Liontamer

The instrumentation was in the uncanny valley of realism at times, particularly the piano, but certainly above our production standards; Nice textures that mitigated the realism issues and put the focus on the writing. Easy call here, with a short but sweet combination of these two sources. YES

The heavy original source tune sampling in the opening did bother me. Although the piece wasn't using the sampling as a crutch to tie this to the VGM, I'd have liked less direct sampling of the original audio to make things less dicey from the perspective of the Submissions Standards. The ducking first found from :47-1:29 was annoying and should be pulled back some; I'd live with it as is, but that's a lesser ding on this. Was disappointed that 2:08-on was essentially a cut-and-paste; for something with a fast tempo and big energy, this particularly made the track feel flat and repetitive. Arguably, there's enough interpretation here to bear a ding on the repetition, but to me it made the track boring for the last minute. I'm more in the middle of the YES's and Jive's NO. To me, the production was stylized and even if I'm a grandpa and thought the ducking was too much, the production felt cohesive enough and had direction. That said, the last third needs to bring something new to the table beyond the copy-pasta and it would be rock solid. I won't have a big problem if this passes, but wish the arrangement were more fully developed for the last third instead of re-treading with no meaningful difference; it's OK in some tracks, but with the tempo so fast, it feels like too much repetition. If this doesn't make it as is, see what more you can do with this for the final third, Zach, and consider pulling back on the ducking/pumping and original audio sampling; for me, a combination of smaller issues are making me feel this needs one more pass. NO (resubmit)

Reasonably well-performed but there's practically 0 interpretation in this adaptation to piano; I actually thought MindWanderer was too charitable. Way too straightforward and repetitive with no meaningful development or variation. Good performance though, Rob; definitely send over another piano piece that is more interpretive and developed, it'd fare better when looked at with OCR's arrangement/interpretation standards in mind. NO

Nice to see Markus go outside his jazz comfort zone; the instrumentation could be richer and more sophisticated-sounding, as the blatty brass and the bass parts in particular sounded pretty thin. That said, I was just listening to another submission where weaker-sounding samples had little body and this was an example instead of coming through with solid enough, filled out textures that helped mitigate the realism issues. Would have liked for the initial claps to be more substantial, as they felt pretty flimsy, along with the core beat being basic, but the overall interpretation was an easy pass. Good stuff, Markus! YES

Much of the instrumentation sounded very thin and mechanically-timed/sequenced, e.g. the keyboard at :12 & 8:12, the sequenced faux-electric guitar line at 5:41, the bowed strings at 6:31 & 7:47. Even when the DnB elements were introduced at 1:28, they had no body to them (except at 6:56, which was still thin but a more complete texture than anywhere else), so on a production level, this was pretty dead on arrival. Arrangement-wise, I liked the writing ideas, Vittorio, so it's a matter of putting meat on these bones with more sophisticated instrumentation, making sure the sequencing doesn't sound so fake, and making sure the textures are filled out. Make sure you're using the Workshop forums (both for production and specific arrangement feedback) along with other online resources to improve your production. To some extent, the issues lie with limitations of the instrumentation/samples you're using, but it's also about you needing to be able to get more out of your current sounds. NO

strike911 - Online Street Band (Mega Man Battle Network) EDIT: Not sure how the labeling came to be, but I'm pretty sure Sal-Paradise - "Solace Eldean" is actually by Quinn Fox. No idea who or what Sal-Paradise is. Also, that MP3 is weird in that it fades in; when I originally had this file back in the day, the opening notes didn't fade in, they were at full volume. Dunno what game it corresponds to though. As far as Void, maybe someone could dig up the drama thread from the VGMix2 days when his plagiarism was discovered, if that was archived anywhere. I don't think anyone had any discoveries on his VGMix1 postings unless he'd also put them up on VGMix2. From what I can remember, it was pretty obscure stuff from professional VGM arrange albums, but there could have been other sources. Maybe @Ramaniscence, @k-wix or some ex-VGMix staff would remember something about it.

DrSeuss - Take it to the House (Zelda II) Nemo - Mezzo Forte (Rockman & Forte) nesprotection - Sunny Skies (StarTropics) Nightsong - Lost Souls (Castlevania: Symphony of the Night) Nukkus - Spaced Departure (Space Quest III) Quinn Fox - Miranda Block 4 is http://ocremix.org/remix/OCR00697 Quinn Fox - Post Intermission (Ninja Gaiden) Quinn Fox - Powerup Candles (Super Castlevania IV) If I remember correctly, all of Void's VGMix submissions were stolen/plagiarized. More later.

