Liontamer

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That's on me for making the filename too long; should have cut it down; I'll circle with djp on it soon.

OC ReMix Presents Speeding Towards Adventures: 25 Years of Sonic the Hedgehog! June 22, 2017 Contact: press@ocremix.org FAIRFAX, VA... On the final day of Sonic's 25th anniversary year (gotta go fast!), OverClocked ReMix today released its 62nd free community arrangement album, Speeding Towards Adventures: 25 Years of Sonic the Hedgehog. Featuring 23 tracks from 30 artists, Speeding Towards Adventures pays tribute to numerous titles from the Sonic the Hedgehog series, and is co-directed by Russian community member Stepan "Black_Doom" Sudilovsky & Dutch musician Jorrith "Jorito" Schaap. The album is available for free download at http://sonic25.ocremix.org. Speeding Towards Adventures pulls together a deep group of musicians honoring the Sega sound team's music in a variety of styles, including rock, funk, electro swing, pop, orchestral, and more. Speeding Towards Adventures was made by fans, for fans, and is not affiliated with or endorsed by Sega or Sonic Team; all original compositions are copyright their respective owners. "The fast-paced addictive gameplay, vivid stages, and, of course, catchy music made my first experience of diving into Sonic universe one of the most memorable parts of my childhood," recounted album director Stepan Sudilovsky. "Then I started to learn more and more about Sonic the Hedgehog games, and they were all amazing to explore, but music remained the most enjoyable part of this entertainment." The scope of the album's game coverage starts from the original Sonic the Hedgehog and works up to 2010's Sonic Colors, tackling a full dozen Sonic games. Sudilovsky underscored the album's wide-ranging approach: "My vision for this project: cover as many games as possible, as well as to represent a variety of music genres to represent the variety of Sonic's journeys." The album's artwork was designed by British artist Davy "Odai" Owen, who also designed the artwork for OC ReMix's 2015 Heart of a Gamer album memorializing the late Nintendo president Satoru Iwata. "I was happy to be able to contribute some of my 'get stuff done' skills, and helping guide the album and all the people who collaborated towards the final product was a blast," affirmed album co-director Jorrith Schaap. "Really proud of the final result and I'm sure you'll enjoy the album as much as I did!" Speeding Towards Adventures also marks OC ReMix's fifth Sonic series album, following 2013's Temporal Duality (Sonic CD), 2011's The Sound of Speed (Sonic 1), 2006's Project Chaos (Sonic 3 & Knuckles), and 2005's Hedgehog Heaven (Sonic 2). 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. ### Preview it: http://youtu.be/Yemuj9HbaBE Download it: http://sonic25.ocremix.org Torrent: http://bt.ocremix.org/torrents/Speeding_Towards_Adventures_-_25_Years_of_Sonic_the_Hedgehog.torrent Comments/Reviews: http://ocremix.org/community/topic/45902/

