Liontamer

The "Grouping" list of a song includes every game represented, so in the case of this album, the first song had 7 games, and the rest had 1. If you're sorting by the "Grouping" field, it does a more odd result than if you sorted by, for example, Album Artist.

OC ReMix Presents Mirror Image: A Link to the Past ReMixed! August 7, 2017 Contact: press@ocremix.org FAIRFAX, VA... Celebrating the 25th anniversary year of A Link to the Past's release in the U.S., OverClocked ReMix today released its 63rd free community arrangement album, Mirror Image: A Link to the Past ReMixed. Featuring 18 tracks from 18 artists, Mirror Image pays tribute to Nintendo's 16-bit masterpiece The Legend of Zelda: A Link to the Past, and is co-directed by OC ReMix veterans William "WillRock" Harby & Emery "DaMonz" Monzerol. The album is available for free download at http://mirrorimage.ocremix.org. Mirror Image pulls together a talented roster of musicians honoring this legendary SNES score in a variety of styles, including EDM, orchestral, jazz, prog rock, and more. Mirror Image was made by fans, for fans, and is not affiliated with or endorsed by Nintendo; all games, characters, images, and original compositions are copyright their respective owners. "The music of the Legend of Zelda games has always been an integral part of the game experience, even being able to play musical instruments in the games themselves." explained directors Harby and Monzerol. Acknowledging both the game and the soundtrack's enduring popularity, the directors felt an extra level of appreciation was warranted. "We felt that A Link to the Past deserved more attention than it already got in the game music community, since many of composer Koji Kondo's greatest and most iconic themes originated from this game," Harby and Monzerol elaborated. The album's contrasting artwork -- illustrating the Light World and Dark World concepts introduced by A Link to the Past -- was designed by Canadian artist Annie Doyon. Mirror Image marks OC ReMix's third Legend of Zelda series album, following 2010's Threshold of a Dream honoring Link's Awakening, and 2011's 25YEARLEGEND commemorating the franchise's 25th anniversary. The album is also Emery Monzerol's second directorial effort, following Super Mario RPG: Window to the Stars earlier this year. "We set out to honour the legacy of the soundtrack while also staying true to the awesome diversity that defines the remixing community," affirmed co-directors Harby and Monzerol. "We hope you enjoy it!" 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/l-DGg1_vJ2w Download it: http://mirrorimage.ocremix.org Torrent: http://bt.ocremix.org/torrents/Mirror_Image_-_A_Link_to_the_Past_ReMixed.torrent Comments/Reviews: http://ocremix.org/community/topic/46136/

Preview Mirror Image: http://youtu.be/l-DGg1_vJ2w Download Mirror Image: http://mirrorimage.ocremix.org Torrent: http://bt.ocremix.org/torrents/Mirror_Image_-_A_Link_to_the_Past_ReMixed.torrent Mirror Image is a reinterpretation of the soundtrack to Nintendo's SNES masterpiece The Legend of Zelda: A Link to the Past. The music of the Legend of Zelda games has always been an integral part of the game experience, even being able to play musical instruments in the games themselves. We felt that A Link to the Past deserved more attention than it already got in the game music community, since many of composer Koji Kondo's greatest and most iconic themes originated from this game. In celebration of the game's 25th anniversary, we set out to honour the legacy of its soundtrack by creating an arrangement album while also staying true to the awesome diversity that defines the remixing community. We hope you enjoy it! - William Harby (WillRock) & Emery Monzerol (DaMonz)

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.

I thought you had DL'ed our most recent update of the "Collections" torrents at the top of http://ocremix.org/torrents, because we made that tag update for the album names being in the Original Album field. If I find a track is from an album of any type, I'll put the album URL in the Comments field at the top, and that's for non-OCR albums as well.

