Liontamer

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It took a while for the theme to overtly kick in, but it was there in full force at 1:30 (earlier around :45 during the buildup). Moody, snowy, lo-fi, sleigh bells... I'm digging it. Sets quite a nice scene. Not sure why proph thought other Js may ding it for not having forward momentum; it's lo-fi. Not that the genre particularly matters for me; there's lots of ways to approach an arrangement and this has enough dynamic contrast, so I don't mind the mellower approach and more low-key energy. :-) Glad you sent this in, David! YES

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What did you think? Post your opinion of this ReMix.

HAPPY BIRTHDAY TO US! OC ReMix = 25 YEARS OLD! 4,500 ReMixes later, video game music is STILL an art form! We've got a celebratory Zeal mix by JSABlixer from the upcoming anniversary album TimeShift, and we'll be doing lots more over the course of the next year to celebrate the creativity and impact of this powerful community! Thank you to everyone -- past, present, and future -- who have made OverClocked ReMix what it is. Please share some positive memories on how you discovered OCR, artists and tracks you love (original VGM OR ReMixes), let's go! :-D

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Not sure why it's an audio match in Vimeo; maybe @jnWake also published their track on paid music services? We're fine with it being used as long as it's credited to both the artists & https://ocremix.org (per our Content Policy, so that anyone who likes what they hear can then find it). :-)

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What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

Love this source, always glad for an excuse to listen to it! Right from the jump, I’m liking the genre transformation. During the chorus from :32-:46, the lead comes off very flat. The sound design and balance isn’t ideal, but it’s not awful. 1:20 would have been a great place to change the lead sound for more variety there. Dropoff at 1:36 that was super-barren but gradually built back up starting at 1:50; this needed something else to fill the texture out more without being too much. A bunch of cacophonous supporting writing from 2:00-2:08 and 2:24-2:32 that needs to be reworked; has no melodiousness to it plus the synth choices already feel old by this point, so, surprisingly, there's fatigue for me with this sound design even though a lot of time hasn't passed. At 2:08, the sound design and intensity are similar to around :56; it’s not really going anywhere new or dynamic. 2:32 messed around more with getting subtractive and varied with the presence of the melody. 3:04 revisited the style of the opening to bookend the piece, then did a little bit more original writing at 3:20 that wasn’t melodious and felt like a flat finish. I’m in the same camp as proph; there’s transformative ideas, but the track relatively too flat and repetitive in how it sounds despite effort given to varying some textures. Needs different leads, more filling (some gentle padding of SFX here or there), and smoothing out some non-melodious moments. The core of it is promising, so definitely worth revisiting to see what more could be done, provided the interest was there. You can have arrangements with a steady energy, but the dynamism has to come in other ways, and that’s not been pulled off here despite some tactics going in that direction. NO (resubmit)

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Seemingly a non sequitur intro; not recognizing anything for a while until the melody at :59, but there's lots of runway here, and the string-like lead sounds OK, like it's blended with chiptune. Abrupt change in the SFX at 1:10; doesn't sound good when it's jumpy like that. Lone synth at 1:23 sounds awesome as hell, like VRC7 chiptune stuff, then it's joined by another line at 1:37. The sample voices are cheesy to me; not offensive, but not fully cohesive. The piano line's VERY stiff though. In contrast, the VRC7-like line had a vibrato-like effect on it that humanized it (rather than sounding like inhuman sustains for each individual note). That said, I really like the tone there of that chippy lead, and there's lots of room for expansion and variations. Wait, hold up. :'-( After the (abrupt) change in instrumentation at 2:42, things fell apart, IMO. Brass sample was very exposed as unrealistic coupled with a spooky-line that doesn't really mix with the gravity of the sampled voice work, then adding in some lonely-sounding kicks, then a change to a very mechanical-sounding organ line at 3:03 and some bizarre FM-synth writing around 3:08 that was kind of atonal. Sleigh bells added at 3:20, huh? Then very robotic-sounding organ and drums that both needed to sound denser at 3:28 and this texture is scattershot. Then a bubbly, brighter FM line's brought in at 3:39, then some castanets at 3:51 with machine gun triggering on them (no velocity variations) that exposes the sample, and just none of the sound design has synergy, no flow, no direction. Not sure what part that it coming in at 4:06, but the timing on that's also very quantized and devoid of any fluidity. At 5:01, I'm digging the more understated instrumentation, but once it gets louder and more involved. I also liked the electronic string sound from 5:15-5:24. Back to overly quantized writing at 5:43. Some sort of blippy percussion stuff added at 6:18 that doesn't have synergy with the string stabs, which aren't particularly melodious. Choir at 6:35 adds a lot of mud, not a lot of direction. Whatever buzzing line was introduced at 7:12 just cluttered up the soundscape; if it's meant to sound distorted, OK, but it comes off as messing up the texture rather than adding any stylistic flavor to it. The organ like at 8:05 seems like it's doubled by some sort of weird robovox-type lines, I'm not sure. Not sure what can be done here. Past a point, I didn't hone in on how well the voice clips fit because there's so much that's not working that it didn't need to be focused on. I can see why prophetik said they're overkill. Same for the source usage; I ultimately didn't need to track it or even grok it because it was a moot point due to these other issues. Even if this wasn't so stiffly timed, the instrumentation doesn't click or mesh together either. It really doesn't matter what the genre is, it can't be in state of musical rigor where everything sounds quantized, otherwise it's a non-starter. The only difficulty in offering this feedback is the possibility that it's taken on a personal level as opposed to assessing this piece of music. It's always offered in the attempt to lift you up to a higher skill level instead of tear you down. You often have good ideas, and have had plenty of arrangements you've helmed approved. I stand by the strong praise for your Lufia II album track, which was awesome. It'll sound like I think you shouldn't or can't make good music; it's a matter of understanding where your weaknesses are and instead actively playing to your strengths. To me, it feels like some of your work very much needs needs a governor in the form of a co-arranger/co-pilot focused on musicality, production, and cohesion. And, as I've said before to HoboKa, I don't believe your current pitch perception is where it needs to be to effectively executive very interpretive arrangement concepts; to stay effective, color more in the lines with melodically conservative approaches, and make your instrumentation, ornamentations, and sound design be the primary ways you personalize your arrangements. In the meantime, spend more time on your pitch perception, and study up on how to make sequenced music sound more fluid. NO

