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I wrote an entire snes-style soundtrack with my own custom built sound-set a couple of years ago, for a game that at the time very closely resembed a real 16 bit JRPG. The game has since changed direction enough that this music will no longer be the best fit, but I just recently got permission to release that version of the soundtrack. I've been doing it 1 song at a time through my soundcloud. 18 are up now and more are coming soon. I think you guys will enjoy these. The square and enix OSTs from the 90s snes era are SUCH a hugely formative and inspirational thing to me, so getting to attempt this was a very powerful emotional experience and I'm really glad I got to do it.

Definitely my favorite piece on the album. I could be biased because it's the only piece I actually played in, but the whole drive, climax working, soloing, chord syncopation and overall sound makes it just so darn satisfying to listen to. It was an honor to be able to participate in such a masterpiece.

I just signed up for an account entirely to say how fantastic this is. so, yeah. THIS IS FANTASTIC.

Quick response, don't have my good headphones with me. I'll elaborate on the things I don't need another listen for, and get to the rest at another time. The drum kit's panning is wide. That's usually how drum kits are panned, but it breaks any illusion of being in the same space as the orchestra when the hihat is coming from off to the side and other elements are coming from the center or somewhere else. A drumkit that is physically as wide as an orchestra is ridiculous, and this panning suggests that's what you've got in the track. I realize I phrased that crit poorly. Should have emphasized that it's about the stereo panning. If you have a stereo widener, see if it has the option to reduce stereo width. Don't overdo it. I recommend using headphones for this. Speaking of headphones, the bass rumble is horrible on decent headphones. I don't mind a subtle low end presence, but it gets way too loud for my liking. I recommend you find a standard listening level that you use both for the main mixing work, and for listening to your reference tracks. The effects of the low end are often not obvious on low listening levels, so make sure the lows in your reference tracks sounds good on the level before settling on it. And speaking of reference tracks, those will be useful for figuring out how loud, bright and prominent percussion elements et al. should be. I know it's difficult to recreate the sound of a different orchestra, especially if you don't have the same sample library (or the real orchestra and venue and recording setup...). Still, for the relative balance between instruments and reverb, between instruments themselves, and the frequency balance of each element, good reference tracks are very useful. When it comes to the many small timestamps, I think those might stand out more on the aforementioned reference listening level on headphones. Some of them stand out a lot, others just enough to bother me. I can list exactly how each of them bother me, but for your own critical listening development, it might be better to listen to the track yourself, on headphones and with appropriate level, and try to identify what I've pointed to. Your call. -- On one hand, you do come off as a bit rude. I get that you don't mean to. I think it's because of the terse responses, and the seeming unwillingness to take the feedback and try to understand it. My own attitude to feedback is to try to understand everything, and to apply what you agree with. E.g. why did I list 2:31 in the timestamp list? On the other hand, there's nothing wrong with asking for elaboration, clarification, specifics, further advice, and whatnot. It's easy to get caught up in our own understanding of something and to explain it in our own way. When we aren't being clear on something, do point it out. The goal is to give you good feedback. If we're not doing that, let us know.

After I got second place in that RPG project, I did some thinking. Why can't I host a remix contest? The idea is that each member chooses a video game piece they like and create a RPG field/town theme out of it. It can be anything from an RPG boss theme like "One Winged Angel" to "Gourmet Race" (Kirby)". However it can't already be a town or field theme. Round one will be a remix of the chosen theme and Round 2 will mix that theme with an original composition/beat I will provide. Message me if you want to participate. I'm sure this will be a lot of fun. The summery will provide most of the rules but if anyone would help me with them, it'd be appreciated. I'll judge the field themes myself but would prefer a second judge. Have a good day.

Yeah, you've more or less got it right. It just has to be from a video game and not be a field, town, or dungeon theme. Are you interested? What piece would you pick? Just wanted to add that as much as I love Pokemon, only battle themes from that franchise are allowed because of the abundance of town themes. I love Lavender Town as much as the next guy but it doesn't fit with the theme of the contest. That is all

I think I'll leave a sort of request here: Sonic CD (both soundtracks) and Sonic 3D Blast (Saturn) still don't have any representation in the album, but both games are quite important part of the series, so if you want to help us for some reason, feel free to grab a track or two! Any other claims will not be accepted.

So the piece can be from any game, whether it's an RPG or not, but then we RPGify it?

Glad to hear. Looking forward to hearing the new arrangement!