Contact Information Platonist Jonas Loman platonistmusic.com 16372 Submission Information Legend Of Mana Nocturnal Lumina Composer - Yoko Shimomura Alright, so I agreed with almost all your points this time and decided to rework the remix. Here are the changes I made: * Switched to High-pass filter on the piano-arpeggio just as the lead is about to hit to reduce muddiness. * Let the more intricate bass line from the build-up stay through-out the trance bit. * Raised the lead one octave after one iteration to add more development. * Edited intro buzz-synth with a fade in and slightly less in-your-face once it's there. * Fixed the attack on the string and made it a little less abrasive overall. * Better/Cleaner mix overall (hopefully). * New breakdown section with a solo&/original writing after 2 iterations - that beat then continues into the outro. * Removed the animal noises. Hope you like this one better! I didn't add much variation to the drums during those two iterations because their simplicity/basic feel was what I was going for. Hopefully the new section and the less generic bass line will be enough to turn your NOs around Cheers!

Your first guess was the correct one. It's only the standalone ReMixes that were individually submitted through the judging process. We gets lots of tracks from our community's albums that are also submitted as individual ReMixes, but many album track are exclusive to the albums. For those, you should download the full album torrents. If an individual ReMix is also on an OCR album, the "Original Album" tag is populated with the name of the OCR album. You can load the collection into a program like MP3tag or iTunes to see those tags.

You put the cart before the horse a lot with the grand plans that you have, and I haven't seen any ability to carry any of that stuff out yet. Start with a more manageable goal like getting some ReMixes posted, which is a solid indicator that you're able to put together cohesive, reasonably polished musical ideas. Re: promotions and buzz, it's not said out of cynicism, but do not rely on gaming press to promote anything. If you're not connected to any media, you need to get your ducks in a row with the legal aspects first. And when the project itself is strong (i.e. the team, the music, the artwork, and any video work for the KS pitch) and polished, you'll be able to get press then. Don't build "buzz." It's not worth anything until you have nearly all of the pieces in place for the project itself to actually be completed. Especially these days, most Kickstarters are launched when there's actual far-along progress already made, not before. Kickstarter is not something that will effectively fund an idea out of whole cloth, and it's dangerous to treat it as anything other than fundraising for a nearly-completed project.

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

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

The piano chords were pretty muffled, but even so, nothing struck me as off and messing up the listen, so I'll just restate that this is overblown. If anything, the chords shouldn't be so muffled. As for the voice clips, I can do without some of them, sure, but like Gario and the submitting artist said, they're there to tell a story and they worked just fine in that context. Also, I didn't previously notice MindWanderer mention the clips can be spoilers, but people will live and we also have no rule against that.

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

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

https://www.yahoo.com/music/bleeps-pong-mario-game-music-114045453.html http://www.zeldainformer.com/oc-remix-releases-mirror-image-new-full-length-a-link-to-the-past-remix-album/ http://www.pcgamer.com/stranger-things-season-two-features-a-song-from-this-voice-controlled-indie-strategy-game/ http://www.hsuoracle.com/arts_and_entertainment/a-starved-community-thrives/article_c06dec0c-cf02-11e7-94d6-ff28c586e36d.html

Interesting arrangement approach where the piece sounds much more cinematic and potentially uplifting than the source. The constant clicks/pop cited by the other Js need to be removed. You'll have to figure out which corrupted samples are causing these, and then re-render the track. At 1:51-2:11, there was definitely clipping-style distortions occurring, despite the overall volume being low. Volume was pretty low compared to other tracks, so I'm surpised that MindWanderer said things got piercing, but if you turn up the volume just to hear this at a normal volume, the more crowded parts do come off like they're crowded (e.g. 2:59-3:21). The mixing here is off; there's a distinct lack of high-end clarity throughout that may not necessarily be a dealbreaker for people, but does undermine the arrangement. I'll come back to this one after giving it some more time. EDIT (8/25): I'm very sorry for holding this up, Mathieu, as I forgot to come back to it. That said, listening again, I'll just confirm like the others that I enjoyed the arrangement, but you need to fix the production issues. If you could just remove the distortion spots, you'd be in much better shape. Consider also increasing the volume, but watching that you don't leave things too cluttered like some of the densest sections were. Very strong start here; you don't need to change anything with the arrangement, you just need to iron out those production issues, and send it back. NO (resubmit)