Co-signing after the fact. YES

Preview Speeding Towards Adventures: http://youtu.be/Yemuj9HbaBE Download Speeding Towards Adventures: http://sonic25.ocremix.org Torrent: http://bt.ocremix.org/torrents/Speeding_Towards_Adventures_-_25_Years_of_Sonic_the_Hedgehog.torrent Sonic has always been my favorite video game series. It has always meant a lot to me. I clearly remember the day when I asked my parents to buy some game and they bought Sonic Adventure DX. Of course, my reaction was nothing but fascination! The fast-paced addictive gameplay, vivid stages, and, of course, catchy music made my first experience of diving into Sonic universe one of the most memorable parts of my childhood. Then I started to learn more and more about Sonic the Hedgehog games, and they were all amazing to explore, but music remained the most enjoyable part of this entertainment. A few years later, I started to look for the soundtracks on the internet and downloaded almost every album existing at that time. I was listening to them on a daily basis, and I was listening to nothing but this music -- that's how obsessed I was with it! In the middle of 2012, I came across a remix of "Special Stage" theme from Sonic the Hedgehog 3, "Red Sphere, Blue Sphere" by Ben Briggs. Apparently, I had to head over to the Project Chaos website, grab the whole album and listen to it. That was another experience that changed my life drastically -- the idea of giving all-time favorite video game music a completely new life impressed me a lot. So, a few days later, I visited OCR and started to wander around. I was really surprised by how many arrangements and arrangement albums were published there! Finally, in the beginning of 2013, I joined the community. It was also the time when Temporal Duality was in development, so I was following the progress very closely. I'm a Sonic fan after all, so how could I miss something like that? So I must admit that this album inspired me to start this recruiting this album! Big shoutout to SuperiorX and Phonetic Hero! ;) Finally, about a year after registering on the OCR forums, I decided to start the album project. My vision for this project seemed to be simple: I wanted to cover as many games as possible (with up to 3 tracks per each game; yes, we ended up having 4 Sonic the Hedgehog 3 tracks, lol) as well as to represent a variety of music genres to represent the variety of Sonic's journeys. The project immediately started to gather lots of people, and that's not surprising at all, given how popular the Blue Blur is. And I understood that I needed some help, since the project was not going fast enough. This is where I asked Jorito to step in to direct the album along with me. Luckily, he agreed to help me, and that was one of those decisions that completely changed everything. From that moment, the project started to develop with immense speed. I just don't have enough words to express my gratitude -- he helped me so much! If I start to list everything he did for this album, I will probably never stop. Also, big thanks to Odai for such nice art, big thanks to the Sega composers for their work, and, finally, big thanks to all the musicians who contributed to this outstanding album. Directing it was a blast! Enjoy! - Stepan Sudilovsky (Black_Doom) Even though I have been part of this album for quite a while as a ReMixer, it was pretty late that I joined as an album co-director. And I'm glad I did, because it was an exciting and interesting experience to witness the creation of an album from "the other side." Since I'm no expert on things Sonic-related, I have to give mad props to Stepan for defining the vision for the project and doing a lot of the prep work that set things in motion and Odai for really capturing the Sonicness of Sonic. I was happy to be able to contribute some of my "get stuff done" skills, and helping guide the album and all the people who collaborated towards the final product was a blast. Really proud of the final result and I'm sure you'll enjoy the album as much as I did! - Jorrith Schaap (Jorito)

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What's going on with the clashing supporting part-writing from 1:50-1:55? The drumwork at 1:10 felt very static, looped, and metronome-y, and basically droned on with little variation for the rest of the track. I thought the brass articulations starting at 1:06 were pretty flat and unrealistic, so I didn't agree with the other Js at all there. Unlike the whistling right before it, the trumpet had near the same intensity for each note (but at least had a stylized sound that did mitigate the realism issue some). Organ/keyboard & acoustic guitar comping from 2:25-3:31 was a good change of pace and some creative writing that combined well with the main source tune, but the drumwork kept lazily looping and was more exposed as not quite sounding realistic. Arrangement-wise, this was pretty creative, Vijay, but I thought this could have used more humanization for the integral brass lead as well as more creativity/subtle variation with the percussion. Fix those clashing issues caused by the SFX as well. NO (resubmit) EDIT (8/17): I'm still a NO on the revised version due to the drum tone sounding unrealistic, as well as the brass articulations (despite the brass sounding stylized like I mentioned last time). That said, the clashing from 1:50-1:55 was gone, and I'm a fan of the arrangement, so I wish I could say the same for the production. Sorry I can't be on board myself, but provided it passes, it would still be a fine addition here.

