Liontamer

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AFAIK, message wasn’t sent to me or I would have gotten it. Gotted.

It says May.

The percussion during the verse sections sounded very basic and also had no presense, not cutting through the soundscape at all; for example, the drums just get buried around :16 after more elements came in. The mixing was very murky for the first 22 seconds. When the melody came in at :23, it cut through, but the soundscape was still very cluttered until the dropoff at 1:06. The timing of the synth at :49 was extremely stiff-sounding, as well as the lead. At 1:27, there were some added grace notes into the chorus section, but not much variation aside from that. Around 1:51, it sounded like the track looped aside from some understated accenting lines which were a good additional but didn't add much to the picture to stop this from feeling underdeveloped and repetitive as an interpretive arrangement. At 2:37, we finally reached another distinct section, and I was digging it. The drums cut through much better and added some movement to the music, and the little blips were a nice touch. The keyboard/computer sound combo at 2:58-3:14 sounded basic, but I can live with it. 3:14-'s brief section would have been a good moment to have some quick but meaningful variation with the writing before heading to your finish at 3:29. Nice sound to the final few seconds at 3:29. This does move in the right direction in terms of fleshing out the source tune, but overall it's too conservative, underdeveloped, repetitive, and lacking dynamic contrast for the first 2 1/2 minutes. The production/mixing also needed to be addressed so that the drumwork stood out more during the verses instead of fading into the background and not lending movement/energy to the piece. Feel free to try to rework this one some, Markus, but even if you don't, you show potential and I hope we hear more submissions from you. NO

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Since this is long dormant, as far as I can tell, I'm moving it back to Recruit & Collaborate. If @RECKENEFIN and/or @Hylian Lemon want to update the status, go for it. I'm looking at the thread and it's just not clear anywhere what was actually completed, so an update to the first post with that would be helpful. If someone else is willing to take it over, let folks know in the thread soon, but for all intents and purposes, it looks to be discontinued.

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

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

OC ReMix Presents VROOM: Sega Racing! May 9, 2018 Contact: press@ocremix.org FAIRFAX, VA... Time to hit the track as OverClocked ReMix today releases its 66th free community arrangement album, VROOM: Sega Racing. Featuring 11 tracks from 14 artists, VROOM takes a lap through several Sega racing game titles, and was driven over the finish line by veteran arranger José "Bronx Rican" Felix, who also provided the project's artwork and trailer. The album is available for free download at http://vroom.ocremix.org. VROOM's pit crew of musicians put down a variety of influences and genres including DnB, chiptune, funk, pop, jazz, rock, house, 90s-style R&B, and acoustic guitar. VROOM was made by fans, for fans, and is not affiliated with or endorsed by Sega; all original compositions are copyright their respective owners. "The original vision was to showcase the variety of soundscapes a person could drive a vehicle to, from slow-cruisin' tunes to more accelerated, upbeat tracks, to high-powered lead-foot bangers," album director José E. Felix explained. "What our artists and staff have put over the finish line will hopefully provide that sensation for you, even if you're not licensed and out on the road!" The album's selection of games includes: Daytona USA Indy 500 Metropolis Street Racer NASCAR Arcade OutRun Sega Rally Championship; and Virtua Racing Deluxe. VROOM is also OC ReMix's eigth Sega game music tribute album, following several Sonic the Hedgehog series ReMix albums (Sonic 1, 2, 3 & Knuckles, CD + 25th anniversary) as well as albums inspired by NiGHTS and Gunstar Heroes. 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. ### Preview it: http://youtu.be/X6q4jLltA-U Download it: http://vroom.ocremix.org Torrent: http://bt.ocremix.org/torrents/VROOM_-_Sega_Racing.torrent Comments/Reviews: http://ocremix.org/community/topic/47178/

Never!

