Liontamer

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

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

Note, we'll need a different arrangement title, because what's here is essentially the official name of the source, i.e. "Tomboy Princess's March." Props for actively distinguishing yourself from Sugiyama's Symphonic Suite version. When Nate says, "The music grows dynamically with the whole orchestra as she attempts to prove herself," you absolutely get that imagery from the way things shifted at 1:07 and continued to intensify all the way until 1:30 finally topped off the energy level and stayed there until 2:05. Short arrangement and melodically conservative, but it personalizes the source nicely and says a lot! YES

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DragonAvenger hears enough source tune usage, but Palpable and Vig don't. I haven't checked this out myself, but if we're just dead wrong about the source usage, Alex, then please hit us back with a timestamped breakdown of how the sources are used and we can re-evaluate this one.

There's no way to tease out just the more recent songs, but as long as you haven't changed the files, you can put them in the destination folder and the torrent program should attempt to skip them. That said, all of the files have been retagged with more complete, consistent information, as well as hundreds of the files being encoded in higher quality. If you don't care about play count or ratings, we'd recommend you just re-grab everything.

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

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

We'll definitely need a new arrangement title, yes. On the production side, there were some brief moments where the samples were too exposed -- mostly instances of flat brass or unrealistic bow movements with the strings. Arrangement-wise, the themes pieced together effectively, with a lot of care put into the transitions and flow, as well as personalizing the arrangements of each theme and providing good dynamic contrast throughout. The instrumental and textural changes kept the composition fresh throughout, the overall use of the samples was solid, and what this lacks in realism in places, it makes up for with creativity and energy. Welcome aboard, Trevor! YES

Hahahahaha! YES!

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We only post MP3s, so we'd prefer submissions in MP3, WAV or FLAC format. But when there are performance or music videos, we also link to those as well, on the writeup pages. We'd also prefer arrangement titles that are more personalized, just FYI. This is a great performance. Nice production to let the piano sound airy. How did I become the arbiter of medley-itis? Right, so that's what up for debate here. Well, when Vig says it's "not really an arrangement," he means it's not a cohesive, interpretive arrangement according to OCR's standards (because obviously this is an arrangement for piano). As far as the OCR arrangement standards goes, the standards are pretty clear with medleys... I'll say, many of the transitions here are actually OK, but yeah, this isn't an arrangement with a strong focus and direction, it's just snapshots of most of these themes pieced together without much interpretation. The transitions aren't all sudden; there's care put into shifting to each song, but after the first 2 minutes, it's just jumping around from theme to theme for brief looks with little interpretation, then it moves on: 3. The Great Deku Tree - 30 seconds 4. Fairy Flying - 15 seconds 5. Serenade of Water - 40 seconds 6. Song of Storms - 32 seconds 7. Link's House - 28 seconds 8. Treasure Chest Opening - 20 seconds Though it's a phenomenal medley adaptation to piano, the arrangement is super conservative and straightforward in the big picture, which makes it a NO-go vis a vis our arrangement standards. It's still a baller track, but falls outside what we're looking for - we look for focused, developed, interpretive medleys that flow more like a unified arrangement. A few abrupt transitions or brief, undeveloped theme cameos can be in there, but that can't be the meat of the structure. IMO, something like Claire's take on "Hyrule Field" is still relatively conservative but has more personalization of the theme and allows for more interpretation and focus on one idea. We're not anti-medley at all, by the way; we have lots of them posted. On the Zelda side, WillRock's "Fragments of a Legend" and Xenon Odyssey's "Royal Treasure" are examples of Ocarina of Time medleys that use several themes but are structured like one composition. Another example that's solo piano is Daybreaker's Zelda medley across multiple games, "Memories of an Ocarina." You certainly don't have to do what she did there, but we're actually pretty flexible. The takeaway is that medleys on OC ReMix need to feel like cohesive, focused compositions, not just "Theme A, then Theme B, then Theme C, then Theme D, then Theme E"... Claire, your performances rock. If you have anything else that's more interpretive or a medley that's more interpretive and cohesive, we're here. I definitely hope we hear more from you as far as submissions, as we'd clearly love to have something of yours posted. NO

Uhh... Why would you say "Perhaps make a place on the internet just for this" if you're claiming now that you already made it by starting the thread. The first sentence says that's what the topic's for. The second sentence implied a different place, not the same exact place. You set yourself up for that.