This does provide good espionage imagery. To me, this seems to be an extremely liberal approach to "Hot Zone Preparation." It has traces here and there, but when Jared called it "VERY close to a song in the game," this is the only one in the Rogue Spear soundtrack I found trace resemblances to, including stuff like the piano accents. If anyone can clarify and I'm dead wrong, go for it, but that's the only connection/similarity I could make out. If I'm correct at inferring the source, it would have never passed a strict review for the interpretation factor. Not sure it would hold up on a Lockdown-style review either. If anyone has the knowledge on what this arranged, drop it on us.

Thanks to @Polo for his source breakdown, I was finally able to add some official source tune information to this one. I used the Monkey Island 2 SE tracknames, since those are official. Here's the rough breakdown: 0:00-0:12 - "It All Started on Scabb Island..." (Deep in the Caribbean intro) 0:18-1:11 - "Jojo the Monkey" 1:11-2:09 - "Call Me the Bone Master" 2:10-2:53 - "Stan's Previously Used Coffins" 2:53-3:50 - "Captain Kate" 3:55-4:33 - "It All Started on Scabb Island..." (Scabb Island Beach section) 4:51-6:21 - "Big Whoop and Finale" (LeChuck's theme section)

UPDATED REMIX TORRENTS! We've got things updated up to Q1 2017 (ReMix #3523). More than 200 hours' worth of music over 17 years! http://bt.ocremix.org/torrents/OC_ReMix_-_1_to_3000_[v20170528].torrent http://bt.ocremix.org/torrents/OC_ReMix_-_3001_to_3523_(Q1_2017_update).torrent We've also got some small improvements to all of the file tags: Release Date - the specific date the ReMix was posted to OCR (YYYY-MM-DD format) Original Album - changed to the name of the OC ReMix album a ReMix is from (when applicable, e.g. Final Fantasy VI: Balance and Ruin); otherwise blank now Artist Sort Order - for the few artists whose handles begin with A, An, or The, they'll now alpha sort properly in iTunes Album Art - minor tweaks; size increased to 700x700, and gray adjusted to match the latest site design If you've never used a torrent client before, please consult the information and FAQs from http://ocremix.org/info/Torrents. In short, these are 100% legal to download, and there are no viruses, so download with peace of mind! For more details on past improvements to the MP3s here, check out: http://ocremix.org/info/Torrent_Update_v20141015 http://ocremix.org/info/Torrent_Update_v20121012

Having played this one a bit as a kid and also researched the soundtrack for names, I'm really familiar with this game's music and was excited to see a medley in the queue. The robotic & blocky-sounding timing of the electric guitar synth was the dealbreaker here; it doesn't have the tone of a real guitar and just sounds very exposed and unrealistic. Look into something like Impact Soundworks' Shreddage series. As far as the other instrumentation, a lot of the proggy jazz-style drumwork didn't have any synergy with the electric guitar. Mixing-wise, I thought the drums should have been pulled back some to start, but then at :30 you had the title theme's main melody start up and the textures immediately felt empty; it doesn't mean you add in part-writing for the sake of, but a musician judge can speak more to what you can do here to properly fill out your textures. Right now, the textures felt half-filled for many sections despite the volume of the piece. 4:00's section was also a victim of this relative emptiness and lack of synergy with the drumkit, really starting at 4:07. Many of the transitions were OK, but some of the transitions like 1:47 to "Labyrinth: Area 0" were just abrupt and broke the flow of the track. It's OK to submit medleys, and having some jumpy transitions isn't an automatic DQ, but keep in mind that the piece should flow like one cohesive idea overall. DaMonz's Kirby Super Star "Fluffball Rampage" is a good example of this in a similar progressive vein to your track, and I want to be clear that I'm not saying that none of your theme transitions were good. Meanwhile, the bass writing here almost didn't even register in my ear until 1:48, and I'm wearing headphones. And then after 1:48 the bass was booming -- problem was, it's all super low-end thumping yet no clarity to the sound. 2:54's transition to "Labyrinth: Area 6, 9" wasn't horrible, but also wasn't smooth. At 3:00, the chip elements were too loud and bright/clean compared to the guitar, which sounded pushed back and muddy. That said, I liked the writing of the section, with the original chip writing sounding really energetic and combining your own ideas with the VGM. The quick but smoother transition from "Master Monster A" to "Dungeon: Corridor 21" theme at 4:41 was given some thought to the flow. The complete drop before 5:13 starting was a genuine transition into the "Mission Complete" ending theme; a little abrupt due the instrumentation change, but at least thought out. I liked the way that theme then smoothly shifted to the "Game Over" jingle at 6:12; good finish, though it probably didn't need the SFX in there right at the end. I'm looking forward to the other votes on this, but I'd put the issues in this order: 1. The guitar synth timing has to be humanized or this is DOA. 2. Fill out the emptier sections with some sort of padding. 3. Make sure your instrumental textures are cohesive; some of your instruments need to be changed. 4. Smooth out some of the more jarring transitions. 5. Clean up/re-balance the mixing. This is an ambitious piece that's not well-executed yet and doesn't fully flow, but it shows off good potential, Jeff. Hopefully the musician judges can better speak to how you can improve this and I hope we hear more from you. NO (resubmit)

