Emunator Posted November 2, 2021 Share Posted November 2, 2021 (edited) Hi! I hope you are doing well! You can download the .wav here : Contact Information Your ReMixer name : Phil Savlem Your real name : Philippe Savoie-Lemay Your email address : Your website : https://www.youtube.com/channel/UCL8kKDW2KN2Y2ga6Bei8ndQ Submission Information Name of game arranged : Zelda - Ocarina of Time Name of arrangement : Gerudo's Masters Name of individual song(s) arranged : Gerudo Valley Theme Your own comments about the mix : My goal was to use all the musical instruments I own and blend them together to build something epic! Have a good day! Edited January 28, 2022 by Liontamer closed decision Link to comment Share on other sites More sharing options...
MindWanderer Posted January 7, 2022 Share Posted January 7, 2022 Pretty cool concept. I liked how you went from the original acoustic guitar and claps (and a meaty kick) to more and more exotic instruments, ending with chiptunes. It's a journey. However, the arrangement itself is pretty conservative. Except for 1:58-2:13 and 2:30-2:45, it's not much more than a reinstrumentation. Even the ending is just a single note, very unsatisfying. Speaking of 2:30-2:45, it's overcompressed and audibly pumping. You'll want to soften your compressor settings there. The vocals are a nice touch, but they're quite pitchy, especially 1:26-1:40. Since it's just "aah"s, you may just want to autotune them. This was fun to listen to, but I don't feel like it quite meets our standards for interpretation, and the production needs a bit more work. Thanks for submitting it, though! NO Link to comment Share on other sites More sharing options...
prophetik music Posted January 25, 2022 Share Posted January 25, 2022 this is fun to listen! i love the idea. it's really peppy at first, and the electro kick actually adds a ton of character since it makes it feel more like a club performance. the loop at 1:01 and electric guitars really amp it up. the break at 1:33 is well-timed, and the ocarina right after is a fun idea that's reminiscent of the soundtrack. the additive crescendo at 1:58 is again well-done, and it really gets a big blow at 2:30. the chiptunes are a fun way to end it, too, great throwback way to keep it moving. the end is kinda just there which was disappointing after some fun ensemble work. from an arrangement standpoint, i agree that there's not much that's new here. the vox pads, constant instrumentation changes, and added countermelodic content i think do enough to get it over the bar just slightly, though - but man, it'd be awesome to get more out of this arrangement. the gerudo valley theme is so basic and repetitive that three minutes at a fast tempo does not lend itself to wanting to hear it again and again. making that initial riff your own via rhythmic and melodic changes would add so much staying power to this remix. even varying the chord structure for a section (again, very doable since it's a simple vi-IV-V-III7) would help a ton. from a technical standpoint, i agree that the vox are pitchy in several places. a quick autotune on them would help a ton. similarly, there's several places where the acoustic's out of tune as well, like the section from 1:01 to like 1:34, especially the last half. from a mastering standpoint, the track feels super quiet until it suddenly has too much stuff on it and starts pumping hard. this is a sign that the knee of the compressor is just set too high, and the ratio when it engages is way too strong as well. a glance at the freq analysis confirms also that there's very little in the highs throughout despite several instruments that have a ton going on there (the acoustic guitar and the claps especially). i suggest spending some serious time with EQs to really notch in where you want your instruments to sit, go through and re-volumize your instrumentation so that there's not huge shelves of sound for each different section, and then even out the compressor. that'll result in a track that sounds dramatically more professional and produced instead of layered in like it sounds now. a hint - boost your female vocals in the 3k area and your male vocals in the 2.5ish k area, and reduce their fundamentals below 500hz a bit. you'll still get a clear sound from them (from boosting their formants) but they won't be taking up so much of the low mid frequency range. as i said, i'm actually ok with the arrangement (although i'd love more work there). the mastering is pretty rough on this one, though, and it could just be so stellar with some additional time spent. NO Link to comment Share on other sites More sharing options...
Chimpazilla Posted January 26, 2022 Share Posted January 26, 2022 Oh gosh. This is one I'd love to say yes to but I don't think it's quite there. The performances are fun and energetic but the arrangement is just too conservative for too long. All the way to 1:42 when the ocarina takes over the lead, the mix is verbatim to source in writing and style (other than the addition of the kick). There is some variation of the source writing only after the breakdown, but at 2:14 it's right back to the source writing in the same soundscape. The addition of the guitars at 2:30 is nice, although as my fellow Js pointed out, the overcompression pumping is really evident there. The final segment with the chiptune instruments is sooooo cool! I'm so sad that this little bit of deviation from the source instrumentation comes so late in the arrangement and plays for such a short time. I really love that part. This mix is just too conservative for too long to pass our standards. I would love to hear it again with more chiptune or even another style introduced, or some original writing for a few bars, (or, both!) to break up the OoT Gerudo style and writing we're all used to. The mastering is the other issue, the mix ends up sounding quiet even while hitting -12db RMS (a reasonable yet loud-enough number) and peaking at 1.4db (clipping). The pumping is audible after 2:30. My best advice for a clean master of any mix is as follows: 1. Lower the input gain into your master channel by a few db (anywhere from 5-10db), this will give you a huge amount of mixing room. 2. EQ out the low end of everything that isn't kick or bass at 150Hz at the very least. 3. Apply a monomaker on your master at 100-150Hz. 4. Bring the mix up to your final volume in stages using a couple of light applications of compression before your final limiter, and set the final ceiling to -0.3db or something close. NO (but I'd love a resubmit) Link to comment Share on other sites More sharing options...
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