The piece was 2:59-long, so I needed to ID the source being used for more than 89.5 seconds for the VGM to dominate the arrangement. :23.75-:26.5, :31.5-:34, :35.5-:42.25, :43.5-:45.75, :47.5-1:33.5, 2:12.5-2:20.5, 2:27.75-2:56 = 96.5 seconds or 53.91% overt source usage My timestamping was just me going for super obvious connections, given that the source was brand new to me. Mike's approach had some of that Italo quality to it. Fun energy here, thick beats that drove the arrangement forward, and I enjoyed the source tune as well (love AJG's music, he's awesome)! YES

Keeping it quick here, I agreed with MindWanderer's crits, so props to his dedicated ear. I thought the rhythmic changeup from 1:38-2:06 was bizarre/jarring, breaking the flow of the track without reorienting itself, but with the rest of the piece being solid, it's not a issue I'd hold this back on. That said, the arrangement definitely checked out with no issues. JtS doesn't get enough recognition by a longshot for what's a criminally underrated OST. Mike's got some excellent work here on Silius : 0373, so make sure to check out the whole album with this mixpost as a nice teaser! YES

Not my thing personally, but this was a solid, personalized arrangement approach. A little vanilla in terms of the sound design, and some of the SFX was a bit much, but that's all just personal taste, IMO. It's authentic to that 90s dance sound; Alexey really nailed it here. Let's go! YES

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Advisor - The Techno Beast (Secret of Mana) Ark - ReCreation (Terranigma) Billysk8r - Feel the Menu! (Kirby Super Star) BitMaP - Devil's Halo (Halo) Dalton - Hylian March (Legend of Zelda: Ocarina of Time) Digimatic - Floating Ninja Kicks (Double Dragon III) DJ AlphaGaia - Deja Vu of an Acid Trip (Shadowgate) DJ TeknoBunny - Caribbean Shopping (River City Ransom) Will try to get to more later.

Pretty cool opening. The gating was a little extreme from :06-:11, but it was brief and I'm moving past it. The arrangement was melodically conservative, but distinguished itself from the original primarily with the more upbeat percussion. Good funky sound upgrade to this. I thought the balance among the parts was odd; the leads are very loud, and the portamento(?) synth first used at :39 felt shrill. 1:19-1:34 had a brief but good original section while keeping the source tune involved on the bassline. I'm really not sure why so many of the instrumentation lines were so shrill and piercing, but this was a pervasive issue throughout the track. Hopefully a musician judge can hone in on how to address that. Agreed with MindWanderer that the drums got repetitive over the long haul; the core pattern & breaks were cool, and you had a lot of dropoff to vary up the textures, but the overuse of the same patterns during the fuller sections did make this unnecessarily drag. After the brief dropout of the pattern, 2:13 would have been a good spot to bring back that same intensity level but vary up the core pattern; same with 2:32 and 3:11 after other brief drops. Usually I don't harp on fadeouts, but this was definitely a case at 3:36 where it felt like a cop-out; I think that's it part because the sections felt repetitive, so the fadeout felt tacked on as a result. The big issue with your writing/arrangement overall, it did feel repetitive in the sense that you were having different textures, but the part-writing was just cut-and-pasted in and out, e.g. when you've heard the string line doing the source melody once, you just hear it that way copied in time and time again; same with the gliding synth, and drum patterns; the track tends to coast on repeating the core lines. Do what you can to vary up the presentation even further; more variations on the core part-writing that were instead copy-pasta'ed might be enough to do the trick. Good base here though, Deandre, and nice energy here. It's well in the right direction of what we're looking for with an interpretive arrangement; you've personalized the sound, and you have some good dynamic contrast with some of the percussion dropoffs; now let's not let the track feel like the main ideas are just being recycled without enough variation. NO (resubmit)

Yeah, this is cool cover, and it does do some different things with the drumwork as well as some vox additions after 1:05. But the piano, initial drumwork, and later strings at 1:05 are all pretty close to the source. This does have an expanded and bigger sound to it than the original, of course; I liked the bassline writing in particular. The piano timing was also too rigid and unrealistic sounding; I know the piano in the original sounds similar, but here the mechanical sound is much more pronounced. There are definitely some further creative directions you could take this in order to make the arrangement even more substantive and fleshed out. It's not quite "mostly just a minor re-instrumentation" like MindWanderer said in the sense that I can hear how you worked to incorporate some other ideas into the picture and give this a different feel; I'll say it moves in the right direction of an interpretive arrangement, just not far enough. Interesting approach thus far, Lily; if you're interested in revisiting this, see if you an get another section out of this, but also use it as an opportunity to get more interpretive with this, whether that's changing instrumentation, rhythms, tempo, adding more original writing, or some combinations of those things. NO

