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Once we move forward with our plans to integrate the workshop with the overall site database, the concept of "rejections" won't carry quite as much weight... mixes accepted by the judges panel or direct-posted will be "featured" mixes, but everything else in the workshop (WIP, finished, submitted) will show up on the main listings, etc. In other words, there will no longer be a need for a separate site that accepts everything (which is basically YouTube/SoundCloud anyways, except those will always be bigger), nor will there be a need for a separate site to host rejections. Will people still insist there's a need for those types of sites after we make this change? I guess we'll see...

I thought I'd start a topic to honor those who have put out their honest hard work to the judges, but for whatever reason, didn't make the cut. Perhaps make a place on the internet just for this. Call it OCReJex or OCReJects. Maybe make some album artwork to go with it. Kinda like OLReMiX but not as funny. Anyway, I'll start: Anyone remember Battletoads - Cold Chillin' ? It was so basic; so minimalistic; so chill; and so rejected. But it will always have a special place in my iTunes folder.

DJP already said why this isn't necessary, but let's just suppose for a second that the site wasn't undergoing a change and that workshop integration is not going to be a thing... here are some problems with OCReJects: 1. Resubs. What if a person gets rejected but wants to resub their mix? What if they put it on OCReJects but decide to fix it and make it better? Should they be able to remove it from OCReJects or are they locked into being a ReJected? What if I don't WANT to make my remix publicly known as rejected? Is it automatic or manual submission? 2. The concept of dedicating a place for rejected people irks me. I don't know why anyone would want to associate with that label and why people would publicly post their music under a title of "ReJected". 3. Breeding ground for flaming. You're dedicating an entire site's mission (ocrejects) to promoting whatever is contrary to the standards of ocremix. That automatically means that everyone who listens to and has favorite music on ocrejects is aware that ocremix is a place that denies their favorite music and facilitates even more ocremix-hate ("arbitrary standards!" "they only like techno!" "they only like metal!" "they only accept professionally engineered music!") than there already is. It's as if you're taking all of the ocremix-haters scattered about the internet and giving them a focused place and banner to rally behind. I know you mean well, but try to be more sensitive when proposing how a new site/community functions and what it stands for. I certainly recommend not calling it "OCReJects", but since OCReMix is undergoing changes, it won't be necessary to give it any more thought.

They pay for that right by getting a license.

Not if they have obtained a license for all of the songs on the album they release. The same goes for cover tunes of pop songs.

The orchestration and arrangement is good, but honestly I disagree with the judges about the emotion and performance of the samples. To me it all sounds rather flat, keyboard-y, the sustains have plenty of weird bumps in dynamics (high strings dipping suddenly at 2:38) and seem to be devoid of dynamic breathing (arcing the dynamics within a note, not referring to the dynamics of the song overall.), and the legato transitions on all sections need work. Particularly, the solo violin portamento at 2:43 and then the fast legato at 2:50 stand out as sounding pretty fake (also kind of weird hearing it on the right side where the cellos are). The Friedlander has a lot of control, but you have to be careful because some of its performance quirks lend to an exaggerated legato. Also, layering in different articulations for the string sections (V1s on normal with V2s on tremolo harmony, for example) instead of just plain sustains all the time could introduce some more interesting musical textures, and help break up the blocky pad sounds of the violins from 1:13-1:39, for instance. Listening to live orchestras and noting the dynamic range and how it brings out emotion, and translating that to match the phrasing and note-to-note arcings, would be a help. As it is now, it sounds a lot like playing the keys and not enough controlling of the CCs (dynamics, vibrato) in a musical way.

Might as well put my details here: WillRock General information Real name: William Harby Location: UK Occupation: Composer Preferred method of contact: Skype (WillRock07), PM, Facebook Also reachable by: AIM, IRC Five OSTs I recommend: iunno About me: Dunno. You guys can look me up here. Also work as a composer for edgebee studios. Got a degree in music tech. Etc. Reason i'm posting here is because I don't frequent the boards, and i'm technically still a WS Mod. but I DO like to look and help out people with their tracks, particularly if they come to me in person. Its better to send me a direct message (AIM/IRC/Skype) rather than PM because otherwise I may think "i'll look later" and not get around to it, but contact me and i'll more than happily help out anyone who needs it. I wouldn't class myself as particularly great with a specific area of critique but i'm a good all rounder and can probably give a decent idea if something will pass the panel or not. Hit me up on Skype!