that's where the arrangement really gets cooking. there's a fun dubstep-like section at about 1:17, but that does seems like the majority of the arrangement for the track - about 30s out of ~135. there's a copypasta section at 1:47 of 0:32, and this continues through almost the end before we see any variation again. i think this has too much that isn't Why_ in it. most of the first minute and the last thirty seconds are all pretty much straight from the midi with new synths and a nice beat over it. there's a great break section at 1:01 and the arranged A theme at 1:17 shows that you've got the chops! so i'd say to lean into your arrangement more and don't rely so heavily on the original for what you're doing through there. more personalization can only help out! beyond that, there's too much copypasta - in a track that is only 138s long, i counted about 30s of copy, which is way too much for such a short work. this is a hip track! make it more your own and it'll definitely have a place on our site. NO

schala's theme is just too good. opens with some filtered arps into the terra theme at 0:12. hats here are really bright, probably too much so. bass has the martial rhythm from the original, and there's a countermelodic element but no pads or kick. 0:36's where the kick comes in, and the beat here is really nice. i think the hats are still a bit too loud - some automation on the volume may help with that? - and there's tbh not a lot of arrangement going on here, this is a lot of 1:1 translation. it's really dangerous working with top-tier originals IMO because it's so easy to just lean on what made those originals great...but then it's not your mix, it's someone else's. finding ways to make your take unique and yours is a critical aspect when you touch Mt. Rushmore tracks like this. i don't think you do that here. 1:06's a big whooshy hit transition, and we shift into schala's material. i like the layering of terra's theme on top of this, as well as using the original terra's theme synth used before for schala's material. i would like to hear more mel in the way the instruments present the material here, but the dovetailing is nice. same with the following section at 2:07. 2:30's got some weird notes in the bass (specifically at 2:42, 2:49, and 2:54). also at this point the lead's getting overused - it's been going for most of the track and it's starting to feel pretty dry. there's a shift at 3:03 to a new tempo-synced lead. this is very loud - it's way over the top of everything around it, and the tempo sync feels weird when nothing else has a rhythmic element around it. there's an outro that starts at about 3:50. the bass element through most of this sounds like it's detuned and it sounds super weird as a result. there's a bit of arps and it's done. from a synth perspective - several of your synths don't have verb on them, which sounds a bit weird to my ears when they're leads. adding some presence to them can help fit them into the mix easier and helps sand off rough edges. from a mastering perspective, this mix has a lot on the edges of the freq spectrum. there's a ton of bass and sub-bass content, so it tends to feel heavy on the low end. i believe this is due to the bass not having anything to prevent the bottom from spilling over. separately, the hats are very loud and in front of everything all the time. bringing them down a touch will help everything fit together better, i think. overall, i found the arrangement's dovetailing to be really nice. i do feel however that the mix meanders a lot in the middle two minutes or so. you've got a strong focus to start and end the track, but it kind of wanders in zero-energy territory from 1:05 through at least 3:00. finding a way to inject some extra meat into that will help a lot - this is maybe an opportunity to explore some other synth choices or feels before coming back to what worked at first in the last section. i think overall i'd like to hear more mel and less original, too. even just personalizing the melodic lines here and there can make a huge difference. that first minute for example feels word-for-word what is in the original for terra - there's a lot of synth window dressing, but it sounds a lot like a sound upgrade. making that not be the case is important, especially for an original that's so recognizable. you don't want your remix carried by the quality of the original composition - you want it to be carried by what you're doing to it. i think that this is really close. i really think the feel in that first minute is pretty well done. finding a way to add some energy in the middle, fixing some of the mastering missteps, and injecting more mel into the track will really make this a fantastic addition to the catalog. NO

opens with some sfx from jurassic park, and a beat drops at 0:14. we start to get some harmonic material at 0:37, but it's not recognizable as anything until at least 1:02. there i started to catch the chord patterns of the original. from there, it appears that the primary method for realizing the arrangement was in chopping up and splicing together original audio from Yoshi's Song in SSB. there's also a number of times that riffs from the Benny Goodman song poke up their heads, which by itself isn't an issue but the more extended cribbing that occurs at 3:19 is long enough to be problematic. we strongly advise against the extent of original sampling demonstrated here of game music, and the 30+ seconds of sampled BG audio throughout is also a significant no-no. there's no ending. i also believe that >50% of the track uses some form of Yoshi's Song, but it's close - there's a lot of time spent with just a drum loop or sfx. from a production standpoint, as an aside, the loop was so loud throughout that it was difficult to pick out the actual harmonic material. one of the key elements of kid koala's track is that the loop's very slim in terms of frequency usage, so the music is always at the fore. in your track, the ambiance sfx and the very broad freq range taken by your kick and snare especially cover up a lot of the actual music going on. a tighter kick with less room tone would help a ton in opening that up. this is a cute take, and i honestly really like the way that you worked the sfx into the track. i just don't believe that this has a place here due to the extensive use of original sampling - both of Benny Goodman and of the original game audio. we don't have a clear no in the submission standards, but enough sections dovetail together between 3.3, 4.2, and 5.2 that i believe this is something that has a great chance at being successful on the internet somewhere, but probably is too fundamentally different from what we do here to fit in here. NO