Nothing I disagree with here. The interpretive approach is there, but the sound design's pretty simplistic; MindWanderer's right that the synths are all really plain and also rigid-sounding. And when things picked up at :57, the soundscape became pretty cluttered; not even sure why the cymbal shots were there, for example; all you really heard distinctly in that section was the lead synth and the kicks. There's a dropoff at 1:35, but the track still didn't feel like it had much direction; not that this would have to be super-melodic, but there's just nothing here giving the piece a direction. The rebuild back into 2:32's section was OK, but again the soundscape was very cluttered when things were busier; the string sustains were too loud (and arguably off-key in spots). Sorry to just point out potential flaws; I like that you're going for a different genre and more dynamic contrast in this arrangement, Vidal, but there's not much of a flow here, and the production isn't on point yet either. Hit the Workshop forums for some more feedback on this piece and see if you can get more advice on ways to possibly give this more compositional directional as well as a richer, more polished and clearer sound. NO

OC ReMix presents Seiken Densetsu 3: Songs of Light and Darkness! October 1, 2018 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 67th free community arrangement album, Seiken Densetsu 3: Songs of Light and Darkness. Featuring 70 tracks from 56 artists as well as an interview with the game's legendary composer Hiroki Kikuta, Songs of Light and Darkness pays tribute to the celebrated Japan-exclusive 16-bit Square RPG Seiken Densetsu 3, and is directed by Finnish musician Rozovian along with assistant director Meteo Xavier. The album is available for free download at http://sd3.ocremix.org. Released just after the game's 23rd anniversary and representing over 10 years of gradual development, Songs of Light and Darkness assembles a global lineup of musicians tackling Hiroki Kikuta's progressive SNES soundtrack in a variety of styles across 4 1/2 hours of interpretive arrangements. Songs of Light and Darkness 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. "The album project began more than a decade ago. And, hey, we got the whole tracklist done. The slow progress eventually gave us the whole soundtrack wonderfully remixed by OC ReMix regulars and strangers alike," recalled album director Rozovian. "It's an eclectic mix of things, with the expected orchestral and metal epics sharing space with instrumentation and styles including waltz, rap, Mellotron, reggae, harpsichord, J-rock, and plenty of world music elements from all over the place incorporated into a large number of the remixes." The album's immersive character and environment artwork -- focused on the game's light and dark classes -- was designed by New Jersey artist Min "Keiiii" Kwon, author and illustrator of the Korean webtoon-inspired fantasy comic Heart of Keol. "Though only released in Japan, the Western gamers who came across [Seiken Densetsu 3], either on cartridge or by other means, found it one of the most beautiful games on the SNES. The music plays a big part in that," Rozovian observed. "I'm very happy to have my name among the artists here, and I'm sure you can find something you like on this behemoth of an album." Songs of Light and Darkness is OC ReMix's second album honoring composer Hiroki Kikuta, following 2017's Resonance of the Pure Land, which arranged the soundtrack of Seiken Densetsu 3's more widely released 1993 prequel Secret of Mana. 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/cC4irIc-x6s Download it: http://sd3.ocremix.org Torrent: http://bt.ocremix.org/torrents/Seiken_Densetsu_3_-_Songs_of_Light_and_Darkness.torrent Comments/Reviews: http://ocremix.org/community/topic/47649/

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Preview Seiken Densetsu 3: Songs of Light and Darkness: http://youtu.be/cC4irIc-x6s Download Seiken Densetsu 3: Songs of Light and Darkness: http://sd3.ocremix.org Torrent: http://bt.ocremix.org/torrents/Seiken_Densetsu_3_-_Songs_of_Light_and_Darkness.torrent What a journey! It's been a long, long time, but now it's finally released. Songs of Light and Darkness is a tribute to Hiroki Kikuta's soundtrack for Seiken Densetsu 3, the game following Secret of Mana in the same franchise. Though only released in Japan, the Western gamers who came across it, either on cartridge or by other means, found it one of the most beautiful games on the SNES. The music plays a big part in that. The album project began more than a decade ago. And, hey, we got the whole tracklist done. Your favorite track from the game has been remixed here. It's possible we have multiple remixes of it, even. Through a troubling many issues over the years, and a troubling number of years of slow progress, the slow progress eventually gave us the whole soundtrack wonderfully remixed by OC ReMix regulars and strangers alike. You get to hear what I've been keeping mostly to myself for years. And what a wonderful set of tracks this is. In some ways, it's a bit of a time capsule. I joined OC ReMix in late 2007, and this project was in the works already then. Some of the tracks sound like those old tracks that drew me to the site and its community in the first place. It's an eclectic mix of things, with the expected orchestral and metal epics sharing space with instrumentation and styles including waltz, rap, Mellotron, reggae, harpsichord, J-rock, and plenty of world music elements from all over the place incorporated into a large number of the remixes. I'm very happy to have my name among the artists here, and I'm sure you can find something you like on this behemoth of an album. I hope you not only enjoy the album, but get something out of reading the comments too. Enjoy. - Ad G (Rozovian)

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