This is certainly cleaned up some, but the brass accents just mud over the leads from :49-53 & :55-:58. Same issue at 2:04-2:26 -- I get why that writing's there, but it shouldn't be that audible, IMO, and shouldn't be obscuring melodic leads. And again, brass elements from 2:28-2:37 & 2:54-3:03 are going over the top of the leads again and creating mud. Other than that issue with the supporting brass mixing, the overall mixing is certainly much better. It's not ideal, but it's also nothing holding this piece back from passing now. Nice job heading to the Workshop for feedback and taking charge of this, Jorrith! YES

I needed at least 123 seconds of overt source usage within a 4:06-long piece for the source material to be dominant. There was a lot more stuff based on the chord progressions and some liberal interpretation, but since I didn't count all of that, I had to timestamp this for more upfront connections just to be sure for myself. :07-:14.75, :56.75-1:01.5, 1:09-1:18, 1:20.75-1:27, 1:39.75-1:44.25, 1:59.75-2:24, 2:25.5-2:26.5, 2:28-2:29.5, 2:32.5-2:33.75, 2:45-3:02, 3:07-3:38.5, 3:40.25-3:42, 3:47-4:00 = 123.25 seconds or 50.1% overt source usage. Opens up hauntingly, with theme first referenced at :07. Piano first used at :26 is rigid, though that's mitigated a bit by the way it's produced. Nice increase in the intensity at 1:02 with some cinematic strings. Oh, damn. Yeah, the drums at 1:48 are pretty weak... OK, so listening through until the end, the beat repetitively drones from 1:48-3:40. The drums are simplistic, static, plodding, boring, lifeless, all of those things. They just drain energy out of the piece, and I think the YES votes are smoking something, because it's a dealbreaker flaw. Palpable's also right that the beats aren't cohesive with the other instruments. More sophisticated, varied, fitting beats would work wonders here. It's too bad, because the arrangement is otherwise creative and employs a lot of effective instrumental changes for the melody; if the same attention to detail was shown for the backing writing as was shown to the leads, this would pass with no problem. Also, from 3:07-3:41, the string articulations sound very unrealistic and exposed in places, so it's not just DragonAvenger's personal taste, it does need work. Anything you can do to give those strings more realism would be great; you may just need to make them sound less dry. Good stuff so far, Mathew. The opening scary movie stuff was epic and on point, but the presentation after 1:48 has to get more consistent; the main issue, IMO, is that the beats at 1:48 shouldn't function like a glorified metronome, and it undermines the dynamics and creativity of your foreground writing. NO (resubmit)

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

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

The torrents list indicates there are at least 11 seeders for every torrent. Zelda: 25YEARLEGEND has 65 seeders, while FF6: Balance and Ruin shows 98 seeders. If anyone else can seed, feel free, but that issue's definitely strange, given that information. What torrent client are you using, and who's your internet provider? It's possible the issue isn't our torrents.

Your English was actually great, at least in that first post. I wanted to affirm that for you so that you know it's good. Good criticisms here; I agreed with Moseph for the most part, though I don't feel you need to replace the dulcimer-style lead. Still, adjusting the balance in the first minute so that the melody doesn't get drowned out would feel more appropriate. Some sort of build-up or dropoff that took out the marching style drums and slowed things down could be interesting, but that may not work with the overall feeling you're going for, which is just a more expansive sound that keeps the feel of the original track. In any case, this was a pretty solid arrangement despite it being so short. You did a good job varying the instruments so that the overall presentation didn't feel too repetitive.

