Liontamer

If an album's already released, the album version is what it is. Albums are from a moment in time, just like a passed ReMixes. We don't do replacements after an album's released.

For a 3:30.5-long piece, I needed 105.25 seconds of overt source usage. :01.5-:32, 2:06.5-3:05.25 = 89.25 seconds or 42.4% Hey Chris, this sounds awesome production-wise, but it sounds light on the source material. That said, the simplified progression of the source melody's is certainly in play for a ton of the track, so that use in context with the rest of the overt theme use is possibly enough to tip others in favor of it. It's just not something I can get behind myself. Again, I argue if you built an entire track out of sections like, for example, :32-2:04 of this track, there wouldn't be enough of a direct connection for someone to identify the track as an arrangement of "Under Logic". Even the notes of the pattern used from 1:15-1:41, for example, are too different from :15-:30 of the source for me to count. So I love this piece in a vacuum, Chris, but I'd need more explicit, less simplified usage of "Under Logic" in this piece to pass it. NO (resubmit)

Your ReMixer name - ellywu2 Your real name- Chris Elliott Your email address - Your website - www.ellywu2.com Name of game(s) arranged - Streets of Rage 2 Link - Name of arrangement - It's Fine, Learn to Dance Name of individual song(s) arranged - 'Under Logic' Hello OCR, long time no see. A while ago (probably 7 or 8 years - time flies!) I submitted a SoR remix which was, quite frankly, a bit rubbish. I've had another go - I don't really write much electronic music nowadays, but I hope you enjoy! Also, a little thanks - it's been 10 years since I registered on this site. It got me into making music above and beyond noodling on the piano. Over the last 2 years I have finally turned (semi) professional, writing (bad) music for television over here in the UK. All thanks to OCR! -----------------------------------------------

The string sequencing opening things up sounded noticeably stilted, but serviceable. Not really blown away by the lack of realism feeling exposed most of the way through what felt to me like stiff timing of otherwise good samples. The arrangement itself was interpretive enough, and the samples are serviceable, but something about this piece's texture seemed really empty, even lifeless in places, e.g. 2:00-2:15. The string decay at 2:55 stuck out the most as super fake and dry-sounding. What was with the mega-abrupt ending? Sounded like the last drums hit should have tailed off over a few more seconds. I'm reserving a call for now, because I like a lot of the ideas here, but I'm not quite sure on the execution. Will wait to see how others feel and if they articulate the issues better than I can. EDIT (8/6): The NOs have it. Through some combination of tweaking the sequencing and/or mixing, like the others suggested, you can get this sounding its best. Right now, the realism and emptiness issues nagged enough that I couldn't approve it just yet. But don't be discouraged, Nicolas, you're in the right direction so far.

Contact Information Your ReMixer name: Peregrinus Your real name: Nicolas Galipeau Your email address: Your website: https://soundcloud.com/n-galipeau Your userid (number, not name) on our forums, found by viewing your forum profile: 52473 e.g. djpretzel (http://ocremix.org/forums/member.php?u=1) has the userid of "1" Submission Information Name of game(s) arranged: Final Fantasy VI Name of arrangement: I Hate Name of individual song(s) arranged: Kefka Additional information about game including composer, system, etc. (if it has not yet been added to the site) Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix, for example the inspiration behind it, how it was made, etc: Here is a cover I made of one of my favorite track from Nobuo Uematsu. At first, I intended to simply orchestrate the piece, but then I got inspired to play a bit with it. I tried to go with a darker mood for the legendary "Clown of Chaos". In this Remix, I explore the darker side of this jovial megalomaniac! -----------------------------------------------

No. Send them whenever.

Can't say I've ever heard of this happening to anyone else.

Aight, I'll email Mat and we'll see if he can tweak this.

Man, this source is catchy as hell. Don't sleep on Jeroen Tel. I came in reading Chimpa's vote and expecting/wanting to co-sign, but I didn't end up agreeing. IMO, the track is definitely loud; it's definitely mixed extremely hot, much like how Beatdrop does it. I'm not saying Chmipa's wrong on her criticisms about things being cramped to an extent, but unlike Flexstyle/OCU's Sonic team-up where I really thought things got way too compressed, I just wasn't getting that feeling here. The parts sounded like they had reasonable separation and I heard a fair amount of clarity amidst the volume. If the parts weren't reasonably distinct from one another and the soundscape was super muddy and cluttered, I'd be against this. All I'm hearing is awesomeness at a very high volume. The arrangement was absolutely incredible; easily one of the most intense VGM adaptations I've ever heard, with tons of ear candy, super pronounced source melodies and amazing original writing complimenting the whole package. Easily Mike's coolest (and I'd argue most polished) track in the history of ever. MOAR PLEASE! YES LT Edit (7/30): Even super compressed, this still worked enough, but the updated version has so much more breathing room, and it's way easier to appreciate the details. This will definitely be in my personal rotation forever. If I make it to 90, I'll still bump this.

