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Everything posted by Liontamer

  1. What did you think? Post your opinion of this ReMix.
  2. What did you think? Post your opinion of this ReMix.
  3. It's a music production workshop, that's why it's not there.
  4. Weird opening, more out of a Metroid arrangement or something. That's not a criticism, and I thought it was a cool way to illustrate how different the mood of this would be compared to the original. OK, so :30 brings in the theme, but the approach sounds pretty plodding to start. The bass writing also sounded repetitive until 1:25. 1:25-1:53 hit the source tune's chorus, and the lead felt scrawny with stiff timing. 1:53 seemed to basically retread :30's writing, aside from different bassline writing, and the guitar chugs hitting at 2:20 with exactly the same stuff. 2:47-3:15 went into a different direction with some soloing, before going back to the source tune's chorus; again, I felt the lead guitar tone was scrawny and the timing felt stilted, even though the performance here was more expressive than before. I THINK there was machine gun bass kick stuff going from 4:09-4:37... yep, you could only really make out the drums at the end around 4:35 when other parts dropped out and allowed that part to breathe for a second; otherwise, they were so buried, they barely registered nearly the whole time. This could use another pass on the mixing to clarify some things, and a lot of the lead electric guitar work sounded stiff, so I dunno if you're up for fresh takes on all of that. There was also the issue of needing some more substance/development with the arrangement. Not sure why the arrangement approach was underdeveloped for the first half like this, but MindWanderer was right on his repetition criticisms. I'm actually not against more deliberate pacing, as long as there's sufficient development within the dynamic range you've staked out; this was well in the right direction, just to be clear, but more could be done here, so keep in mind the sections MW mentioned. Good base, Daniel, and I'm liking how you're given this source a completely different character. If you're up for giving this some more expressiveness in the performance, providing more development in the first half, and/or re-EQing this, this still has a lot of potential. This definitely would have been posted back in the olden days of the site, and I think it has a place here, so I urge you not to drop this one. NO (resubmit)
  5. EVIL REIGNS with BadAss: Boss Themes: Volume III!! March 8, 2016 Contact: FAIRFAX, VA... EVIL REIGNS SUPREME!! OverClocked ReMix today released its 56th arrangement album, BadAss: Boss Themes: Volume III. Directors Pieter "pu_freak" van Os & Alexandre "Chernabogue" Mourey returned for this third (and final?!?) volume of epic and twisted tributes to the villains gamers love to hate. The album features 20 eerie & adrenaline-pumping arrangements of boss themes from a deep catalog of games in dark styles and genres including industrial, orchestral, rock, solo piano, dubstep, and metal. BadAss: Volume III is available for free download at This album series was made to show exactly how BadAss these antagonists are, and honor them with music befitting of their villainy. BadAss: Volume III was made by fans, for fans, and is not affiliated with or endorsed by any of the publishers or developers of the original games; all original compositions are copyright their respective owners. "This time around, I wanted to change the genre and feel of the album a bit while still keeping it in line with expectations for a boss themes album, just like David L. Puga (director of BadAss: Volumes I and II) did with Volume II," explained director Pieter "pu_freak" van Os. "This means more orchestral influences (such as low choirs or strings) or more dissonance/eerie arrangements. And, man, did the artists deliver!" 23 artists from around the world collaborated on musical tributes to some of gaming's biggest (and smallest!) perpetrators, including: Albert Wesker (Resident Evil series) Big Bertha (Wild Guns) Colossi (Shadow of the Colossus) Dark Bowser (Mario & Luigi: Bowser's Inside Story) Dark Samus (Metroid Prime series) Deathevan (Breath of Fire II) Grahf (Xenogears) Kefka Palazzo (Final Fantasy VI) Koopalings (Super Mario World) Lavos (Chrono Trigger) Machinedramon (Digimon World) Mad Jack (Donkey Kong 64) Magus (Chrono Trigger) Metalhead (Vectorman) Molgera (The Legend of Zelda: The Wind Waker) Orbot Purple (Vectorman series) Rival (Pokémon Red Version) Slash (Teenage Mutant Ninja Turtles III) Sturm (Advance Wars) Zeromus (Final Fantasy IV). BadAss: Volume III is OC ReMix's fourth album angled toward video game villains, and the third completely focused on the dark side of gaming history, continuing down the road paved by BadAss: Volume I and Volume II released in 2011 and 2013. "As with a good trilogy, the first one is to introduce people to the concept and vibe, the second part is the meanest and darkest one, and the final entry is the epic finale," van Os affirmed. "This album won't punch you in the face with the raw power that Volume II had, but rather attack you mentally, by conquering your soul with bombastic powerful songs and driving you insane with the twisted ones. You WILL feel evil after listening to this. Find you inner Darth Vader or your inner Dexter and enjoy the epic conclusion of the BadAss trilogy!" About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: Download it: Torrent: Comments/Reviews:
  6. What did you think? Post your opinion of this ReMix. BTW, another theme with some similarities to "Bury My Shell" and Fei Long's theme: Double Dragon "Mission 3" (:07-:13)
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  9. All set.
