Liontamer

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Everything posted by Liontamer

  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.
  3. Preview Speeding Towards Adventures: http://youtu.be/Yemuj9HbaBE Download Speeding Towards Adventures: http://sonic25.ocremix.org Torrent: http://bt.ocremix.org/torrents/Speeding_Towards_Adventures_-_25_Years_of_Sonic_the_Hedgehog.torrent Sonic has always been my favorite video game series. It has always meant a lot to me. I clearly remember the day when I asked my parents to buy some game and they bought Sonic Adventure DX. Of course, my reaction was nothing but fascination! The fast-paced addictive gameplay, vivid stages, and, of course, catchy music made my first experience of diving into Sonic universe one of the most memorable parts of my childhood. Then I started to learn more and more about Sonic the Hedgehog games, and they were all amazing to explore, but music remained the most enjoyable part of this entertainment. A few years later, I started to look for the soundtracks on the internet and downloaded almost every album existing at that time. I was listening to them on a daily basis, and I was listening to nothing but this music -- that's how obsessed I was with it! In the middle of 2012, I came across a remix of "Special Stage" theme from Sonic the Hedgehog 3, "Red Sphere, Blue Sphere" by Ben Briggs. Apparently, I had to head over to the Project Chaos website, grab the whole album and listen to it. That was another experience that changed my life drastically -- the idea of giving all-time favorite video game music a completely new life impressed me a lot. So, a few days later, I visited OCR and started to wander around. I was really surprised by how many arrangements and arrangement albums were published there! Finally, in the beginning of 2013, I joined the community. It was also the time when Temporal Duality was in development, so I was following the progress very closely. I'm a Sonic fan after all, so how could I miss something like that? So I must admit that this album inspired me to start this recruiting this album! Big shoutout to SuperiorX and Phonetic Hero! ;) Finally, about a year after registering on the OCR forums, I decided to start the album project. My vision for this project seemed to be simple: I wanted to cover as many games as possible (with up to 3 tracks per each game; yes, we ended up having 4 Sonic the Hedgehog 3 tracks, lol) as well as to represent a variety of music genres to represent the variety of Sonic's journeys. The project immediately started to gather lots of people, and that's not surprising at all, given how popular the Blue Blur is. And I understood that I needed some help, since the project was not going fast enough. This is where I asked Jorito to step in to direct the album along with me. Luckily, he agreed to help me, and that was one of those decisions that completely changed everything. From that moment, the project started to develop with immense speed. I just don't have enough words to express my gratitude -- he helped me so much! If I start to list everything he did for this album, I will probably never stop. Also, big thanks to Odai for such nice art, big thanks to the Sega composers for their work, and, finally, big thanks to all the musicians who contributed to this outstanding album. Directing it was a blast! Enjoy! - Stepan Sudilovsky (Black_Doom) Even though I have been part of this album for quite a while as a ReMixer, it was pretty late that I joined as an album co-director. And I'm glad I did, because it was an exciting and interesting experience to witness the creation of an album from "the other side." Since I'm no expert on things Sonic-related, I have to give mad props to Stepan for defining the vision for the project and doing a lot of the prep work that set things in motion and Odai for really capturing the Sonicness of Sonic. I was happy to be able to contribute some of my "get stuff done" skills, and helping guide the album and all the people who collaborated towards the final product was a blast. Really proud of the final result and I'm sure you'll enjoy the album as much as I did! - Jorrith Schaap (Jorito)
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  8. Preview Chronology: http://youtu.be/3wiyaNlffwY Download Chronology: http://chronology.ocremix.org Torrent: http://bt.ocremix.org/torrents/Chronology_-_A_Jazz_Tribute_to_Chrono_Trigger.torrent I first played Chrono Trigger when I was seven years old. It was my introduction to JRPGs, anime, and most importantly, video game music. I can vividly remember watching my brother play this game... or was it a movie? It certainly wasn't Super Mario Bros. or Donkey Kong Country. It had complex writing and intricate characters put into a vast and colourful world accompanied by music you might expect to hear in a film. As I learned to play the game, it consumed me. I would rent the game every weekend for what seemed like years. It didn't matter how many times I had completed it because I could restart and it would seem like a new adventure every time. Needless to say, I have a bit of an addictive personality. Over the years, I would go on to obtain many new obsessions and interests that would come and go. Chrono Trigger, however, did not. I am 25 now and, after nearly two decades of playing the game, I can honestly say that it still remains an important part of my life and that every time I play it, I look at it with the same wide eyes and enthusiasm as when I was seven. I explored Chrono Trigger through all of its facets whether it was trying to copy Akira Toriyama's art (and learning that I'm not very good at drawing), discussing the more intricate plot features on the forums at Chrono Compendium, actively awaiting the English dub of Radical Dreamers so that I could further my knowledge in the Chronoverse, or attempting to learn Yasunori Mitusda's score on piano. I believe at one point I had just about the entire soundtrack learned and it was this that nudged me in the direction of the video game music community and, eventually, OverClocked