Not really a fan of the piano timing, which sounded mechanical. Unlike the real piano in "Children", which sounds lush, the sampled piano was dryer than it should be, so the stilted timing was too exposed. The strings at 1:42 were also an issue, both with mechanical timing, and also because the mixing became cluttered. Also, it wasn't the biggest deal, but your bassline -- while it did register -- was indistinct and pretty much buried until 2:11. The strings and piano being so fakey was more of a problem from 2:11-2:56 when the texture was less dense and you could focus on them more. I did like the different lead from 2:56-3:25 and the chromatic percussion accents were a nice touch. The soundscape wasn't washed out from 3:25-3:38, but watch for clutter there, particularly for that flourish from 3:35-3:38. When the synth strings were more in the background as a countermelody from 3:52-4:20 the background placement served them much better and didn't expose the sample. Arrangement-wise, this is creative, evolving and developed, and Starla's vocals were performed nicely and produced with that lush sound [although too mudded up in some places (e.g. 3:34-3:38)]. I'm gonna be the grandpa and say the piano and string sequencing shouldn't sound this fakey, in that order. Perhaps you might be able to adjust some effects on those parts to better mask the lack of realism, but either way, I'm not on board until those parts are more humanized. NO (resubmit)

Nice sound to the opening piano. The woodwind stuff next had a beautiful tone to it, but was very muddy. Then the soundscape became a little clearer for the orchestration from :22-:36. Overall, the soundscape wasn't too muddy as to obscure the part-writing, but it was pushing up against it during some denser sections. Still good enough, IMO. From :44-:59, 1:28-1:42 & 2:26-2:41, the way the vox triggered made it sound way too stiff and robotic; having the delay in there did help mitigate the issue some, but not enough where it wasn't still a significant drawback. Also, the string articulations were OK, but the attacks from :34-:36 were awkward and exposed the sample. Arrangement-wise, the structure and tempo were the same as the source, but this was expanded beautifully via the new instrumentation. Props on making sure to vary the instrumentation & textures from verse to verse, creating some subtle dynamic contrast and making sure that the track didn't sound cut-and-paste repetitive despite going back to the same melodies and verses. That said, the vox line WAS cut-and-paste territory coupled with the sequencing/timing sounding so robotic, so that's something you'll need to fix as well as vary up. DA's not wrong in feeling the arrangement was nonetheless repetitive; she heard and acknowledged the same techniques I did, so consider adding further personalization to your arrangement via other original part-writing or variations of the theme. DragonAvenger's also dead on that this track also had no real ending. It was a very "OK, I give up" kind of vibe after hitting a known loop point, so write a real ending with an actual resolution to it. Good start for now, Albert, but it does still play it pretty close to the vest and could use even more personalization, though you went in the right direction. Expand/vary the writing further, and also fix up the timing/realism issues with the vox (necessary) & strings (nice-to-have). NO (resubmit)

I'm gonna keep it short and sweet. I agreed that this was overcompressed, but it wasn't a dealbreaker, and I disagreed with Gario's POV that the mix was too wet; the style was purposeful and I could still make out the part-writing just fine, so I don't see what the big issue was. The arrangement was repetitive towards the end and could have been more interesting with some more dynamic contrast in the picture, but what's here was developed and varied enough to get by. I thought the changes in this arrangement were substantial enough to stand apart from the original, so I had no problems with the level of interpretation. MindWanderer's analysis on the two songs lining up was helpful, but it's certainly possible to retain the tempo and structure of a source while providing other aspects of interpretation, and that's done here. Nice work, Stam! Count me in. YES