  10. Tell your friends, relatives and significant others. If you'd like your forum name updated, please drop me a PM or reply to this thread. Gimme your current forum name and the change you'd like. As soon as I'm available, I'll provide you with the new name and email you your current password just in case you're somehow logged out of the account. This is not a service to be abused, so if you're not intending on using a name permanently, don't press your luck.
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  18. The production criticisms aren't wrong, but I fully agreed with Gario and was OK with this version as is. The wrong note should be fixed, the mixing wasn't clean enough with some parts getting lost, and the final dense section was cluttered. That said, I could distinguish the part-writing well enough, so these weren't dealbreakers, just issues that would be nice to have improvements on. No issue with rejecting it, as AJ's been effective with production revisions in the past, but to me, the arrangement's a solid rock approach, and the production was serviceable. Let's go. YES (borderline) EDIT (5/17): In order to expedite a revision, I will flip my vote to NO (resubmit) so that AJ can see the feedback and (hopefully) proceed with a revision. Let's go, bro!
  19. Either click your profile name above your avatar or scroll to the very top of the page, click your name, then click profile. The # next to your username in the URL is your user id #, i.e. 34545.
  20. The source tune was referenced pretty clearly throughout this, even just with the guitar chugs, so there was no need to timestamp it. I thought the opening synths at :08 sounded generic, BUT were produced in a way to give them depth and fullness, so nice work there. The soundscape felt a little lo-fi (no big deal) and the beat pattern first used at :50 being so plain and plodding was a negative. No big issue here either, as I liked the energy of the electric guitar, but felt it was too loud vs. the other elements; luckily, the synth writing cut through to the foreground enough to be heard, though the mixing could have been tweaked. Aside from the drum writing being underwhelming, the rest of the track was creatively developed and the part-writing was full and distinct enough to be appreciated. Fun energy! Lemmings is now the first game on OCR to be repped on 4 different platforms. YES
  21. The source tune was all over this. I had it at least from :10-1:25, 1:42.5-1:50.75 & 2:33.25-4:03.5, and I'm sure there were other sections I didn't immediately recognize, so there were no concerns on that level. The arrangement aspect was a pass, and the collaborators all stepped up and delivered. Also gotta co-sign that the drumwork was definitely solid, and a strong foundation here. However, I'm definitely on the NO side of this with the current execution. I wouldn't be angry if this passed, BUT I also strongly don't believe there's a legitimate case that this should pass as is. As others pointed out, those sequenced bowed strings were definitely pretty lacking, with some of the longest sustained notes really exposed (e.g. :32-37). I don't think saying "they're stated as string synths" makes them sound serviceable; I've heard better usage of synth strings before, these are too exposed, and for all intents and purposes they're serving the function of real orchestral strings. The background synth brought in at :31 was arguably too quiet, but it at least registered; no issue there, I just thought it could have been more prominent, including at 2:07's section as well. Onto some other production issues: The timing of the flute at :47 was also extremely blocky and mechanical-sounding. I'm not sure if it was just the 160kbps encoding here, but the mixing wasn't strong either. For example, I felt like the rhythm guitar work introduced at 1:03 did a decent job filling in the soundscape, but the performance of it tended to mud into the background and not sound clear; that said, the backing guitar at 1:25 did noticeably sound clearer and did a better job filling in the textures. It was only at 2:47 that I even noticed a bassline even existed in this piece; it barely registered for me, so let's not make sure THG's work there isn't lost in the shuffle so badly. The overall mixing wasn't awful, and it's decent enough to get by with some Js, but do what you can to clear the overall piece up so that some of your team's part-writing isn't getting buried. Very good base here, Kevin, and if this doesn't make it as is, the potential is there. The arrangement doesn't need to be touched, so it would then be about fine-tuning the production, i.e. the sample realism issues and the mixing. Good luck, and definitely keep at it with this one. NO (resubmit)
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