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About Liontamer

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    Community Manager, Judge, Sonic Augmentation Director

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    Atlanta, GA


  • Biography
    Larry "Liontamer" Oji has been a judge at OverClocked ReMix since July 2004, having evaluated more than 4,500 submissions. Reporting to site founder David "djpretzel" Lloyd, Larry is responsible for primary submissions evaluations, informational database maintenance and other otherwise sundry & unsexy tasks at OCR, becoming head submissions evaluator in June 2006.
  • Real Name
    Larry Oji
  • Occupation
    Community Manager & Judge, OC ReMix
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    2. Maybe; Depends on Circumstances

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  1. Not often I WTF something, but... what??? Nooooo, you've got that all wrong. Production-wise, this is dead on arrival. Wow, really muddy vox to open it up. When the groove arrived at :30, the soundscape was just a lot of mud. There are lines used from 1:00-1:14 and 1:46-2:15 during chorus sections that are barely audible; they're mixed in a way where they didn't register enough. From 1:22-1:43, that beat pattern is so sizzly. I can't go into everything, but other judges covered the production issues in detail and I'm not a musician, so I leave it to their expertise. The other Js have touched on the production changes that would need to be made to take some of the high-end sizzle off of this. Arrangement-wise, the rhythmic changes were good, and this energy went well in the right direction of interpretation we're looking for; nice work there. If you're able to clean up the mixing on this, then you'd be in business. Good base her, Patrick; you don't need to alter the arrangement, so see how much you can clean this mixing up. NO (resubmit)
  2. It wasn't a borderline call for me, but this track's well in the right direction creatively, so I see why others went that way. As far the game we'd classify this under, I generally go by whatever the artist says. To me, I could hear how this was influenced by the MP2 version of the source based on some of the instrumentation choices here. Opening synths were vanilla, and somewhat bright and bubbly. It's an interesting sound palette, but we'll see how this goes. Not sure why the melody was so downplayed from :21-:44, but it's not a big deal. By :48, I was hoping something would change with the textures, and right on cue you had a change, so good stuff there. At 1:06, the buildup was solid. At 1:28, some beats came in, and the lead and kicks felt very thin. At 1:39, the wobble bass felt stapled on top of the soundscape, but some other elements came in later to let that sound fit in better. The processing's pretty basic on these elements, so past 2 minutes I was looking for something more to be going on dynamically with this and it never really came. You have some good energy in place, but then the ideas and textures feel very static and repetitive over time, like the others have said. After I wrote all this, I decided to check what the other judges said, and MindWanderer nailed it: While I never thought the textures here were totally cohesive and full, you did basically have me on board until I noticed the track repeat ideas and not vary up enough texturally or dynamically. Try altering some leads or processing things differently, changing some rhythms, adding in some other writing ideas. You just need to develop something more here to seal the deal. NO (resubmit)
  3. As far the arrangement, it felt too liberal to me, but that may just be me wanting to have heard something more melodious; if you could timestamp how you arranged the theme from section to section, that would have been helpful. I did like the contrast in energy compared to the source. Not feeling the bright brass synth either, which definitely gets old over the long run. Way, WAY too much copy-pasta of the writing going on like MindWanderer timestamped. Dynamically, this felt very flat aside from some very brief dropoffs, and the overall groove and energy levels were too repetitive. I also felt the 2:27-3:10 section felt relatively atonal, so I'm not sure the key change there worked. Keep at it on this one, James, but you'll need much more variation and development of the ideas here so that it doesn't drag. NO
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  6. I didn't label you dumb, I labeled "it", i.e. hating vocal mixes, dumb. It's dumb. I'm glad you clarified you don't feel that way; that's good, because it would be a dumb POV.
  7. What did you think? Post your opinion of this ReMix.
  8. It's dumb to just hate vocal mixes. Words are allowed.
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  11. The stiffness of the sequencing's almost a take-it-or-leave-it thing, because it really successfully apes the style of the actual FF9 soundtrack, which I immediately noticed as well. That said, a fair amount of the instrumentation sounds so similar to the source, so the arrangement would really have to stand out in some other way, which it doesn't as far as melodic interpretation. The additive original part-writing, while always a positive in your works, isn't enough to carry the day here. I agree with the others that the track's very static and lacks dynamic contrast, even accounting for a purposefully narrow dynamic curve, so it's dinged on that level, but that may be case where the vision of the artist doesn't fit with the bar here. As a piece of BGM, it works great, Rebecca; it sounds to me like holding fairly fast to the source tune was likely the point of this one, and there's nothing inherently wrong with that. But as a transformative arrangement and looking at it from the bar here, it's certainly not there yet as far as the level of interpretation. No harm in submitting this one though, and I always look forward to your future submission. Love your work, and I know we'll hear more great stuff from you. Like Gario said, your older work shows how far you've come. NO
  12. I never quit, I just don't have free time for console gaming. People got kids/work/hobbies. But iPhone games still count, so Pokemanz GO! and Tap My Katamari are my current go-to's.
  13. Dunno why the clarinet was farther back in the soundfield to start, but OK. Good arrangement concept as far as adapting it for jazz, Alex, but adjust the mixing to bring the instruments further forward in the soundfield and also add some high-end clarity to this. MindWanderer's got you on the brief copy-pasta aspects of this re: the chorus. Agreed with the other NOs though that the mechanical/stilted timing to pretty much all of the parts kills this dead, especially for a piece that's only 2:17-long. For short pieces, you really need everything clicking on all cylinders, so besides the already creative arrangement, you need solid production, realistic enough performance dynamics, and no cut-and-paste repetition. Good start, but polish this up further if you're interested. If not, no worries, and I hope you submit more, because your arrangement sensibilities are in the right direction.
  14. All set, @TSori. Email me if you need help getting into your account, since the password matchs the oldest one now.
  15. My goal: authenticity.