Liontamer

The arrangement's strong, and the source usage was easily dominant here. On the mixing side, I'm possibly grandpa'ing, but I thought the backing instrumentation should have been pulled back and the sound should have been a little cleaner. There's definitely frequencies mudding together during the main verses where all the power geetar, machine gun drumwork & cymbals behind the lead just bleed into each other. It's mixed reasonably well otherwise, but if the overall volume's going to be an assault on the ears, then you can't have extended, super-cramped sections like :12-45 & 1:01-1:36. I don't think it's 100% a personal taste thing, but if other Js don't see/hear it the same way, it's no problem here. Like I said, it's a sweet arrangement, and it doesn't afraid of anything. For me, I feel some mixing tweaks would retain the power while more appropriately balancing it. IMO, just pull the supporting instrumentation back a bit and de-clutter/re-EQ whatever frequencies may be overlapping. NO (refine/resubmit)

Looking to move forward some more of the Apex 2015 tracks - LT ReMixer Name: DusK Real Name: Dustin Branscum Email: Website: http://www.itstartsatdusk.com User ID: 24328 Game: Ultimate Marvel vs. Capcom 3 Arrangement Name: "A Day Like No Other" Songs Arranged: "Main Menu Theme" Platform: Xbox 360, Playstation 3, PlayStation Vita Composer: Hideyuki Fukasawa Release Year: 2011 Source 1: Source 2: ReMix link: Comments: A little while after talking with DarkeSword on OCR Talkback about the Apex project and making my claim, I thought about how I wanted the remix to sound. I really wanted to give it this sort of "pump-up" feel. I wanted this to be someone's fight song. I think I delivered. Enjoy.

https://drive.google.com/file/d/0BzZ-TkKWy5oLWDRZTmFCdHJVYzQ/view?usp=sharing http://ocremix.org/forums/showthread.php?t=42698 http://ocremix.org/info/Category:Tutorials

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The way the loop point of the sampled audio is exposed at 1:48 when the sweeping sound in the original just cuts out is a small thing, but it IS sloppy. Anyway, this is just accent instrumentation layered over the original audio, slightly sped up, and IMO is a violation of our standards. Let's even give it the benefit of the doubt and say (read: pretend) the source tune is recreated not sampled; compared to the source tune, it still sounds the same, there's no meaningful difference in the instrumentation, tone, or textures of the source tune, and the supporting instruments come in at the same time as the original. It might as well be the verbatim original with a slightly faster tempo, and no other substantial arrangement. Other than a slight tempo increase, there are 0 meaningful changes to the source tune itself, and none of the added instrumentation directly arranges the source or provides enough substance to stand apart enough from the original. It's an enjoyable track, but a very simplistic arrangement. I think the key difference between this and "Power Glove (It's So Bad)" is there's nothing creatively done with the sampled source tune audio. It's a perfectly fine track, but it falls outside of what we can accept for OCR. It's not enough to merely take (or recreate) original audio and lightly build around it, you have to substantially arrange the source tune. NO

I was thinking of a marathon along different lines, that being a stream going through every individual OC ReMix, which is over 200 hours straight of music. Both seem like good ideas.

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It'll fix itself after the next mix is posted, Señor Eagle Eye.

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No need for replacements. If something gets picked for an album flood, that's the directors'/staff's call, but it doesn't mean there's replacement submissions; that just means what you sent was a direct post. Currently the site pulls all of a game's composers from the database no matter who composed the source tune of a mix, and we tag the mix the same way (all of a game's composers). If we can populate the database to handle all of the individual song credits, we may be able to get more specific, but that would definitely be a long-term project, i.e. it would take a lot of time to do. We haven't had new submissions since '13, but we have plenty of avatars. That said, the current avatar set won't SURVIVE the move to Invision, so make your peace with these lil' guys not being there anymore.

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Hey yoself!

Will take a look this week.

Here's your 15th anniversary CLASS OF 2015: Thanks to everyone who voted! Especially for Duck Hunt. ("But don't they all look like Mega Man X?" [CTRL + F5! CLEAR YOUR CACHE!])

Agreed with the other Js that all of the sequenced instrumentation needs humanization. Immediately, you notice the really mechanical timing on the lead and piano doubling it underneath. The arrangement is interpretive, but the attack on the melody sounds so unrealistic that it kills this piece dead; writing-wise, everything also sounds chaotic because these melodic variations don't even work well due to the sequencing. The changeup to tango at 1:30 was a cool concept, but had nothing to do with the source tune and didn't flow from the previous section; it was just an awkward transition. The electric guitar sample during the tango section was dry and lacked body/depth, but was otherwise a good sound with great tone. After abruptly transitioning back to the source around 2:26, I have to ask what the point of that rock section was; it didn't transition or connect with the other part of the arrangement in any meaningful way. This is pretty rough so far, and I don't think it can necessarily can be improved enough to pass, so the criticisms may be things to keep in mind for future music. But if you can smooth out the velocities and timing, and ditch some of the cheesy voice clips, this could have a shot. The transitions in and out of the tango section also need to be more substantial; even a slowdown or weaving some of the instrumentation from the other sections into the start and finish of the tango sections could help the ideas flow together more. NO

A little bubblier, a little clubbier. I really enjoyed the sound design and how various SFX and nods to Metroid Prime's atmosphere were used here. Nice combination of these themes as well. The brief Super Metroid 'Brinstar' usage was a nice touch. Nice close by Ergosonic at 4:35 also. This was an interesting arrangement that constantly evolves and never stays in one place. It hits a nice middle ground of significantly personalizing the arrangement through the instrumentation and genre changes, yet remaining melodically conservative enough so that folks who go "ZOMG I can't handle drastic changes" at our more liberal ReMixes should still observe the connections to the source tunes. (They need to broaden their tastes more. ) Smart stuff throughout. YES

Nice air of mystery here in the beginning. The chromatic percussion's timing was a bit rigid IMO, but the overall texture and mood of the piece is on point. Very smooth beat-driven take on this. The synth at 2:28 for the final flourish was an unexpected direction as well that I enjoyed. Loving the creativity of this approach, Wes! YES

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You mean they're actually called "Duck Hunt," not Duck and Hound? You might wanna slow down a bit, Larry. No, that's right. http://youtu.be/OjIBCYcZuyk?t=1m43s In Smash 4 (where I got the image from), this teamup is called "Duck Hunt," so that's their name. In Europe, they're called Duck Hunt Duo. The team consists of a duck and a hound. http://www.ssbwiki.com/Duck_Hunt_(SSB4) http://supersmashbros.wikia.com/wiki/Duck_Hunt_(SSBWU/3DS) Can inquire with djp, but AFAIK, no. Will check, but unsure there's a quick way to change that setting. The limit of articles in a category before pagination is 200.