Liontamer

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

Quoted for agreement. On a trip and otherwise too busy to reply to this in depth, but the main thing I want to convey to Alex is to breathe and relax and ornate assume that any time someone complains about OCR or how the panel is run that you're somehow shunned, blacklisted, or ready to be banned. We're not touchy like that. Don't assume bad faith and overthink things to the point where you think we have it out for you. On the Facebook thread for this, zyko and The Coop pointed out how the track didn't have much going on dynamically. I haven't heard it, but that's a pretty reasonable and common reason stuff hasn't passed before.

Download it! http://ocremix.org/info/Candy_Corn_II:_The_Sequeling Torrent it! http://bt.ocremix.org/torrents/Candy_Corn_II_-_The_Sequeling.torrent

Yep, that snippet matched my start here as well. It's why I kept harping on djp to bring back the alpha nav, and it in the works.

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

Sent. Thanks!

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.

HAPPY PREHALLOWEEN! OC ReMix and Ghetto Lee Lewis present Heretic Sinphony! October 23, 2017 Contact: press@ocremix.org FAIRFAX, VA... Celebrating Halloween, OC ReMixer Thomas "Ghetto Lee Lewis" Nelson has released the community's latest album, Heretic Sinphony. Heretic Sinphony features six dark electronic tracks arranging Kevin Schilder's music from id Software's 1994 DOS shooter Heretic, and is available for free download at http://ocremix.org/info/Heretic_Sinphony. The album was produced to help promote video game music, was made by fans, for fans, and is not affiliated with or endorsed by Raven Software, id software, or ZeniMax Media; the game, characters, images, and original compositions are copyright their respective owners. "What began with a remix of 'The Cathedral' soon turned into a full-blown remix album of Raven Software's Heretic," recalled creator Thomas Nelson. "This game is a classic first-person shooter from the Doom era, with some really good, but overlooked music." Heretic Sinphony is OCR's third album honoring an id Software-published title following 2008's Doom II: Delta-Q-Delta and 2005's Doom: The Dark Side of Phobos. "I composed and produced this album while working a full-time job (sometimes 60+ hours a week), while putting together a recording/production studio at the same time," Nelson explained. "It's been a long two years, but I'm finally glad this album is finally coming together and getting released." Heretic Sinphony also marks the fourth Halloween album release for the OC ReMix community. Last year, OCR released YoshiBlade's arrangement and skit album Candy Corn, 2015 featured the Castlevania-based album trilogy Vampire Variations, and Joshua Morse created the site's first solo artist album with his 2009 Castlevania tribute Sonata of the Damned. 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 it: http://ocremix.org/info/Heretic_Sinphony Torrent: http://bt.ocremix.org/torrents/Heretic_Sinphony.torrent Comments/Reviews: http://ocremix.org/community/topic/46474/

Download Heretic Sinphony: http://ocremix.org/info/Heretic_Sinphony Torrent: http://bt.ocremix.org/torrents/Heretic_Sinphony.torrent Heretic Sinphony is a 6-track commissioned album inspired by the music from the 1994 Raven Software classic Heretic. It was commissioned by Emmanuel EXE, with original artwork by Tedd Leger of Mehxôhorr Artworks. This project started out with an e-mail I received about two years ago. What began with a remix of "The Cathedral" soon turned into a full-blown remix album of Raven Software's Heretic. This game is a classic first-person shooter from the Doom era, with some really good, but overlooked music. I composed and produced this album while working a full-time job (sometimes 60+ hours a week), while putting together a recording/production studio at the same time. It's been a long two years, but I'm finally glad this album is finally coming together and getting released. EastWest samples (HW Orchestra, Stormdrum, Ministry of Rock) were heavily used throughout this project, and also some 8Dio libraries (Requiem and Studio Sopranos). For the synths, I mosty used Native Instruments Massive and FM8, along with a few sounds from Sylenth1. FL Studio is the same DAW I have used for the last 15 or so years, and I still use to this day. It has great VST and sample library support and provides a super-easy-to-use interface for both arranging and automation. - Thomas Nelson (Ghetto Lee Lewis)

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

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

IMO, you shouldn't make any exception to how you would vote, and I don't think revisiting a vote is an implication that that has to happen, only elaborating your POV. In any event, like any conditional YES, if the artist is not willing to revise it -- and that what it sounds like based on their emails -- a conditional YES becomes a NO.

So one of the artists emailed us because they were pissed off at the rejection and they threatened legal action if the artist information wasn't removed. That's pretty diva-ish and a beyond-the-pale response, but I did want to check out the track in question. Whether an artist is polite or angry, any time an artist is outspoken against a rejection, we're willing to revisit it. That's especially if another judge agrees that a mistake was made. djp also would have YES'ed this, and although his bar is lower than the panel's, I wanted to also listen to it to see if I agreed based on his reaction. IMO, the judges were wrong, so I'm disputing this decision and casting a YES vote. I'm also asking for a majority vote of 5 votes either way to close this out. The violin placement should be more upfront, but it's still audible and isn't a dealbreaker, so I disagreed with the NOs. Melodically, the arrangement's pretty straightforward, but the expansive rock instrumentation fit like a glove, and I'm pleasantly surprised how well the e-violin worked with the rest of the instruments. Loved the e-violin soloing as well from 1:53-2:38. The final section afterward could have done something else to differentiate itself more from the first iteration of the chorus, but when the overall expansion and performance are this strong, it's not a big deal in the grand scheme of things. I had no issue with the ending at all also. The other Js are welcome to their opinions, and adjusting the violin placement would be a nice-to-have touch-up, but on the seesaw of what works with this arrangement vs. what doesn't, it's easily tipped in favor of this track. The other Js should reassess this track, but I think they made a mistake NOing it. YES

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.