Wish it had composer credits!

Nice lil' grandiose glow-up of the original arrangement with this opening orchestration. Vocoded vocals from :33-:40 were being suffocated; I know the original would do that sometimes for contrast, but that didn't click here. Male vocals at :40 by TheManPF are kind of bland as if they sound low effort in less processed spots ("Your girl is quite fair, oh she's an anomaly"), but the processing's OK, and they feel more stylized the rest of the way. At :56, the female vocals sound good, but the instrumental underneath feels hollow and thin; strings are extra quiet and there's some guitar that's also mixed like it's trying not to wake a sleeping baby. Clap groove from :33-1:41 is so meh; feels barren like it's just a WIP placeholder for the REAL beats that'll be worked in later. It quickly gets boring while also mixed in a way where it's louder than quieter-yet-more-interesting supporting instrumentation. Vocals from 1:48-1:56 are muffled. Again, the mixing's weird: vocals were quieter, you hear the bland clap groove more -- the xylo accents are alright. Transition section from 1:56-2:03 felt empty as well. At 2:03, the clap groove feels like a metronome, so placeholder-like. 2:48, the piano's in the uncanny valley. There's string and orch stab stuff later, but the textures just don't glue together well; a lot of the backing orchestration just feels like it's thin and incohesively, indistinctly mixed. Except for the clap groove, the writing's more sophisticated than you'd think, you just don't hear it well due to the mixing. I literally don't know shit, so I can't tell you how to fix it, but the potential's there. String accents from 3:48-4:03 feel too exposed and the lower sustains are also in the uncanny valley. Loved the brief guitar & synth soloing from 5:03-5:19. The vocals from 5:19 are arguably pushed down too much, again understanding that it's following the original arrangement, so I can live with that. The vocals are cool, both PF's and EK's, thanks to some creative and stylish effects. The integration of the numerous SMB themes is nice to take the arrangement to a conceptually higher level. I wasn't put off by the track being longer and felt the flow was fine. I'll definitely sound like I'm making the perfect the enemy of the good: it's a great concept, still needs another production TLC pass. Bland clap groove needs to be killed with fire and there's overall mixing tweaks that could clean this up and not make the backing instrumentation feel so thin, like it's an afterthought. I can definitely understand the overall strength of the concept being approved as is, and I tend to lean for ambitiousness over production. None of this is poor, and it sounds like I'm bagging on TheManPF's abilities and talent when y'all know I love his shit, including this re-ReMix concept. The overall production though (clap groove and imbalanced mixing with a hollow feel) is messy enough that I feel this could shine way more with another pass at it. Not ready yet. NO (resubmit)

