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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. The version now hosted IS the version you're referring to, which was 192kbps.
  2. That would be too bad, but we actually did what you're talking about. I did the torrent updates in 2012 and 2014, and we upgraded the encodings/bitrates of more than 500 ReMixes. Some of the stuff you linked to were artists creating new or expanded versions of their tracks, which we wouldn't replace the posted ReMixes with, but perhaps djp would be open to hosting alternate versions in a non-featured way. It's never a bad time to reach out to artists again, but I'll clarify that I already did do this work before from 2009-2014, through a mass email to all ReMixers, and a forum thread where some fans also provided better encodings that they'd saved.
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  4. Thursday, September 28 to Sunday, October 1 Renaissance Waverly Hotel & Cobb Galleria, Atlanta, GA OCR returns to Atlanta for our second panel at Anime Weekend Atlanta! Held at the Cobb Galleria (right by the Cobb Energy Center where VGM concerts perform in ATL), AWA is the the southeast's largest anime convention! Spend time with several of OCR's Atlanta community members as we talk about the greatness of video game music! OC ReMix: Celebrating Video Game Music! Panel Date/Time: TBA Location: TBA Panelists: Liontamer! LongBoxofChocolate! (Aaron Schmitt, Daniel Perry, Nick Bello, Trevor Burch) nelward!
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  6. If the KS is small enough like what you've alluded to, it may fly under the legal radar, which we definitely don't advocate or recommend, but that's just the reality of how some of those efforts go. We can't talk about the specific talks with Squenix, but we never planned to do the FF6 Kickstarter in an unlicensed way, so there was never any intention to NOT obtain licensing. Now, it's one thing to get the contact information for SE's legal department, but I think the most difficult part would be gaining the attention/headspace of anyone there who'd subsequently be willing to work with you. For us, we had a large enough pot and demonstrated display of interest with the Kickstarter support, the project was a music project rather than a game (I've never seen an SE takedown of a game ever come back), and djp was thoughtful/patient/articulate enough to handle the difficult back-and-forth discussions involved, where it was worth SE's time to actually dialogue with OCR rather than just shut down the Kickstarter without entertaining a follow-up discussion. That said, if you did a KH-based arrangement album Kickstarter and it gained some traction, the licensing costs would chew up a significant part of the funding and may get scrutiny from SE's legal department if you haven't dealt directly with them. Licensing's required for any derivative work that doesn't fall under fair use, so yeah, you'd need to pay for those licenses. Loudr's job is supposed to be to get you a proper license for all of the derivative works, if licensing for the source tunes is in fact available. So as long as you used them, and they say the music can be licensed (and you wait another month for them to actually verify that after the fact, in case any of the source songs are in fact NOT licensable), you're OK there. I'm not sure if that kind of indirect licensing agreement would need to be in place before the KS launched if you go that route rather than deal directly with SE, but there's the possibility that you may need to pay the projected costs upfront for that once you project the full scope of the album (i.e. # of songs arranged, and [if any] # of physical copies).
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  9. The guitar sequencing didn't sound totally awful, but the timing was nonetheless very robotic and should have been better humanized. Right now, the stiff, overly-quantized timing undermines the energy of the track, and IMO it was dead on arrival from the production side of things already. Jebus, this was an extremely muddy soundscape throughout. What was the point of the other part-writing behind the guitar starting at :21 if it was barely audible? None of this was mixed/separated properly. There were different/original guitar chugs in the background at 2:03 , but they didn't harmonize well with the source tune, so it was a mixed bag despite adding something different to the arrangement. Then there was soloing over the top of the source from 2:23-2:46 that was energetic, but again unrealistic-sounding and hampered by the timing being so rigid. That said, the treatment of the source there was basically conservative and looped, so the track hit a wall in terms of development. There's not much varied in the way of dynamics either. Well, we all have tracks where we're too lenient, so for DA it's definitely this one. Beyond the adaptation to rock, and some additional notes to the countermelodic writing first used at :21, the arrangement's too limited and repetitive, with the "Last Battle" part of the arrangement looping at 2:03. I hate to sound like I hated the track, Karol. I didn't, and IMO, it's a decent cover of a great source tune, but for the Standards here, this was underdeveloped and lacks polish, variety, and humanization. Without more development/variation in the arrangement and more realism in the sound, we can't roll with this. NO
  10. Opened up very similar to the source tune, so I was waiting to hear how this would begin to stand apart from it. The chorus hitting at 1:05 but retaining a lot of the same instrumentation from the start was that first change and set the interpretation factor off in the right direction going forward. The "DK Island Swing" stuff in the middle of the track was odd, but worked in reasonably well, and you get used to the transition after multiple listens. Enjoyed Johnathan's treatment of the themes overall. I definitely hear the other Js on the mixing here not being ideal with the kick sounding puny as hell like Sir_NutS pointed out, instruments mudding together and fighting for the same space (3:04's section), and then some pretty badly noticeable and extended crowding at 5:11's section, but the arrangement arguably making up for it. I'd nonetheless like to hear 5:11-6:49 tweaked before approval, if possible. The track sounded better than MindWanderer's crit that it sounded like it was "played through a stereo on the other side of a wall," but I did laugh at that and he's definitely not wrong even if it's hyperbolic to make a point. Definitely take all of the production criticisms into account to clean up your future works. We can post what's here, so I wouldn't be upset at all if this passed, but there's definitely that element of disappointment that the production ultimately undermines the arrangement. In a few years, I think Jonathan will look back at this one and wish he knew then what he knows now. We can all agree this is a sweet arrangement, but there's just too much of the track where the mixing is cluttered and messy. Looks like it could still make it, but if it didn't, definitely just address some of the mixing concerns, and this would be an easy pass. NO (resubmit)
  11. On a small note, I have to admit I went "eww" on the flat, plunky piano that was briefly there at 2:19; it was in and out briefly, so it wasn't a big deal, but it did come back a few times in that second half. Try to better humanize that sound; while you may get by on sound quality with the higher piano notes, the lack of realism's very exposed for the lower notes. I didn't like MindWanderer saying that the 2:25-3:28 section was too simple in terms of the arrangement treatment; it did build off of a short, core idea, but I thought there was clear effort given to evolve the textures around the source reference with the original writing and changing instrumentation. If that second half had been part of an arrangement that was more interpretive overall, I don't think this section would/should have been viewed as problematic relative to the Standards here, so I don't want the artist to take away the wrong conclusion from that point. That said, I agreed with MW and Gario that while this was a great listen in a vacuum, nearly the whole the first half being so structurally and instrumentally close to the source tune was a dealbreaker as far as the level of interpretation. It's just not a fit for OCR on that level, but that doesn't mean it isn't still an enjoyable cover. If you were ever interested in revisiting this one, Rebecca, I know you could reinstrument this or otherwise add in more of your own personal flair and ideas into the first half to more substantially differentiate it from the original piece. I look forward to your submissions as always; keep 'em coming! NO
  12. All of the files had original album data changed and release date metadata added as well, so no matter what, you wouldn't be able to just reuse the old files. We'll eventually hit a point where there aren't improvements that affect all files, but now ain't the time.
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