Liontamer

Interesting approach reminiscent of Stephen Kennedy's "Music of Funk" from 2000. One could argue it doesn't stand apart enough from that version, but your mileage may vary; it's nagging on me some, but enough different ideas were here. Synth design at 1:03 when the melody came in was somewhat generic, even moreso during the chorus at 1:33. I also thought the mixing was noticeably muddy, which really detracted from the listen. Cool stuttering of the woman screaming at 2:01, with a cool fadeout of it at 2:13. Another iteration of the theme at 2:14, though not particularly different from 1:03's take, just minor differences in the lead. The chorus was different, however, in that there was no beatdrop & rebuild. 3:00 dropped some of the padding, and changed the lead, before 3:11 went back to the same ideas as 2:03 with some cut-and-paste action, before bookeneding with the same police SFX & wind/bell SFX from the intro for the finish. That said this was fairly personalized in the adaptation to EDM. This is really promising, but the muddiness of the mixing is the main issue holding me back. I may be grandpa-ing the mixing job, but I don't necessarily like I'll be flipping my vote on this. Though the tempo and pacing ended up plodding some, the energy level was good. I would have liked to have heard more melodic interpretation, especially when the opportunity was there at 2:14. Good luck with the rest of the vote, Tyler; I think this has a good enough chance to pass, I would just need some more clarity in the mixing, and maybe less sameyness in some of the sounds over time. It dragged some for that reason, at least for me. NO (refine/resubmit)

Artist Name: Laser Lip Name: Tyler Piersall Email: userID #: 53011 Game: Batman NES Title: Gotham in Neon Link to track: (download link located on player.) -------------------------------------------------------------

Overall, this was an interesting approach to try, but it just doesn't click at all, IMO. What's up with how this is mixed at :19? As soon as the beats came in, this was muddy/indistinct, except for the super dry, exposed claps that stick out like a sore thumb and didn't mesh with the other instrumentation. Texturally, this is just really awkward thanks to those claps. The beat-writing was super basic, the lead synths didn't double well with the piano, and those claps thrown in so dry sounded really beginner-ish. There's just no sophistication with how this is pieced together. The saloon piano was the best part, but I didn't feel the other components worked with it. Sorry, Luke, I wish I could be more supportive and complimentary, because this IS a ballsy approach, but most of the part-writing was too simplistic, and I'm really not hearing the various genre ideas combine effectively. NO

Remixer name: Poetic Sync Name: Luke Pennings Website: https://soundcloud.com/luke-pennings Name of Game Arranged: Super Mario World 2: Yoshi's Island Name of Arrangement: Ragtime Clubbin Name of Arranged song: Athletic Theme -------------------------

Catchy source tune. Sounded a little lossy to start, but I'm interested in where this is going. Track started at :42 and the mixing feels pretty hot in terms of the levels. It's because that kick is majorly sizzling in the high-end; it drops out at 1:22, but as soon as it's back at 1:38, the volume of it is just insane; it really doesn't need to be that loud. Sound design is a little vanilla for the genre, but it's OK. At 2:18, some dynamic contrast would have helped. Everything stays pretty loud/intense without any sort of break. Ah, there's a dropoff finally at 2:46; that definitely could have been the transition 30 seconds ago instead of now. Back into a rebuild at 3:13 to the main part of the theme, and the arrangement is sounding very samey compared to the intro. It's basically a copy-paste of :16, including the addition of the organ-ish part from :29 at 3:27 during the build. There was just a minor phasing effect at 3:41, and then a verbatim repeat of the theme at 3:43-4:10, which was a disappointment. However, 4:10 dropped out some of the parts to begin a gradual subtractive ending before bookending with the arcade ambiance at 4:50. There's some production/mixing issues, and it's not the most dynamic treatment of the source in terms of the level of interpretation, but it's solid all around, with good energy and an interpretive enough approach. Some further dynamic contrast and variation in the arrangement would have better realized the potential here, but there's a lot more that works than doesn't. Good work and good energy, Jakub! YES

