Liontamer   Judges ⚖️

Onto the negatives first, I wish the recording quality/mixing was sharper and cleaner. The performances are also (arguably) too loose in places. That said, I thought this was a good example of a structurally/melodically close cover that personalized the performance well through the live instrumentation and different textures, additions of doubling and original writing and the slower tempo. Once the beats came in at :58, the arrangement only moved further towards having a different-enough sound from the source thanks to the addition of the beats. Again, the feel here was loose and the mixing isn't pristine, but there's a good deal of charm in the presentation, and I felt everything pieced together very capably with the arrangement. Nice work, Kyle, and good luck with the rest of the vote! YES

Hi OCRemix submission-listeners,Long-time listener, first-time submitter here. I've been a fan of Hiroki Kikuta's work on Secret of Mana for a long time, and I finally decided to give this "Into the Thick of It" remix a shot. I thought it might be fun to turn this quick/airy/light overworld theme into a slower groove with a bunch of acoustic instruments, and I ended up with a pretty weird combo: guitars, ukuleles, saxes, vocals, trombones, drumset/shaker/claps, and an alto flute solo to mirror the lead in "Did You See the Ocean?"Thanks for listening!-Kyle------------------Submitted Track:Contact Information:Your ReMixer name KylokYour real name Kyle OkalyYour email address Your website http://www.kyleokaly.com/Your userid 32955Submission Information:Name of game(s) arranged Secret of ManaName of arrangement Thick JamsName of individual song(s) arranged Into the Thick of It / Did You See the Ocean?

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Opened up in a tepid way, but we'll see where it goes. The texture at :33 felt empty despite the bass having big presense, potentially because the lead isn't upfront at all and the clap groove feels vanilla. Structurally, I wish there was more going on with some melodic interpretation. More variation with the beats would help as well; Both 1:24 and 1:32 were opportunities to transition to something else with that groove and vary it up, and when it didn't happen, the overall energy of the track dragged on and felt repetitive. Writing-wise, this needs more dynamic contrast and variation before the dropoff at 2:19. I liked the closing section though at 2:19, which had a cool, bubbly finish. This feels like a WIP that's 70% there. It's a solid start, but this needs more substance, variation, and personalization. That said, Y-Blade's absolutely capable of getting it there. NO (resubmit)

I didn't have anything to add on what Sir_NutS said. I'm very familiar with this theme, and he's right that there were no changes to the structure or tempo, and the tone is basically the same as the original with an upgraded palette of sounds. There's also little in the way of variation. I didn't have any meaningful issues with the production and mixing; NutS is right that the beats and bass lacked presence, but it's not as if those issues would have held back an otherwise strong & creative arrangement, so it wasn't a big deal to me. It's an excellent cover, but it's not interpretive enough for the standards here. Cool stuff, Fredrik; if you have something more interpretive and varied to submit, definitely send it our way. NO

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OC ReMix* http://ocremix.org* Yeah, that would fulfill the credit we need, as mentioned in the FAQ. Go for it, and thanks for thinking of the community's music for your videos!

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Gimme something postable on this. Love "Grandma"

This initially felt somewhat texturally empty, but once I paid closer attention, things are adequately filled out. I wish the lead guitar work were more upfront, and wanted the bass to sound sharper as well, but it's all more of a personal taste thing. Nice work changing the time signature (don't ask me what that is :-D), and the excellence of the drum writing was an understated plus here. It definitely is a meat-and-potatoes arrangement as far as retaining the structure of the source tune, but it personalized the adaptation enough IMO, with a solid rock adaptation that later brought in the chip leads for a nice change of pace, and featured lots of strong original writing addition like the energetic percussion and bass writing. Nice work, Eino! YES

Apologies for the lack of QA that apparently transpires in OCR staff in general. We'll get that fixed soon!

That's a rather crude way to describe a track. :-\

Nice work, Dustin! GET IT!

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To my knowledge, you don't. We currently don't have anything like that. But if you mean artist profiles (e.g. http://ocremix.org/artist/4803/the-oneups), that would entail getting a mix by the group posted to OCR.

Had it. Loved it. Nice rhythmic changes, and like Emu mentioned, keeping the chord progression from the original was mission critical to keeping the piece grounded in the source as you ventured off into liberal territory with the melody. Purty. Let's go. YES

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PM me the information, and I can look for it.

I hate them already!

DaMonz, Sir_NutS, and Gario! We also have a NEW Workshop evaluator, Amphibious, giving WIP feedback & advice! As I like to say, welcome them aboard, and/or express your anger and skepticism!

Without being prompted, I actually received a PM on March 12th from Air3s that he has a forthcoming update to this track. He's dealing with some frequency issues, so he told me on the 18th to hold up on dealing with the revised version, BUT it had some updates to leads and textures that I think might put it over the top. Also, the cutoff ending was a rendering error that he corrected. Rather than reject, I'll keep this open as he says he plans to have that update by Sunday. -------------------- https://drive.google.com/file/d/0BzZ-TkKWy5oLZXBkc094V0tsVkE/view?usp=sharing ------------------------------------------------ EDIT (4/19): Sorry to Air3s for slacking on providing this update to the panel. New dad/baybeh times let this get away from me. That said, it was nice to get an update on this without any prompting, so I like that Adeseye had an open mind to go back to this one long after he subbed it. The structure is mostly the same, but there's: * compression reduced * some minor instrumentation changes * a little more dynamic contrast with the textural dropoffs * a little more ear candy (e.g. 1:45, 3:07) * pair of click/pops removed (1:43 & 3:20) * proper ending included (4:22; cutoff was a rendering error last time) There's some ducking at 1:29 during the fullest section of beats that Air3s was aware of and tried to mitigate, where it sounds like other parts drop in volume as the beats hit, but it didn't bother me enough. Everything I liked about the arrangement and subtle morphing of the track is intact, so I retain my (currently sole) YES and hope others reconsider their vote.

Good stuff per Brandon's usual. The piano sample needed more body and humanization to it, but it wasn't a huge deal. Love the textures here, and the electric guitar soloing, while performed with some perceived stiffness at times, filled a nice role here. Sweet resolution at 3:51 as well. Relaxing adaptation, cleanly mixed with every part able to be appreciated, and nicely executed! YES

The answer is likely no on takedowns OR having an explicit policy, but that said, don't monetize them. You can find plenty of YouTube arrangements of Atlus game soundtracks, so I'm not sure what you're worried about. Just do it.

Well, it's a tough break that the melody's obscured as the notes transition at 1:40 and 1:48 due to fading that lead in and out. That wouldn't change anything for me, but you have a point that it may just be the chords. I'll just say that not counting the transposed chords in the mix is, in effect, punishing the arrangement for the source tune's opening being simple, which doesn't make sense for me. OK, so instead of B-C, it's E-F, plus there's no credit given to the timing of it also matching the source, which is pretty important. He's still explicitly referencing it, and that's what counts.