Didn't NEED to check it given how much the source was used, but I wanted to. The track was 3:26-long, so I needed at least 103 seconds of overt source usage for the source material to be dominant. :01.5-:19, 21-26, 28-36, 38-39, 40.75-54.5, 1:13.5-1:27.5, 1:40-2:02.5, 2:07.5-2:09, 2:11.5-2:13, 2:16-2:17.5, 2:20.5-2:22, 2:28-2:52, 2:55-3:14.75, 3:16.75-3:25 = 139.75 seconds or 67.8% This literally sounds like Will attached a pair onto a really kiddie-sounding version of a "badass" theme. It's a fun source tune, so I'm not saying I disliked it, but this hard rock take... much stronger. Mas macho. With mice. YES

Legendary. That is all. YES

What needs to happen soon of course is to determine a track order and host me a set of WAVs (and the directors/artists comments where available) so that I can get started preparing the package. That'll keep me occupied while you guys put the other final pieces in place. If you wanna "ZOMG" in Community, be my guest.

The track was 7:37-long, so I needed at least 228.5 seconds' worth of overt source usage during the track for the pass on that level. :00-1:14, 1:27.5-1:44.5-2:01.5, 2:19.5-2:37.5, 2:46.5-2:55.5, 3:03.5-4:04.5, 5:59-6:37.5 = 244.5 seconds or 53.5% There was a lot more subtle stuff going on as well that would add some more source usage in there on some level, but there wasn't a need to dig deeper. Nice work, per the usual from Brandon. I could definitely go for hearing Brandon attempt another extended rendition of a minimalist theme, because he really delivered excellence here. This one's got a drone-ish approach, and I'm enjoying the great performances, great energy, and, most importantly, a very strong, creative arrangement. Brandon succeeded giving "Lavender Town" a dark energy while keeping the ideas and soundscape evolving the entire way. YES

Happy birfday! Seize the day, kids!

There were a couple of minor spots where I didn't agree with the source breakdown, but there was also a sizeable section that you didn't count that I would have, so it was all a wash and I gave this more source usage credit that what was stated. Jordan and Kris make a good team, no doubt. I wouldn't have minded some sort of rhythmic changes or a stop-start somewhere to keep the show fresh, but otherwise this was pretty swanky. The noodling got a little busy sometimes, but that wasn't a huge deal either. I didn't get a restful vibe from the piece vis-a-vis the mix title (not that it matters), but I did enjoy the energy and the creative variations of the theme throughout. A fun piece and an easy call. YES

Once the beat came in at :15, I thought this piece was missing clarity in terms of the production. It may just be me, but I felt the countermelodic synth brought in at :29 was really bland & unexpressive until 1:38, and the core beat was too simplistic & plodding. And both were too repetitive until they finally dropped out at 1:37. The soundscape was produced in a way to somewhat fill up the soundfield, but the texture was nonetheless very empty and basic. The glassy lead :43 sounded very distant and the timing wasn't smooth. I'm not sure if it was sequenced or played in, but either way the timing just wasn't clicking. I'm definitely not hating on this, but I'm just not feeling like the polish was there in terms of the sounds, or the sophistication & complexity of the writing so far. It feels like a WIP. Cool dropoff at 1:37, though around 2:05 i really felt the soundscape was too muddy and the leads needed more room. That was definitely the case once the beat picked back up at 2:32. Really cool and smart interpretation of the Moon theme at 2:32, but that lead needs to cut through some more. The balance was a bit better at 3:00 with the higher-pitched lead, which cut through more; things were still kind of flooded there, but it was more tolerable. Not sure what happened from 4:01-4:22, but there's a TON of light yet audible distortion interfering with the piece. Gotta clean that up. The second half clicked for me a lot more than the first half, but overall this still needs a lot of additional work. Definitely co-signing with that. In a nutshell, those were the two things I most identified with after reading Palpable's vote. He hit on some issues I found, only articulated a different (read: better) way. Everything else said by him and Chimpa has merit, but those two things... address those for sure. That said, I definitely know you have what it takes to get it there and hope you don't drop this one. Take the criticism that you agree with, sidestep what you don't agree with or don't want to mess with, and see how much further you can take this. NO (resubmit)

The timing of the 30-second opening sounded too rigid. After moving into the meat of the piece at :30, I thought the soundscape initially sounded too thin, but was willing to see where this went. At :56, I thought the texture had a few crowded spots that weren't a huge deal (e.g. 1:02-1:12). Most of the time though, the sequencing felt too rigid. The transition to the militaristic drumming at 1:48 sounded very poor, with drums that sounded very flat and had no body to them and also had very unrealistic, machine-gun style triggering. Unfortunately, everything about the execution of the drums sounded very messy. Meanwhile, the other instruments sounded thin, so the combination of thin, mechanically-timed leads alongside loud drums didn't work. The arrangement was creative, and of course I'm a huge fan of Hamauzu and SaGa Frontier 2's soundtrack. But the sample quality, overly rigid sequencing, and poor mixing all held this back in a huge way. It would definitely take a big leap in production quality to get this track where it needs to be to make it, I'm afraid. You're a good arranger, Guillaume, but the tools you used for this piece are preventing you from making it sound reasonably realistic. NO