Will need a more unique title if this passes; it's just the location name. -LT Contact Information ReMixer name: AceMan Real name: Jakub Szeląg Website: http://www.JuicyCube.net Submission Information Link: Name of game(s) arranged: Pokémon Gold/Silver/Crystal Name of arrangement: Goldenrod Game Corner (Remix) Name of individual song(s) arranged: Game Corner Additional information: Original composer is Go Ichinose (without Junichi Masuda). ----------------------------

FYI: :42-1:36 of the source are taken from the C64 game Comic Bakery, and is a legendary song in the C64 scene, so I noted those sections as CB in my breakdown. The track was 3:51-long, so I needed at least 115.5 seconds of overt source usage to have the VGM be dominant in the arrangement. :51-1:05, 1:14.5-1:33 (CB), 1:36.75-1:55.5 (CB), 2:28.5-2:48 (CB), 3:23.75-3:36.5 (direct NES audio sampling :00.5-:22.75 - 3:38.5-3:51) 83.5 (+34.75 sampling) = 118.25 seconds or 51.19% source usage. Starts off sampling the original song before transitioning into the rock at :21. It's a pretty cool rock cover. The percussion writing had some good changeups and fills, though the writing felt kind of vanilla in the big picture. Not sure why the high-end seems cut, but it makes the track sound needlessly lossy. The treatment of the source tune was personalized some, though there's a lot of cut and paste going on with the main melodic sections (:51 vs. 3:23 & 1:36 vs. 2:28). The arrangement's straightforward but personalized with the live guitar, so it's promising despite the repetition. That said, I'm going to lean to NO on this due to the 30+ seconds of direct sampling of the original NES audio, which was the only thing that pushed this track into having the source material be dominant in the arrangement. Without the direct sampling, some of sections kind of followed the chord progression of the Comic Bakery source, but were original writing, so I didn't count those. Unfortunately, I think a combination of the issues: 1. the cut-and-paste repetition of the melodic sections 2. the lack of high-end clarity (more minor) 3. leaning on the direct sampling of the original audio to make the source tune usage dominant ...all added up to a NO. It's a cool piece that could use a more development of the arrangement, and less sampling of the NES audio. Really, if the only thing addressed were #1, this would have a much better shot. It's well in the right direction, and a fun track, but it needs more.

Hi, I'm Following the steps for submit my remix. Information: ReMixer name: EdKr VGM Real name: Diego German Email address: Website:http://edkr.blogspot.com UserID: 52994 Submission Information Name of game(s) arranged: Jurassic Park NES Name of arrangement: Enter the park (Level 1) Name of individual song(s) arranged: Enter the park Thanks! EdKr http://edkr.blogspot.com -----------------------

Amazingly bad journalism. https://twitter.com/stillgray/status/530851191526129664

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Thanks for the catch.

I'm listening to this again, and while I agree with the sections of clutter I pointed out and I was borderline, I definitely grandpa'ed the vote in terms of the production & volume. With some time away from it, this production is in fact cool, the mixing is reasonably separated and the textures are working well enough, so I'll definitely flip my vote. Nothing wrong with this intensity, and like I said before, the arrangement was way over the line. YES

Thanks. All set!

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Independent, i.e. independently developed w/o much OCR input, but submitted as an OCR album. It's a loose classification, but one meant to be to faster to prep and release for us internally. http://ocremix.org/album/54/audio-engineering-a-tribute-to-cid http://ocremix.org/album/57/futebol-arte-world-cup-tribute-ep

You're all terrible, yes!

