Liontamer   Judges ⚖️

This sounded like it should have been sharper/clearer, not that this was broken in any way. The effects almost made it seem like there was soft crackling/artifacting here as well, but that's just an aside. I didn't hear the first version, but this was a strong arrangement, so there were no reservations here. Good genre adaptation, and I liked how the rhythms were changed from the original. Welcome aboard, Yannic! YES

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:05.75-:09.5, :23.75-:26, 1:00-1:32, 1:36-1:57, 2:01.5-2:56, 3:18.75-4:10, 4:12.5-4:41 = 193.25 seconds or 67.1% Forgot to include my source usage breakdown.

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For a 4:48-long track, I needed to recognize the 600 AD theme used for at least 144 seconds for the original VGM usage to dominate the arrangement. If it were up to me, I'd use the "Redux2" version for its cleaner mixing, but the main version actually has more personality to it; either mixing style was acceptable to me. I wish the production were sharper, but it's not like the track is awfully produced, just (sorely) lacking high end; maybe intentional, but I don't think the mixing works. That said, the arrangement more than makes up for the mixing quality, IMO, but your mileage may vary. Like John's Super Mario Bros. "Reflecting Pool" (other than his slow rendition causing theme recognition issues), this is another submission that's going to bump right up with personal taste in terms of production choices and musicality once again. Again, I don't mean to diminish John's work, as I personally appreciate it, but it sounds like it would be more of an academic's treasure and not necessarily a casual listener's; what a casual listener would "get" isn't our bar of course, nor should it be. To me, this is a solid, smart, transformative arrangement concept and an easy pass, but you should at least give this a few listens to get used to the style and better recognize how the original song is used, since there's some slowing down along with some long-held notes within the melodic phrases. It gets more musical with repeated listens; again, not a slight against this, just acknowledging that it's a challenging, cerebral piece. Don't let me down, people. YES

The synth at :25 was super generic/vanilla; see what other effects you could use to give it a fuller and/or more unique sound. Whoa, really mechanical-sounding strings at :33, and the drum kit (particularly the kick drum tone) didn't have any synergy with the other instrumentation. The piano timing also sounded blocky, in the uncanny valley of realism; sometimes it flows nicely with reasonable enough humanization, but then you have something like the 1:43 section where the timing is just too rigid. Don't forget to actually resolve the ending as well; it just cuts out. Wow, I'd hate to turn down an arrangement that's so creative, but one more pass at the production quality by way of humanization would do a world of good for this; it's the main issue, but for the piano and string timing, it's a must to improve this, IMO. Also, reexamining the drum kit could help as well, but it's a more minor thing. Really promising thus far, Colin! If this doesn't make it as is yet, don't be discouraged; this is well in the right direction. NO (resubmit)

I love hearing Breath of the Wild arrangements; with such a minimalist soundtrack, it feels like we're getting something arranging a skeletal 8-bit theme, something able to be taken in any number of directions. I thought the kicks were too loud and ended up pushing down the other elements; mixed pretty hot, but I'll live. Great arrangement to adapt it for an upbeat racing theme. Boy, I'm the judge that usually sticks up for fadeouts, but this had a very disappointing one, intentional loop point or not. That said, it's more like "Bah, let's see where else you take this," but the arrangement's creative and substantive without a doubt. Nicely done, AJ! YES

OC ReMix presents Chronopolis: Music Inspired by Chrono Cross! March 18, 2019 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 70th free community arrangement album, Chronopolis: Music Inspired by Chrono Cross. Featuring 28 tracks from 29 artists, Chronopolis celebrates the soundtrack and the 20th anniversary year of Square's classic PlayStation RPG Chrono Cross (itself the sequel to the legendary Chrono Trigger), and is directed by veteran producer Brad "prophetik music" Burr. The album is available for free download at http://chronopolis.ocremix.org. OC ReMix's fourth album tackling the Chrono franchise, Chronopolis pulls together a worldwide lineup of musicians interpreting Yasunori Mitsuda's engaging score in a variety of styles, fashioning nearly 2 hours of arrangements. Chronopolis was made by fans, for fans, and is not affiliated with or endorsed by Square Enix; all images, characters, and original compositions are copyright their respective owners. "Chrono Cross's OST represents one of the formative works that influenced me to make music. I initially fell in love with the lush visuals and setting, but the music was what drew me in and kept me there," recounted album director Brad Burr. "I can't help but be excited for this album's release. I believe that the overall quality of this album is easily the best that I've ever been involved with." Chronopolis is director Brad Burr's third arrangement album collaboration within the OC ReMix community, following 2008's Thieves of Fate, which arranged the soundtrack of Chrono series title Radical Dreamers, as well as 2010's Threshold of a Dream, commemorating The Legend of Zelda: Link's Awakening. "Mitsuda's distinctive combination of singable, recognizable melodies and unique instrumentation made for an unforgettable and endearing soundtrack that transports me to an island paradise, complete with ancient ruins and fantastical creatures," Burr pointed out. "I hope that this project enables everyone who listens to be able to revisit the world of Chrono Cross yet again, nearly 20 years later." 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. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676). ### Preview it: http://youtu.be/TZSToGU_MOk Download it: http://chronopolis.ocremix.org Torrent: http://bt.ocremix.org/torrents/Chronopolis_-_Music_Inspired_by_Chrono_Cross.torrent Comments/Reviews: http://ocremix.org/community/topic/48127/