Maybe it's more apparent with headphones, but to me the beats were too overpowering compared to the other parts; until 1:30, there's so much clutter created by the bass and beats. And it's from :15-1:30 and especially 3:01-3:53 where the soundscape just sounds too cluttered, which undermined the attempted dynamics of the arrangement. Perhaps whatever's going on with the lead from 1:45-2:00 is an acquired taste, but to me it wasn't quite melodious there. That said, I liked how you constantly varied the lead sound as you played that source melody numerous times, and it clicked better for me with some of the other lead choices. At 2:00, a change for the instrumentation handling the countermelodic synth would have been nice; that part got overused, IMO. 3:30-3:52 did get repetitive by re-using :30's section, but it was a good, meaty sound; some sort of textural variation earlier there would help it sound more creative and less cut-and-paste-like compared to the beginning. This is a great start, but despite many of the textural changes going on, the overall groove felt too samey. Right now, the core beats and instrumentation were too repetitive. Some more varied beat-writing and swapping out the instrumentation for some of the parts would help keep this fresh. Along with cleaning up/re-EQing the soundscape so that your parts didn't clutter together, that's mainly what I'd work on. Nice work so far, Bo. This was very promising, and I hope you're willing to revisit this one to see how else you can improve the writing and production. NO (resubmit)

Arrangement-wise, this used the theme well in adapting it for a more upbeat genre. Interesting approach going for a kind of grade-up Secret of Mana-style instrumentation. The combination of 16-bit sounds with other instrumentation was good, but the muddy mixing and bland beat-writing ultimately dragged this down for me. The bowed strings at :50 didn't sound good IMO because the attacks sounded slightly behind, but maybe it's just an acquired taste, since the 16-bit tone was at least super-authentic. I didn't feel the buzzy synth in the opening section was as negative as Deia did, but I still agreed with her that it was too upfront and distracting; perhaps pulling it back some would work better. The beats/kicks at 1:17 had beef to 'em, but the writing was really vanilla, so I was waiting for something more interesting to happen with the perc writing. Then the perc writing shifted into something more boom-tss with the cymbals coming in at 1:45, but it's still a pretty basic, too-straightforward beat that ultimately dragged out. Plus, the mixing didn't make much sense, with the beats being nearly the same volume as the lead. When the bowed strings then came back at 2:12, the writing was good, but the part mostly added clutter to the soundscape because a lot of these parts occupied the same frequency range. 3:06's finish had some parts drop out, clearing up the soundscape some. I think the development of the track went well in the right direction, but more sophisticated and varied beat-writing and cleaner mixing would be enough to get this passed, IMO. Promising stuff so far, Jonas, so I really hope you're willing to revisit this again. Would love to have you finally get Legend of Mana up on the board here at OCR, and what's in place now is well along the way and just needs some additional refinements. NO (resubmit)

I've only heard this version, so I'm coming in with fresh ears. Yeeeeeeeeeeeeeeeeeeeeeeeep. The core drum pattern just droned on and the arrangement -- which I was going to pass until I got to this section -- became very dynamically flat. Production-wise, I didn't have any major issues; the other Js are correct on what could still be addressed, but that would all be in the "nice-to-have" category. Vary up the stale, repetitive backing of the 2:17-3:16 section and you're in business. Nice work so far, Daniel, so definitely stay with this one! NO (resubmit)

In light of the strong arrangement and performance, the clutter in this track wasn't a dealbreaker, but it was a negative for sure (e.g. 1:38-2:08). The timing of the rock from 2:31-2:34 sounded slightly off, but it was brief. Some of the thumps on the acoustic sounded like they were distorted and too close to the mic, but that also wasn't a big deal. That said, I loved the piece, and this was a dense, rocked out treatment of one of the best themes from the Genesis version of this soundtrack. It's been a long time since I heard of Mauricio self-project of ThePlasmas "band", and Nitro Game Injection's KyleJCrb has been a great advocate of his and really put him on my radar as he developed into a stronger performer. It's awesome to finally have you on board with an official OC ReMix! Definitely send in some more of your work, Mauricio, and welcome aboard. YES