For the database component, if he didn't develop it himself, djpretzel would need to spec out how he'd want it developed in PHPMaker. That's above my pay grade (of $0), but it'd be nice to have a framework to start with so that someone else could develop it, since a more automated submission process has been something we've talked about for years (not just the notion of it, but also discussion of the functionality). It's basically something we'd need for the Workshop, and we're hoping to use the Patreon support to fund that kind of coding work. Re: community input, we're not going to institute community voting, even as a filter or in an advisory role. It doesn't work for this process. In the Workshop, I've seen instances where people go "Oh, I dunno, they'd probably reject this." or "They'd pass this for sure." and people are wrong about that. I'd like to avoid false hope or uniformed discouragement. Plus, the main reason why community voting doesn't work is because of nostalgia and genre bias. If a track sounds good on some level, or trigger positive nostalgia, someone will want it posted as an OC ReMix even if the arrangement or production doesn't meet the bar. And if someone submits a less appreciated genre at OCR like dubstep, metal, rap, something with vocals, or something with purposeful distortion, that 70% rating you're putting out there would never get met. We already have "community voting" and it doesn't mean a thing to me. This approved ReMix has 93 thumbs up, 110 thumbs down on YouTube. I get that you're saying a community vote would just be guidance, but if it doesn't help us answer the question of whether it fits our standards, and it just has people disliking the genre or premise of the arrangement, it's not guidance, it's chatter and noise. Even if we tried our best to steer people to vote with the standards in mind, popular voting isn't about whether a track fits the standards, it's just a popularity contest. We already know how popularity contests work as far as OC ReMixes; it just tilts to popular games & genres at the expense of more obscure ones, and that's not useful for us. Believe me, I wish it was different.

He knows that!

On the production side, I also thought the guitar being mixed both in such a lo-fi way and behind the synths and beatwork didn't make much sense to me, and the tone of the beats didn't mesh well with the guitar. It wasn't a dealbreaker issue, just something that didn't sound cohesive, IMO, with the beats seeming so tepid while the guitar rocked out. Maybe something with a little more density to it could layer together better (and also serve to briefly vary up the beats). As far as the arrangement, I'm co-signed with Chimpa and OA. The VGM source material should be at LEAST half of the arrangement so that the video game music is the dominant part of the track. We have that rule so that we don't post mostly original writing with small bits of VGM weaved in. Unless we're missing something as far as other Doom themes being used, you're doing your own thing for most of this track and it has nothing to do with Doom except 2:39-3:30. There's nothing inherently wrong with that approach, because it's the music you want to make; it just falls outside of our arrangement/source usage standards. NO

Dat troof! http://www.neogaf.com/forum/showpost.php?p=134839993&postcount=15450

Both Shariq & I are out for Halloween tomorrow night, so there's no OCR Talkback episode this Friday. That said, we aim to be back with the show the following Friday, November 7th. HAPPY HALLOWEEN! GO spook some children and give them apples instead of candy!

Just sanity checking the source usage. I didn't recognize some of the stated connections from Jordan, but I could ID just over half, so I'm cool with it. The track was 4:38-long, so I needed to confirm the source usage somewhere in at least 139 seconds of the track for the source usage to be dominant in the arrangement. :00-:01.5, :03.5-:05.25, :07-:12.25, :14.5-:16.25, :18.25-:19.75, :21.75-:27, :29-:30.75, :32.25-:34, :36.5-:41.25, :47-1:16, 1:45.5-1:49, 1:52.75-1:56.25, 2:00-2:01, 2:03.5-2:05, 2:07-2:12, 2:18-2:30.75, 2:32.5-2:47, 2:47-2:48.25, 2:54.5-2:56, 3:01.75-3:05.5, 3:09-3:12.5, 3:16.25-3:44.5, 3:49?, 3:59.75-4:01.75, 4:03.75-4:05, 4:07-4:12.25, 4:14.5-4:16.25, 4:17-4:18.5 = 142.5 seconds or 51.25% The groove was smoove, and the source tunes were bobbin' and weavin' throughout. Pretty cerebral stuff as far as examining the arrangement, but when it comes to the flow, it all melts like butter. YES