Contat info: Remixer name: Being Jayadev Real Name: Jeff Jarjoura Website: www.facebook.com/beingjayadev UserID: 34583 Submission Info: Game Arranged: The Guardian Legend Name of Arrangement: Miria's Legacy Songs Arranged: 1: The Guardian Legend (title theme) 2: Message Room 3: Area 0/ Naju Gateway 4: Taking Off 5: Corridors 7, 8 17 & 18/ Alien Sector Flight 6: Areas 6 & 9/ Crystal Sector 7: Bonus! 8: Corridors 9, 10, 19 and 20 9: Boss Theme 1 10: Corridor 21/ Final Flight 11: Ending/ Staff Roll 12: Game Over Commentary: Here's my first submission. I've been a fan of this site since the early days. I've been playing with music production as a hobby since 2012 and I'm proud to present what is likely the best thing I have produced thus far. The Guardian Legend came into my life through a very special friend during the classic NES years and I was always floored by the music. Through the years, I became very fond of innovative progressive rock through bands like Dream Theater, Blind Guardian and the genius producer Arjen Anthony Lucassen. I have arranged 12 select tracks from TGL in a prog rock themed anthem that I hope tickles your eardrums. I would have liked to include more of the original soundtrack, all of the music is incredible. I considered every single track for part of the compilation. In the end, a stream-of-consciousness approach revealed a very natural progression in their original keys. I hope you enjoy it! Namaste! Being Jayadev I have included the file as an attachment, but here is a link to a shared Google drive folder with the same file: LT's note: open the video in it's own tab and view the video's comments, which you click timestamps for the original songs.

The percussion work was creatively written, but still sounded robotically programmed. The "do-bop" vox brought in at :19 was brutal, and that kind of overly fake & exposed triggering style only works in select contexts. Using them prominently, especially for long-held notes, is a mistake. The chiptune accents first used at :45 were a nice touch though, while the mallet perc from 1:14-1:33 was rigidly timed, but had more of a tail to the sound which (only partially) mitigated that realism issue. The synth sax from 1:33-1:59 was very poor as well, with very stilted timing and 0 meat to the sound. Also, this isn't the Marvel vs. Capcom 2 game itself; this arrangement is meant to be a standalone piece of music that's fully developed, so don't just loop it, employ some additional variations. The arrangement goes in the right direction as far as personalizing the sound, Bradley , but there's no polish to the execution. Refine the sounds/articulations, re-look at your mixing per the other Js crits, and develop the arrangement beyond the 2-minute mark. NO

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The arrangement breakdown checked out (THANK YOU, bro!), and that's all there is to it. Direct post quality, but just needed the sanity check. Nice work, Truong-Son! virt's originals were full of infectious energy that translated well from these themes to your own unique fusion of the two! YES

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