Preview Chronopolis: http://youtu.be/TZSToGU_MOk Download Chronopolis: http://chronopolis.ocremix.org Torrent: http://bt.ocremix.org/torrents/Chronopolis_-_Music_Inspired_by_Chrono_Cross.torrent Chrono Cross's OST represents one of the formative works that influenced me to make music. I initially fell in love with the lush visuals and setting, but the music was what drew me in and kept me there. As I prepared to lead this album with months of critical listening and planning, the OST rooted me in a way that few others have. Mitsuda's distinctive combination of singable, recognizable melodies and unique instrumentation made for an unforgettable and endearing soundtrack that transports me to an island paradise, complete with ancient ruins and fantastical creatures. I can't help but be excited for this album's release. Any project usually has a few people that have been around for a while (Jorito, myself, OceansAndrew), but inevitably there's a few newcomers that also knock it out of the park (Ophanin, Earth Kid, Steven Melin). I believe that the overall quality of this album is easily the best that I've ever been involved with, and I hope that this project enables everyone who listens to be able to revisit the world of Chrono Cross yet again, nearly 20 years later. - Brad Burr (prophetik music)

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Nice to have something join djp's version of this theme on OCR; I'm so conditioned by Dave's arrangement, that it struck me as odd when I heard the differences in the original song compared to his take, so that just shows how long it's been since I've listened to any of this. It's been 9 years since I've heard the rejected version of this, so I supposed the old expression fits: "You've come a long way, baby." Great energy, Guilherme; just a totally different animal compared to the source tune. YES

I'd actually argue this was mixed too hot; the volume too much for my old man ears; nothing dealbreaking, but it could have been pulled back. Other than that, lovely rubber stamp-level stuff from Rebecca once more. YES

I was waiting for the structure to change at 1:07, and it did, so props for not getting to repetitive there; you had a good change in the instrumentation, placing the strings as the lead, followed by the dropoff at 1:23 allowing a small bit of original writing before going back to the theme at 1:38 and repeating the choir at 1:46 (sans piano). IMO, when a piece is so short, it shouldn't repeat sections; for a short 2:13-long piece, having a quarter of it repeat in a cut-and-paste way was too much for me, so unlike Gario, I felt this actually was an incomplete package. At least some sort of further variation from 1:38 until the end would seal this for me, as it's a great arrangement of a short theme, but felt lazy and underdeveloped for the end. Any sort of other creative changes in melody, tone, textures, rhythms, instrumentation for the final 35 seconds would make this an easy pass. Good work so far, Federico, and good luck with the rest of the vote. NO (resubmit)

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Rubber stamp, son! YES

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Absolutely not. When you submit something to OC ReMix, OCR doesn't take any ownership of your arrangements. Definitely promote yourself anywhere and everywhere you want.

Beyond the basic adaptation to EDM, there's not much more going on in terms of interpretation; if that's definitely the direction you want to go it, that's OK, but this would need stronger, fuller-sounding production, and more dynamic contrast to complement the meaningful but still straightforward genre adaptation. Pretty generic and thin synths, so at no point was the soundscape ever filled out. The initial beats were meant to be thick, but the writing underneath the beats was both too thin and too quiet. At 1:35, the textures were super dry and hollow. At 2:05's section, the textures should have been fuller relative to what came before, but the intensity is still the same as when the beats originally came in at :58; same problem for the close at 3:59. Even when you have the textures change for the chorus at 3:33, there's no body to any of this, just the thicker beats/kicks. I agree with MW that you shouldn't be discouraged, Harold, but you should still use the WIP feedback and production discussion forums here as well as any other audio forum you visit to continue upping your game. We all have to start somewhere, and this is far from the bar here, but your arrangement did show off your attempts to personalize the sound of "Chrono Trigger". Keep at it! NO

I thought the main snare sound was in the uncanny valley and didn't quite click with the rest of the instrumentation (this stood out even moreso during the machine gun drums from 4:18-4:30), so the rock opera synergy wasn't there, IMO. Agreed with MW on the lyrics being hard to make out at times due to the mixing. Other than that, creative and ambitious! Rubber stamp. YES

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