I wouldn't say there's no oomph at all, it works quite well actually. I would expect a louder crash or a bit of a pause just before hitting, but it works fine as-is, imo. eval: Yeah, it's got issues with frequency overlap muddying up the track's mids. There's also part of the arpeggio where the middle (the one most repeated) cuts through better than the others, making it stand out a bit too much, so it sounds like that's a set of random off-beat 8th notes. I'm not a fan of the higher-pitch lead. It's too simple. It's not expressive enough, doesn't do anything interesting with the melody either. Either of those things would help make the track more interesting. At 1:42 I'm distracted from the melody that enters because there are so many other things bleeping around in roughly the same frequency range. You could clean that up with different mixing, different sound design, or different writing. And I think you'll have to do at least one of those. There's a lot of panning going on around that part, too. It's a little annoying, but if the panned track was softer, it shouldn't be a problem. The ending is abrupt. You just stop playing new notes. There are many ways to end a track, but justing stopping like this is not one of them. Rarely, anyway. It often works to end the track on the first chord in the chord sequence. In this case, minor scale, you could end on i, III, or possibly VI (first chord, which is minor, or third of sixth chords, which are major). I would recommend the first. Other parts of the track similarly end with instruments just dropping out. That's something worth looking into. As is repetition. I don't think this is too repetitive for ocr, but I think it's needlessly repetitive regardless. You can do a lot to vary up a track, like having an alternate set of chords for some of the repetitions, an alternate take on the melody for some of its loops, even just a change in the articulation of the lead can change things up enough. You've got pretty good drums and nice buildups, and the overall structure of the track works well. You've still got a bit of work left to do on this track before I think it would pass the panel, but you're off to a good start, with all the important elements in place. Nice work. Keep at it.

OC ReMix presents Chronology: A Jazz Tribute to Chrono Trigger! August 22, 2016 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 60th arrangement album, Chronology: A Jazz Tribute to Chrono Trigger. Coinciding with today's 21st anniversary of Chrono Trigger in North America, the album pays tribute to Chrono Trigger, released by Square in 1995 for the SNES. Featuring eight vibrant arrangements from the OC Jazz Collective, Chronology is directed by OC ReMixer, multi-instrumentalist, and arranger Dylan "Wiesty" Wiest, and is available for free download at http://chronology.ocremix.org. Chronology includes a deep roster of jazz musicians honoring Yasunori Mitsuda and Nobuo Uematsu's timeless soundtrack in the Chrono series by arranging several themes for improvisational jazz. Chronology was made by fans, for fans, and is not affiliated with or endorsed by Square Enix; all original compositions are copyright their respective owners. "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 fact that Mitsuda's music lends itself so well to jazz and improvisation," recalled director Dylan Wiest. Speaking to the format and end result of the album, Wiest explained, "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." The album's cover artwork was designed by Andrew "OA" Luers, who also created the visuals for OC ReMix's Final Fantasy VI: Balance and Ruin album, which raised over $153,000 via Kickstarter in 2013. Supplementing Luers' cover artwork are nine visual art pieces from several artists depicting Chrono Trigger's various eras from Prehistory to the End of Time. "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," observed Wiest, who steps forward with his first OC ReMix directorial effort by assembling and leading the OC Jazz Collective. Also featured alongside the OC Jazz Collective are the Triplepoint Trio of Doug Perry, Sam Suggs, and Jonny Allen, formed at the prestigious Yale School of Music. Weist added, "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." Chronology marks OC ReMix's second Chrono Trigger album dedicated to a specific musical style, following 2006's Chrono Symphonic, which focused on symphonic and orchestral arrangements. The album is also OC ReMix's second dedicated to live instruments following Sebastian Freij's 2015 project, Seven Songs for Seventh Saga, featuring Freij arranging and performing music from Japanese RPG The 7th Saga for cello trio. 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 ocremix.org, 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. ### Download Chronology: http://chronology.ocremix.org Torrent: http://bt.ocremix.org/torrents/Chronology_-_A_Jazz_Tribute_to_Chrono_Trigger.torrent Comments/Reviews: http://ocremix.org/community/topic/44200-/ Preview Chronology: http://youtu.be/3wiyaNlffwY

Oh wow. Now I see where Sonata Arctica got their "inspiration" from. It's a wonder this isn't lawsuit material lol. Thought this melody sounded awesome to re do but it was far too familiar. That's why. Maybe you could take some ideas for your remix from this though What parts are you struggling with transcribing?