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

The mixing's too bright for my tastes, but the part-writing was clear and it was easy to appreciate the intricate web of sounds going on. The sine wave in particular lended a nice tone to things. Strong, effective crossover and interplay between the various sources throughout the entire piece. I had to laugh to myself at Greg's initial lack of confidence, but that just illustrates how artists should just take the plunge and submit something they're not sure about. Don't be scared, people! YES

The lead at :22 was getting buried by the ethereal soundscape; it may be a purposeful choice, but the part-writing got swallowed up and couldn't be appreciated. The track could use a volume boost as well, since it sounds needlessly distant. Good additive writing from 2:09-2:50 to provide some much-needed originality. 3:39 also had another smooth segue to some original writing, then flowed into more original writing integrated with variations on the source melody over the core backing patterns of the source at 4:01-4:48. 4:48 went back to the main melody in play, and again the mixing felt odd with the melody pushed so far back; it's not that this can't be allowed, but the mixing's done in a way where the soundscape just becomes cluttered, and there's no line to focus on (even if it's not the melody). This was a pretty subdued arrangement that didn't change the part-writing as much as the mood and balance of things to start, but later on the original writing integration was more substantial (and seamless), and I felt the overall level of personalization/interpretation was solid. I wouldn't mind another pass at the mixing to see if it could be improved, as I shared MindWanderer's criticism about the lead getting buried, but I'm more open-minded as to what the balance can be as long as the track is getting more right than wrong, which I think is the case here. YES

It's melodically conservative, but adds in plenty of personalized Latin spices with this live performance approach. Loved the additive part-writing not found in the original song as well. MindWanderer mentioned the arrangement being too conservative, but to me the overall presentation stands apart enough from the original song via the genre change and additive writing, which I think he undersold. The ending at 3:13 was flat, and I would have liked a genuine resolution. Even the fade-out after the final note felt too fast, but that was small potatoes. Fun energy and nice work! YES

Was waiting to see where the intro would go, since things were pretty repetitive for the first minute. The source tune was more marginalized in the background once the orch stab countermelody was placed in at :41. The chorus at 1:08 sampled "It Takes Two" shouts sounded very stapled on top of and disconnected from the soundscape; they need to be blended in properly as more of a background player. Meanwhile, the choir vox was very mechanical-sounding and mainly added mud to the soundscape instead of effective padding. Whatever line is going on from 1:21-1:36 (brass? strings?) was pretty rigid as well. Didn't notice how beefy the bassline was until 2:30, but it's certainly like that the whole way; good stuff there. Would have been better if the orch stabs and other instrumentation didn't sound muffled and washed out. I could see the hard loop point annoying some people, but I was fine with it; not that this should be a factor, but it stayed faithful to the loop point in the source tune as well. I like the energy here with the xylo opening, and the increased tempo and thick beats all help this stand apart from the feel of the original, so the personalization of the arrangement goes in the right direction. But as more and more elements were added, the lack of clarity in the mixing hurt this; it's needlessly lossy-sounding. Also, I recognize the gradual additive approach here as Gario pointed out, but agreed with MindWanderer that the track ultimately did feel repetitive for the start and could have been cut down. That said, the middle portion did present some new ideas and instrumentation changes. Mainly, the mixing needs some TLC to not allow parts to get buried. If you can brighten this up and ensure the parts are properly EQ-ed and separated, this would be in much better shape. Good work so far, Bass. NO (resubmit)

The rigid string attacks opening things up were in uncanny valley territory, so that's an area of needed improvement. Same with the brass brought in later, but less of an issue. At 1:04, I've heard Justin use these beats before, and to me they lack some punch; would also like to hear more sophisticated writing there, since they sound stapled on top of the other writing and not really integrated. I also agreed with Gario about how they droned. All of the timing's pretty stilted and rigid on this, so while the arrangement's otherwise creative, energetic and strong, the very robotic timing on nearly everything (strings & electric guitar in particular) was too pervasive and should be addressed. Let's get more "surgical" with the timing of this to get it sounding more humanized and better realize the potential of the arrangement. NO (resubmit) EDIT (10/13/20): I purposefully didn't listen to the old version just to come into this track with a fresh perspective and this was just so much more cohesive and well-presented than before. I still think the percussion could be produced to make it more impactful, and the faux geetar grates some, but the instrumentation quality is much stronger and the arrangement has moved into more of a thrill ride kind of territory. Quite the long hold for this one before bringing it back, but well worth the wait now. An awesome return for Justin! YES