Liontamer

Would need an actual title if this passed, since this is the source name - LT ReMixer name: Brent Weinbach Real name: Brent Weinbach Email address: Website: www.youtube.com/brentweinbach Name of game arranged: Blaster Master Name of arrangement: Area 5 Name of individual song arranged: Area 5 Composer: Naoki Kodaka System: NES Note: This was recorded as part of Episode 35 of my video game music podcast The Legacy Music Hour, originally posted July 2, 2011. ----------------------------

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I would too. Love that app design you linked also; pretty tight!

They don't need our permission. They commissioned us for For Everlasting Peace and hold the copyright to that album.

But if you vote today, you know why.

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Absolutely. IMO, you should charge for your original work due to the time & energy you put in, but we support PWYW.

The mixing sounded muddy/lossy, but it wasn't at a level where this should be held back on production grounds. The parts were distinct enough, it just felt like high-end clarity was missing. Also, the bassline had a buzzy quality to it that was distracting at times, though not a big deal in the big picture. Nice use of the NES-style lead at 1:31. Sweet ear candy with the sound effect from 2:35-2:41, then another NES-style chip line at 2:43. Loving the combination of rock and chip sounds, with the NES parts clicking here and accenting the piece. Not much else to say other than nice work, Patricio! YES

Solid metal cover with good energy. At 2:15-long, I was hoping this wouldn't repeat anything wholesale, so it was good that it didn't. The main verse briefly repeated from 1:08-1:23, albeit with a different drum pattern and different chugs underneath, so some variation was provided. Though I'm not inherently against fadeout endings, this fadeout ending was a letdown. I would have liked more of an actual conclusion here, but perhaps it's just personal taste. This packs a lot into the 2:15 length, and this was a well-personalized cover. Wouldn't have minded another 30-60 seconds for a finish with more finality, but otherwise everything's clicking here with a very spirited version. Nice work, Daniel! \m/ YES

Pretty liberal in some spots. Here's my source usage timestamps to get it out of the way. I needed at least 126 seconds of source usage for the VGM to be dominant in the arrangement: 36.5-54.5, 1:11.75-1:35.75, 1:38-1:44.75, 1:49-1:51.5, 2:04-2:20.5, 2:38.5-2:56.5, 3:15.5-3:20.75, 3:22-3:37.75, 3:40-3:46.5, 3:48.75-4:10.5 = 135 seconds or 53.14% overt source usage I didn't have any problem with the arrangement structure. There was some repetition of the broad ideas, but I heard minor variations of the verses through grace notes, SFX usage, and stuff like that. Also, the overall arrangement was so transformative that it could withstand some repetition, so I wasn't close to saying there was any reason to hold the arrangement back on any level. Great energy and nice, creative flow here from Mike! YES

I replied to this one, so I hope it doesn't require OCRAPS, but: https://www.youtube.com/all_comments?v=3b9Sk4jekm8

Friday, September 4 to Monday, September 7 Sheraton Phoenix Downtown, Phoenix, AZ http://sabotencon.com OCR reps it again on the West Side with our first appearance at Saboten Con! Named after the Japanese word for "cactus," Saboten Con is Arizona's largest and spikiest anime convention. Join OCR judge Flexstyle and OC ReMixers DjjD and KingTiger as they talk shop! There ALSO may be dubs AND wubs! PANEL OC ReMix: Video Game Music Addicts Since 1999 Panel Date/Time: Sunday, September 6, 4-5 PM Location: Paradise Valley Panelists: DjjD Flexstyle KingTiger

The most important thing to mention first is that this is Yoko Shimomura's theme. Isao Abe's composed Sagat's theme, but the other World Warrior themes are hers. Now, I don't know how Palp and I, two close members of Team Brown Heat (who, in my head, are legally bound to vote as a bloc), have been on opposite sides lately, but somehow we disagreed here and now wind up on different sides again. I think I'm on the right side of this one also. I listened to this at full volume, and I'm ultimately OK with the production and balance here. I thoughts the parts were distinct enough, and didn't get the same sense of this not gelling enough, though I see where he's coming from. Timing this out, this was JUST at 50% overt source usage, mainly due to the long intro taking up lots of time. For a 5:24-long piece, I needed at least 162 seconds of identifiable source usage for the VGM to be dominant in the arrangement: 1:13.75-1:40.5, 1:57.5-3:32.5, 3:33.75-3:48, 4:46-5:12 = 162 seconds or 50% There was also that little snippet of sampling the SNES version of the source from 5:13-5:15 that nudged what was dancing on the line over the cliff. Arrangement-wise, I felt this was samey at times in terms of the ideas and energy level; that said, the overall interpretation of the theme was obviously creative and otherwise excellently executed. Matias has done a nice job rocking out Blanka's theme. Let's go. YES

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We're not at November yet (we're at Oct. 30), but I see it in the inbox, so it hasn't been lost. I look forward to an influx of lottery money, so I can work on the inbox all day. Sorry for the wait, FDF.

We actually added Trap recently, so we need to add it into that list.

Yeah, original artists don't need any permission to provide their own tags, then can just ask us for the submission link and submit their information at any time. Like djp said, we'll run everything by artists later on for another verification step as well.