Well, ain't this a relaxing theme! I appreciate you introducing me to it. :-) Alright, going for jazz, then. Saxes are extra honky. At :34, the saxes are even more exposed when they're not in unison. Yeah, the tone's not steady enough or strong enough. Piano at 1:45 sounds so blocky and the programmed drumming's OK but has an uncanny valley feeling to it in some spots that I can't better articulate. Vox at 1:53's an odd fit as well; probably just shouldn't be so robotic-sounding. The mixing of this doesn't make sense for me. I really like the organ-style part-writing, but the (well-written) bassline's more indistinct than it should be. Seems to lack some Lucas will think I hate him; the sax performances are a non-starter and only really serviceable in a sketch capacity. Sax is back at 2:43 and it's just honk-honk-honk... honkhonk honk-honk-honk. Need a sax assassin to critique you and get you refining your playing techniques. Conceptually, this is solid. This would have crushed it 20+ years ago around here, and I like what i hear in principle. However the sax performance is gonna need another pass. Another stab at the mixing would be worth it too, but if the live performances and articulations were on point with mixing like this, I would have passed this in a heartbeat. A fun arrangement, but if the saxes can't rise to the occasion as the leads, then this is hobbled, as much as I like the arrangement in a vacuum. NO (resubmit) EDIT (11/8): [/reads proph's notes now...] - YEP!

Cool original; very lush initially. Interesting opening to the arrangement, with lots of tension. Piano cameo at :20 was too bright in tone to work as transition instrumentation; totally out of place. A choral of Azmodea's vocal lines come in at :42 sounding dry and pitchy, and mixed too loudly; they chorus half-decently, but you hear a lot of wavering, and then you hear some lines drop out as others' notes hold longer, which feels sloppy and disjointed. The tone's actually not terrible, but often sounds squawky. The vocal blending at 2:08's section sounds noticeably smoother, but it's a matter of degrees because the same overall issues are still there; loud, dry, pitchy, different voices noticeably dropping at inconsistant times. Vocals ended at 2:50 and the track basically bookends with more orchestration of the source. Arrangement-wise, it's straightforward, but I could get behind this concept as interpretive enough. The instrumental's solid to me even though prophetik's critiques make sense. The vocals pull it down. I'm not sure their tone fits this piece, but it's not produced well enough (or with enough attention to detail) to bring synergy to the piece. The original has one voice, and while this doesn't need to mimick that approach, you could probably get more out of less with fewer layered voices and be able to smooth them out and/or mix and match the best segments. Agreed with proph at the potential here, Moebius, worth continuing on with it. NO (resubmit)

Alright, sounds like a straightforward piano adaptation to start. Vox comes in at :18. Seems like it may gradually rise and take some turns. Plucked guitar joins in at :49 with original writing; not the most focused initial section until 1:11, though it then gets a little more interactive with the source arrangement. Arrangement-wise, I respect the approach, which was more additive with original writing, but also had some reasonable interplay & interpretation via the vox and guitar; proph brought up some sections feeling too straightforward, and I hear what he means, but there's no dealbreakers in going this route; nothing to touch there, IMO. The instrumentation's deep in the uncanny valley though, so I wish it had a more natural, humanized sound. It doesn't need live performers, Justin, but some production TLC for a richer tones and more fluid articulations would put this over the top for me. Definitely use the Workshop forum and/or Discord channel to see what more could be done to get some more refinements in place. NO (resubmit)

"Distortion World" sounds like something Michael Hudak would arrange, and "Battle! (Giratina)", while not the same sound palette, sounds like something Shnabubula could have written, so I'm enjoying the hell out of these source tune choices. Oh snap, EDM. OK, I definitely didn't expect that at all. At :50, the lead synth's bland and not melodious at all and the timing is very robotic & blocky. Not sure the warbling bass writing works here either; it doesn't sound offkey so much as its writing just doesn't have synnergy with the rest of the music. Too bad, because the way its produced sounded pretty good, with a nice rumbling undertone to it. At 2:25, the little popping noises bouncing around the stereo field were needlessly disorienting, which could be exacerbated on headphones. Not even sure if it was just caused by a sample error. Like proph, even with the minimal breakdown, I'm not really grokking how the themes are used; would need timestamps of what sections from the sources are being referenced. It'll sound like I'm saying I need the arrangement approach to stay very conservative; it feels like whatever character the source tunes had inadvertantly got sapped out of here and didn't get replaced with anything. Ending was also super flat, just sputtering out. Definitely latent potential, so I hate to sound so critical, but it's not coming together yet besides the solid beats and bass creating some good energy. More potential on the production side than the arranging side right now, but you need both. NO

Opens up with a bright energy, so it's seeming like a decent genre cover to start. Textures start to thicken around :20, then the bass comes in at 33 and it's adding a somewhat indistinct rumble. The textures and part-writing are feeling pretty vanilla, very by the numbers. At only 2 minutes, this needed to be more dynamic and developed. Ending was super flat as well. Not poor musicianship, but in terms of the approach, too basic and plodding. Would love to hear what additional ideas could be added to put more personality into it; the potential is there, and it's such an underrated source tune. NO

This one bypassed the judges panel. I hate Zach [sic], so I didn't want him to get any feedback beyond mine. :-) /s

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