Preview VROOM: Sega Racing: http://youtu.be/X6q4jLltA-U Download VROOM: Sega Racing: http://vroom.ocremix.org Torrent: http://bt.ocremix.org/torrents/VROOM_-_Sega_Racing.torrent Racing games were a huge love of mine, despite my being mostly terrible at them -- generally, the better the powerslides, the more fun I had -- and Sega's most fondly remembered products of the genre offered unique experiences, usually with music best described as "smooth," from rock to jazz and back again. It was probably fate I ended up working to finalize this album release, formerly subtitled "The Best of SEGA Racing." This was a long time coming: several years and several directors, many ups and downs, regrettable delays and omissions. Be aware that several tracks may have spent years in limbo, but are presented here without freshness dating. I was asked to take what we had, revise album art and help put together a release package, but I quickly uncovered quite a bit of incomplete work that I felt needed attention and further development. I'm pleased with the result: because of staff and artist efforts, we were able to establish a ten-track album (plus an instrumental), as opposed to a six- or seven-track EP. The original vision was to showcase the variety of soundscapes a person could drive a vehicle to, from slow-cruisin' tunes to more accelerated, upbeat tracks, to high-powered lead-foot bangers. We wanted to basically give you a smooth, steady ride in each song. What our artists and staff have put over the finish line will hopefully provide that sensation for you, even if you're not licensed and out on the road. Special thanks to Robbie "AkumajoBelmont" Sabo, creator and initial director, and to successors Niyazi "DiGi Valentine" Somnez, Stevo "Level 99" Bortz, and Dustin "Theory of N" Lagaly. Thanks also to all our contributors past and present. Enjoy the ride! - José E. Felix (José the Bronx Rican)

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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.

It could be because the filename was too long, which may have made it get truncated or altered after you downloaded it. I'm not sure if you're using Windows and your Windows Explorer hides file extensions, but if so and you're using Windows 10, open the album's folder, do View > Options > View folder and search options > Click the "View" tab > uncheck the box that says "Hide extensions for known known file types" > click "Apply" button, then you should be able to correct the extensions of the files to lowercase ".flac" and ".mp3". Let me know if I'm misunderstanding your issue though.

Jeez, tell 'em how you really feel. In any case, yes, it's dated, but it's actually not bad at all. The textures could have been filled out more and the lead selection could (arguably) be different, but I thought this was a nice upbeat interpretation. Good transformation here for its time. Some more clarity to the soundscape would have been nice as well, but it more than meets the bar for early 2001. The second half included some good padding via the light female vox, though it still felt a bit repetitive despite that. I thought this was a good start for Haroon, who showed that he had the right idea on personalizing his stuff from the start.

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The track was 3:21-long, so I needed at least 100.5 seconds of overt source usage for the VGM to be dominant in the arrangement. :26.5-:42, :48-1:03.5, 1:09.25-1:25.5, 1:30.5-1:46.5, 2:07.75-2:54 = 109.5 seconds or 54.47% source usage The approach here was definitely transformative, so I needed some time to get used to the track; I revisited this weeks later after making my first post, so I recommend the NO votes revisit this as well to make doubly sure they can't wrap their heads around the source usage. I did take some time away from it, but once I came back to it today, I understood the source usage pretty plainly; in fact, when it was in play, I couldn't help but focus on the source melody on brass RATHER than the surrounding instruments. The source tune's a pretty simple melody, so I strongly disagreed with the judges who said this is too transformative; being frank, I think rejecting this for the source tune being "unrecognizable" or "not recognizable enough" means we're doing a bad job, because aside from slowing the melody down and adding other writing in front on it, the melody is pretty straightforward. I'd get if the song were slowed down to 1% or something extremely drastic like that, but this is hardly slowed down enough to where we couldn't make it out. That said, doubling down on my previous point, the arrangement standards to my understanding are not and never have been whether listeners should be casually able to connect a ReMix to a source, but whether the judges engaged in active listening can. On the production side, I could have done without the hissing from 1:51-2:30, which sounded arbitrary; I'd rather have it removed, but I won't reject it for that. I didn't have a problem with the balance of the parts; your mileage may vary, but it's nothing messing up the listening experience. It would be a shame to reject this on arrangement grounds just because it took an unorthodox approach. This isn't how we should be doing things. YES

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