CONTEST! YES! The contest is simple: in preparation for the release and promotion of FF9: Worlds Apart, we're giving away 10 limited edition physical copies of the OC ReMix community's 5-disc, 74-track album, FF6: Balance and Ruin! This is open to ALL international fans, so we're picking 10 winners from ANYWHERE in the world, not just the U.S.! In order to enter: Retweet this contest tweet and follow @ocremix by the end of Saturday, August 22nd. BOOM. That's it! After the end of the entry period, we'll randomly pick 10 lucky entrants as winners and ship them each a copy of the album! Thanks for entering, spreading the word on video game music, and supporting OCR! RULES No purchase necessary. Alternate entry: email competitions@ocremix.org with your name by Sat. Aug. 22nd, 2015, 11:59PM EDT. Contest is open to everyone worldwide, except OC ReMix staff members and Balance and Ruin contributors (j00 got albums). Contestants using multiple entries will be disqualified. Contest runs from Tue. Aug. 18 to Sat. Aug. 22nd, 2015, 11:59PM EDT. Contest sponsored and promoted by OverClocked ReMix. (Contact: admin@ocremix.org) Prize (10 winners): 1 physical copy of 5-disc Balance and Ruin album. Prizes will be shipped to each winner’s physical address via Amazon. Winners will be randomly selected from those who retweet https://twitter.com/ocremix/status/633708643565879296 and follow the @ocremix Twitter account (http://twitter.com/ocremix) or email competitions@ocremix.org with their Twitter handle. The list of winners will be available in this thread shortly after Sat. Aug. 22nd, 2015, 11:59PM EDT. WINNERS (OH SNAP!) @2PProject @BenKosciuk @BenyoBoy @ChamSoundscapes @darkr3x @GermanSeabass @halfon123 @iMenchi @Nebocsid @Ryo_0hky

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WE FINALLY DOIN’ IT! We need your help to add genre, mood, instrumentation and other tags to the OCR database. The full list of terms. The minimum of what we need for every ReMix is: Primary Genre (e.g. funk, metal, rap, EDM, jazz) Secondary Genres (when applicable) 1+ Mood (e.g. aggressive, goofy, romantic, sad) 2+ Instrumentation (e.g. acoustic-guitar, chiptune, piano, singing) Additional tag types we want to apply whenever possible: Specific Arrangement aspects (e.g. # of instruments, minimalist, extended soloing) Effects (e.g. distortion, glitching, lo-fi, vocoder) Origin (e.g. collaboration, created for a compo) Live production aspects (e.g. live ensemble, live recording, use of live instruments) Regional influence (e.g. Celtic, Japanese, world) Time (e.g. tempo, long or short duration, time signature) Usage (e.g. workout, winter/holiday, Halloween, meditation) This is a serious project, so you need to have a good understanding of what the tags mean and also have a good ear for labeling genres and identifying instruments and moods. We want to build an accurate library of tags for the remixes on the site. If you’re interested and you think you have what it takes, let us know right here in this thread and we’ll assign you a block of ReMixes to work on and PM you our tagging submission form where you can enter the data. THANKS! __ Can we add more tags to the list? No! We don't plan on adding many other tags, but if a good case is made for something we've overlooked, we may add more. Note on genres: We're not trying to add tags for every subgenre under the sun. We're going for pretty broad descriptions. We don't need "tribal Moombahcore chillwave"; EDM works just fine in most of those cases. Note on using "epic" for mood: We're not using "epic" as a synonym for awesome/amazing/yoooooooooooooo. We're using it to describe ReMixes that are grand, heroic, or anthemic in scope/tone, which isn't limited to orchestral and rock pieces. Note on lyrics and duration: Larry has already handled lyric-specific tags (original, existing, explicit) for all lyrical ReMixes, and duration tags for long and short mixes. Problems?! If you’re working on tagging your batch of ReMixes and run into an issue where something isn’t clear, then post here and let us know and we can help you.

Eventually, but it'll be back.

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I thought the pizz strings were too stiff and exposed the sample, even though they were serviceable. But the real WTF was... Hahaha, yeah, both the tone and timing of the drums there don't fit at all. Unfuck 1:47-2:12 & 2:36-3:28 and you have a winner. NO (resubmit)

Opens up a bit loose and lo-fi, but we'll see where it goes. Light pops at :25 and :27 that shouldn't have been there. Good mood established though. The drums at :41 were on the loud side compared to the leads, but were OK; props for getting subtle and creative with the patterns and not going for plodding pattern. Next iteration of the theme at 1:22 was even quieter and more subdued, which would have been bad, but using the guitar as ornamentation from 1:22-1:40 & from as an original countermelody 1:40-2:03 were smart ideas that could get overlooked. Back to the source melody from 2:03-2:44, which felt like a retread of :41, only with the very light doubling of the melody by the synth behind it. I think what's there with the arrangement was adequately personalized, but doing something more interesting and substantive with the interpretation for the final section there would have made this an easier sell as far as the arrangement feeling fully developed. IMO, it gets over the bar with the effective tempo change and instrumentation changes, plus the subtle but creative original percussion and guitar writing. The mixing was some parts lo-fi, some parts muddy, and buzzy in some very brief spots, but I was OK with it overall. It's a solid aesthetic I can get behind, and the arrangement doesn't need to reinvent the wheel, just creatively personalize the presentation of the theme, which I argue it does well enough. Good job, Patrick and Zach, and good luck with the rest of the vote! YES