ReMix. Fast-forward another half-decade and I decided to pitch the idea for a jazz-based Chrono Trigger album. It seemed like this was going to be an impossible task to accomplish given the genre restriction and general interest from other arrangers at the time so move ahead another couple years and the OC Jazz Collective was born. Through some fluke, I was able to assemble my own "dream team" of musicians and arrangers on OC ReMix who all shared a passion for jazz and video game music. I felt Chrono Trigger would be an ideal candidate for our first release given the game's quickly approaching 20th anniversary and the fact that Mitsuda's music lends itself so well to jazz and improvisation. The musicians and artists on this album have put in countless hours of practice and recording to produce an album which I think sounds authentic and natural. Jazz is a social music best captured in the moment... and while the production process of this album was anything but "in the moment," I think the album's sound and cohesiveness will speak for itself. It has been an honour getting to know and work with these talented artists from different parts of the world. Each of them brings their own unique sound and nuances to the album and without each and every one of them this album would not have been possible. I hope that our devotion to detail will be apparent in the music and that you will enjoy Chronology: A Jazz Tribute to Chrono Trigger. - Dylan Wiest (Wiesty)
  9. Preview it: http://youtu.be/_fUnmQB2yU4 Download & Knuckles: http://soundcloud.com/ocremix/sets/and-knuckles I'm very proud to announce the release of the newest OCR album: & Knuckles! Knuckles has long been an unsung hero among gamers, and I'm happy to bring him to the forefront for a sonic tour through some of the best songs of the franchise. The original idea for this album was devised only three months ago, but a large number of artists stepped up to the plate to help make this happen even over such a short time. I truly hope you enjoy their outstanding work here. Get ready to not chuckle, and to start flexing your muscles! - Jarel Jones (Arrow) This was my first time doing the cover art for an OC ReMix album and I had a ton of fun! While I'm more into Mega Man these days, Sonic was my first fandom, so it was awesome to revisit and draw it again. Also, c'mon, let's face it, swole Knuckles is awesome. It was an honor to work on this album and I hope you enjoy the art as well as all the crazy awesome music inside. - Tabby Ramsey
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  11. Thursday, September 28 to Sunday, October 1 Renaissance Waverly Hotel & Cobb Galleria, Atlanta, GA http://awa-con.com 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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  14. 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).
  15. 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
  16. 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)
  17. 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
  18. 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.
  19. UPDATED REMIX TORRENTS! We've got things updated up to Q1 2017 (ReMix #3523). More than 200 hours' worth of music over 17 years! http://bt.ocremix.org/torrents/OC_ReMix_-_1_to_3000_[v20170528].torrent http://bt.ocremix.org/torrents/OC_ReMix_-_3001_to_3523_(Q1_2017_update).torrent We've also got some small improvements to all of the file tags: Release Date - the specific date the ReMix was posted to OCR (YYYY-MM-DD format) Original Album - changed to the name of the OC ReMix album a ReMix is from (when applicable, e.g. Final Fantasy VI: Balance and Ruin); otherwise blank now Artist Sort Order - for the few artists whose handles begin with A, An, or The, they'll now alpha sort properly in iTunes Album Art - minor tweaks; size increased to 700x700, and gray adjusted to match the latest site design If you've never used a torrent client before, please consult the information and FAQs from http://ocremix.org/info/Torrents. In short, these are 100% legal to download, and there are no viruses, so download with peace of mind! For more details on past improvements to the MP3s here, check out: http://ocremix.org/info/Torrent_Update_v20141015 http://ocremix.org/info/Torrent_Update_v20121012
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  23. Contat info: Remixer name: Being Jayadev Real Name: Jeff Jarjoura Website: www.facebook.com/beingjayadev UserID: 34583 Submission Info: Game Arranged: The Guardian Legend Name of Arrangement: Miria's Legacy Songs Arranged: 1: The Guardian Legend (title theme) 2: Message Room 3: Area 0/ Naju Gateway 4: Taking Off 5: Corridors 7, 8 17 & 18/ Alien Sector Flight 6: Areas 6 & 9/ Crystal Sector 7: Bonus! 8: Corridors 9, 10, 19 and 20 9: Boss Theme 1 10: Corridor 21/ Final Flight 11: Ending/ Staff Roll 12: Game Over Commentary: Here's my first submission. I've been a fan of this site since the early days. I've been playing with music production as a hobby since 2012 and I'm proud to present what is likely the best thing I have produced thus far. The Guardian Legend came into my life through a very special friend during the classic NES years and I was always floored by the music. Through the years, I became very fond of innovative progressive rock through bands like Dream Theater, Blind Guardian and the genius producer Arjen Anthony Lucassen. I have arranged 12 select tracks from TGL in a prog rock themed anthem that I hope tickles your eardrums. I would have liked to include more of the original soundtrack, all of the music is incredible. I considered every single track for part of the compilation. In the end, a stream-of-consciousness approach revealed a very natural progression in their original keys. I hope you enjoy it! Namaste! Being Jayadev I have included the file as an attachment, but here is a link to a shared Google drive folder with the same file: LT's note: open the video in it's own tab and view the video's comments, which you click timestamps for the original songs.
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