There is no one person standing in the way of this album, so if that's the conclusion people are making because of the tracklist, that's wrong. Lots of other things get coordinated before an album comes out (trailer/website/artwork/file prep). I agree you shouldn't be waiting for years, but you can take it up with Fishy. It's probably a reason why people shouldn't necessarily do mega ambitious projects and instead keep the scale more manageable. All that said, it's not a matter of not caring about you or anyone else involved or anyone else waiting, but we don't force anyone directing a project to wrap it up; it's all on them. At least by planning for it to come out for the game's 15th anniversary, we can put it on more people's radar when it finally does come out.

I definitely encouraged Chimpa to panel this due to her wanting extra help with the source verification, so, Brandon, don't bug the judges about being paneled. Sometimes more obscure game themes aren't as catchy/memorable, so we'll panel stuff to prove due diligence on a source check. Trust but verify. We'll get through this. Like Palpable, I DEFINITELY don't notice that melodic line in the Game Over source because it's so buried, and I'd also argue the Prologue portion from 1:23 of the source referenced around 2:18 in the mix was also something that was easy to miss due to the balance of the source. Anyway, for a 4:36-long piece, I needed at least 138 seconds of overt source usage for it to be dominant in the arrangement. :00-1:07, 1:37-2:08, 2:56-3:02.75, 3:04.75-3:10, 3:44-4:17.75 = 143.75 seconds or 52% overt source usage I thought that some of Brandon's treatment of the sources was more "inspired by" than following the melodies, but that was more during leadups to the main melodies of each of the 3 themes, so I'm sure there's more source usage than what I ID'ed here. That said, I agreed with Palp that when you are able to hear what parts of themes are being used, the overall source usage is certainly dominant. As far as the piece in a vacuum, I loved the transitions and changes in the dynamics and instrumentation; typical Brandon excellence with his rock pieces, full of great instruments. Anytime he goes with both acoustic and electric guitar, he nails it and weaves together something that flows very naturally. Nice touches with the woodwinds and mallet percussion for the final "Solemn Moment" section, with the mallet percussion coming full circle with the intro. The final portion at 3:27 was great. Pretty progressive yet mellow structure for the 4 1/2 minutes, and an awesome contribution to Legacy. YES

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Jeez, put your gun back in the holster. I didn't get to vote on this, but Neifion's criticisms are perfectly fine, and come from experience. As far as the praise vs. criticism being "imbalanced", you need to read what he said. The very first thing was "The orchestration and arrangement is good...", so it's clear the post isn't some attack. It reads to me like you're the one needlessly causing the friction. There really shouldn't be any problem here. For Alex, if you ever have a mix waiting to be posted, but want to revise it before it goes up, just contact me or another judge and ask for us to wait until you create a revised version. We've definitely had people ask to do that before. Actually, the next mix to be posted did just that...

Re: the art for future album projects, we'll make sure formatting preference are made clear before anyone gets started. That said, Game-Art-HQ's community really came through with good work, so we're looking forward to including all their great artwork in the album bundle, and hopefully working with GBK666 and G-A-HQ in the future. Re: the album not being out yet, sorry, but this isn't a speedrun, so folks are just going to have to wait. Everyone's doing this in their spare time for 0 compensation, juggling real life and other responsibilities. Sometimes that means the final 15% takes practically forever. Much like any album that takes years to release, when the album's out, it's out. We'll get there. See you in July (MAYBE).

Gotta agree all the way with Emu. The choir patch is pretty bleh; that should have been made to sound less robotic. Arrangement-wise, there's not much difference with the original music, besides the different beat underneath and less spooky sound. It's barely 2 minutes and just ends with a loop and a fade. Emu's right that it's laid out like in-game music, rather than a standalone piece. It's a perfectly fine cover, and would be OK for a remake of the game if you're just looking for a very close arrangement, but we lean towards more interpretive approaches. Even when an arrangement is melodically conservative, we're also looking for a different approach with the instrumentation, mood, tone, or some additive writing -- some combination of factors that help the track stand apart more from the original song as its own version. Check out Big Giant Circles' "The Clubbing of Isaac" as an example of an arrangement that's more interpretive. NO