Community recruitment threads: VGMix / OneUp Studios / Remix.Kwed.Org & AMIGAremix / The Shizz / OverLooked ReMiX / VGMusic / 2A03 Tim Follin's homepage: http://www.timfollin.pwp.blueyonder.co.uk/ Tim Follin's near-complete discography: http://wiki.sotw.info/index.php?title=User:Liontamer/Dirge_for_the_Follin/Follin_Discography Tim Follin @ OC ReMix: http://www.ocremix.org/composer/id/70/ Tim Follin @ Wikipedia: http://en.wikipedia.org/wiki/Tim_Follin Tim Follin @ MobyGames: http://www.mobygames.com/developer/sheet/view/developerId,56818/ Tim Follin @ MusicBrainz: http://www.musicbrainz.org/artist/bc709fb2-d4a9-4c93-89c4-e136792d6b40.html Tim Follin music hosting project: http://www.gamingforce.com/forums/general-game-music-discussion/17448-follin-project-discussion.html Browsing around the old GamingForce Audio forums last year, I learned that Tim Follin decided to stop composing music for video games, citing the inability to make a steady income from VGM compositions. Those of you familiar with Follin's work in video game music know the man is an exemplary artist. Even before I specifically knew who he was, music of Follin's from Spider-Man & The X-Men for the SNES caught my attention, followed by other games like Silver Surfer, Solstice, Treasure Master, and Plok! Stepping up beyond the sound limitations of older game systems and working with real-sounding instrumentation, his work and his creativity continues to be impressive. Song of the Week staffers and friends Kaleb Grace and 'Ili "CHz" Butterfield were talking about Follin's decision when Kaleb came up with the idea of doing a tribute remix project of Follin's work. Damn good idea, as there are a lot of people who are fans of his work. If you're a fan of Follin's music, join up and let's make a tribute. We're gonna make this pretty simple. This is a community-wide project, very Hands Across America. Any talented artists that are interested are open to join up: OCR, VGMix, OUS, DoD/TheShizz, OLR, R:K:O, AMIGAremix, VGMusic, 2A03, hell even some doujins, everybody. No one is disallowed from participating due to any history you have with anyone else; all are welcome with me. If you have some internet drama that prevents you from participating, fuck you in advance! The only standards involved here are to produce quality music. Provided a bunch of you don't somehow pick the same material, any track originally written/composed by Tim Follin, video game or non-video game, is fair game for you to choose within this project. Aside from mere ports he's done of others' tunes, pick anything. We'll be checking to make sure whatever you pick was written or at least arranged by Follin, so provide specifics here on what you're choosing as soon as you know. Stuff that happens to be written by Tim's younger brother Geoff Follin is fine as well. The quality control will be fairly strict. If I don't know you, I'll ask to hear samples of your recent work or research you myself. If you're not completely capable of what you're doing and aren't a solid artist in the community yet, I will tell you point blank here that you likely don't qualify, and you likely shouldn't waste your time trying to participate. With that said, collaborations are heavily encouraged. Tracks featuring live instrumentation are also heavily encouraged, as Follin wished he knew how to play real instruments. There will be no WIP deadlines; whoever's going to come through will come through. We are shooting for at least 80 minutes worth of music and a minimum of 12 tracks, preferably 20 or more arrangements. We've got a near-full discography of Tim Follin's work here in order to help anyone who may need to look around to find material to arrange. Even if you're unfamiliar with his work, chances are you will find something of his that appeals to you. In the meantime, you are more than welcome to post your interest in the thread here and let people know what you'll be doing. Provided you guys come through, there are other plans for this project that will be put into motion. On behalf of co-directors CHz & Kaleb Grace, speaking to anyone and everyone from around the world who contributes, thank you in advance for your participation. -------------------------------------------- Take a look at Tim Follin's near-complete discography: http://wiki.sotw.info/index.php?title=User:Liontamer/Dirge_for_the_Follin/Follin_Discography Play the music in Winamp with these plug-ins: Amiga/MOD & Spectrum/AY - http://www.deliplayer.com/dlredir.php?obj=dp2 (STANDALONE PLAYER) C64/SID, Gameboy/GBS, Genesis/VGZ, NES/NSF, SNES/SPC(RSN) - http://www.chipamp.org/ (Plug-in bundle) In-progress tracklist: 1. Ryan8bit - Solstice, Title Theme - "Catacombs Beneath the Twilight" - http://dod.vgmix.com/past/janfeb06/ 2. Xoc - Magic Johnson's Fast Break & Super Off-Road - complete, but private until release by Jason's request 3. Binster - Ghouls'n Ghosts (C64), subtune 10 - "Poltergeist Mix" - http://www.ocremix.org/remix/OCR01478/ 4. Romeo Knight - Bionic Commando (C64), subtune 5 - "64 Bacardis" - http://www.remix64.com/tune_312000.html 5. Makke - Qix medley - "Baggy Pants Mix" - http://remix.kwed.org/download.php/3137/Makke%20-%20Qix%20%28Baggy%20Pants%20Mix%29.mp3 6. The Orichalcon - Pictionary, Track 3 ("Let's Draw a Picture") - "Person, Place or Groove?" - http://www.ocremix.org/remix/OCR01548/ 7. Ryan8bit - Target Renegade, medley - "The Fuzz Scuffle" - http://dod.vgmix.com/past/jul06/ ***Bonus/Previously-created: Shnabubula - Solstice, NSF track 2 - "Pegasus Boots" - http://www.ocremix.org/remix/OCR01405/