word for word same submission email as the other one, lol :< opens with a wide-panning bass with a ton of overtones on it. kick comes in at 0:10 that is essentially just sub material with no beater tone. lead's in at 0:20 and cuts through really hard. more additive elements come in over time until we get to some riffs at 0:51 and the main body of instruments at 1:11. the snare is both super loud and super staticky, which is really irritating quickly. additionally, there's a ton of sub-bass content which makes it sound very muddy and dense, and there's a very specific spike around 500hz that's so sharp it's hard to listen to. both your other track and this one make me wonder what monitoring setup you're using. i like some of the arrangement ideas, but the mix is all over the place. the bubbly synth that comes in at 1:32 (and the lead here) are both tough to listen to - most of the synth choice on this track is subpar in that it's either so pointed it's hard to listen to it for a while or it's super oofy with no attack and hard to tell what note it's playing. the track continues to truck through the melodic content in order pretty much as it says on the box. there's not a ton of unique or original content to my ears outside of occasionally using the chord progression only as a transitional element. there's a ton of source throughout so the influence is obvious. if anything, i'd have rather that you had more Heel Tactics and less original in here - mixing up the melodic material a bit and personalizing it would have been really nice. i also think the track goes on too long given how much you're relaying on that same A material from the original over and over. i think this one's arrangement is a lot more conservative than your other mix, and the top man influence is immediately clear. i didn't care at all for most of your sound choices though - i found the lead to be super sharp, several of the other synths to be lacking in attack, and your drums overall were super scooped with either no attack note (kick) or were so sharp and loud that i couldn't hear much else (snare, hats, crash). lastly, i wouldn't mind if there was more personalization of the melodic or harmonic elements as compared to the original. a rockstar arrangement with these instruments still wouldn't pass, though, whereas this arrangement with much better instrumentation and mastering would be over the bar. so i'd say to focus on improving your sample/synth selection and then go from there. NO

submission email game is on point. opens with some glittery sfx that is high enough to make my ears hurt a bit, and eventually some arpy filtered synths. kick comes in soon after, around 0:35, and it's super high, like over an octave higher than i'd expect. more of the beat comes in at 0:52, and there's a panning bass that's very active. the bass is actually playing lower than the sub portion of the kick. at 1:15 we finally get more fleshing out of the harmonic elements so it's not just the bass and the lead synth. i think what that lead is playing is a bastardized version of the A theme from the original, but it's honestly not very clear to me where spark man comes in during these first two minutes or so. 1:42's a 'break' with the synth bass and kick, and it builds back up at 2:09 to be the A theme like it is in the original, and then the B theme. most of this is just a lead, bass, and maybe a single sustained pitch as a pad. it sounds very thin through here, and the fast pan on the bass emphasizes how thin it is. 2:59's another break, again focused on the bass, and there's some sfx this time in there also. this is a single note for nearly 30s until a running synth comes in at 3:26. the snare that's used in this section is also pretty grating by itself vs in the mix with lots of other elements. we finally get more harmonic elements at 3:49 in the form of a nice sweepy pad, and then some melodic material soon after. my primary critique of this track is the choice of drums. i found the snare to be very sharp and hard to listen to for five minutes, and more importantly the kick is well over 100hz and is so high that it's conflicting with pitches the bass is playing despite the bass not being particularly low. i'd love to hear a more appropriate kick that isn't so high in the frequency spectrum. beyond that, i found the arrangement to often be lacking body - there's a lot of the track that's only a bass, or bass and lead, with nothing between the two. the bass panning was super strong and disconcerting on headphones - i like the concept, but pulling back the max bounds of the pan lfo would be great so it wasn't so wide. lastly, there were really long sections where nothing was really going on - 2:59's a single note for 30s, that's probably 15s too long, for example. and the opening took over a third of the piece to get to the actual source material, meaning we wandered around for a third of the piece before getting to some meat. adding some snippets into the opening section will help tie that first part to the rest of the work. you've got some great ideas here! i love the energy. there's a lot of nitpicks that need to be cleaned up right now. NO

yeah, i hear the high focus right away. there's no beef - the kick, bass synth, etc. all have very little low presence. it sounds like you've EQed the booty off of everything that's supposed to be low and then boosted the highs further. this would have been fine on the site in 2002, but expectations have risen a lot since then. this is honestly pretty close. the arrangement is solid and i like what the instruments are doing. the bass peak is nearly 70hz, though - there's just no bottom end. there's a huge peak at 145hz too which is roughly that bass instrument you're using - which tells me that a lot of the potential is being used up getting a very vanilla bass synth to cut through a lot of stuff. a bass synth with more edge to the attack may cut better, allowing you to drop off the overall volume. taking that entire bassline down an octave would help a lot too. combined with getting more sub presence from your kick, that'd fix the bass issue, and i think this'd be good. for your kick, i think the clicky attack works great, you just need more bottom end - ensure you're not trimming out via EQ the low end of the kick, like 30-40hz. that'll give it more presence. you could also layer in another kick that's all sub-bass tone and EQ out the really low stuff there. chimp's right about the RMS as well. turning everything down a bit so it's not so blown (or even just reducing the gain on whatever limiter you're using) would help consolidate the volume a bit. NO