Not a very interpretive arrangement as far as the melody and structure from 1:06-on, but the additive writing, instrumental changes, and some melodic personalization did add up to a borderline pass for me on that level. The production was a sure bet. I'm pretty much where Vinnie was, i.e. it cuts it close, but it does have some meaningful interpretation, and the potential here isn't fully realized though it's in the right direction. Because the backing patterns sound similar, it's actually easy to overlook the modifications Adam made, but if you listen more closely you shouldn't miss all that. YES

Both Deia and Chimpa have this down. Minor point, but yipes at 4:29-4:30. There were other more minor intonation issues, but they weren't a huge deal in the big picture, and I could look past those if the production was good. 5:00, 5:03 and a TON of other spots until 6:04 had distortions, with 5:00's sounding like a fart. C'mon, guys, really? You gotta bring it better than that. And encoding this at 128kbps is no good either. The recording quality's pretty awful, and it hurts and otherwise promising arrangement. If you can record this with a better setup, avoid distortion, and reduce any instances of poor intonation, you have a winner that would easily pass. Again, cool arrangement, but production's important as well. Why half-ass the production like this when the arrangement's so good? NO (resubmit)

The soundscape sounded kind of muddy/cluttered to me for whatever reason. Re-EQing/cleaning that up would be nice, but this was an otherwise strong arrangement, so that aspect certainly carries it. Cool instrumentation choices as well. Chimpa went over what clicked as far as the interpretation of the source, and I agreed on that for sure. Easy call. Welcome aboard, Joey! YES

this piece wasn't "light on source" or even close to 50% overt source usage, so I'm just clarifying with an extra vote so that this doesn't get assumed as fact in the writeup. While the bassline sounded Mega Man-ish, it was too different from Ground Man's bassline (channel 7 of the .SPC) to count, sure, so I wouldn't count that. That said, the vamping over the chords that were directly from the source was fine to me. Here's what I ID'ed as directly referencing the source: :09-40, :49-:54, :55.5-1:00.5, 1:17.75-1:38.5, 1:49-1:49.5, 1:52.75-1:58.75, 2:12.5-2:59.5 = 115.25 seconds of a 3:06-long mix or 62% There are other things that didn't stand out to me that I possibly didn't count, and it's possible the 1:17-1:38 section with the slowed down chorus sounded like it wasn't a connection, even though it was. Just co-signing on this and also just making sure this isn't wrongly perceived as almost too light on source. Great job, Timmie! YES

Or you've been spelling it wrong for years.

http://plumber.ocremix.org [13:00] <Nutritious> I'm kinda in disbelief [13:01] <Nutritious> That this album is actually releasing [13:02] <Liontamer> I'm always in disbelief [13:02] <Liontamer> Welcome to the finish line, homey [13:04] <Nutritious> Lol [13:04] <Nutritious> It's been a perilous path [13:04] <Nutritious> [13:04] <Bahamut> one might say you went through the flames [13:05] <Liontamer> :/

OC ReMix Presents Super Mario 64: Portrait of a Plumber! June 16, 2014 Contact: press@ocremix.org FAIRFAX, VA...OverClocked ReMix today released its 48th arrangement album, Super Mario 64: Portrait of a Plumber. The album features 16 artists producing 21 arrangements in a variety of styles based on Super Mario 64, released by Nintendo in 1996 as a launch title for the Nintendo 64 with music by hugely influential game composer Koji Kondo. The album also features beautiful artwork by Guadalajara-based artist José Ruvalcaba, as well as additional visuals inspired by the game's stages by José "Bronx Rican" Felix, Rickey "ApplFruit" Shine and others. Portrait of a Plumber is available for free download at http://plumber.ocremix.org. This album was produced to help promote the music of Super Mario 64, was made by fans, for fans, and is not affiliated with or endorsed by Nintendo; all original compositions are copyright their respective owners. "Musically, this album showcases OverClocked ReMix's reputation as a community proficient in a diverse set of genres. Portrait of a Plumber features rock, electronic, orchestral, and more. There's really something here for everyone," said album director and veteran arranger Justin "Nutritious" Medford. "I sincerely hope that this will serve to highlight both Kondo's fantastic work as well as the work of the many many talented artists who came together to make this possible." Featuring revolutionary controls and gameplay for its time, Super Mario 64 sold over 11 million copies and first introduced the world to a three-dimensional Mario. To this day, it is still a popular title for classic game enthusiasts and speed runners. Super Mario 64: Portrait of a Plumber is OC ReMix's first album dedicated to the Mario series, as well as OCR's first album honoring a Nintendo 64 title. About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: Download it: http://plumber.ocremix.org Torrent: http://bt.ocremix.org/torrents/Super_Mario_64_-_Portrait_of_a_Plumber.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=47212

Yeah, it's aged out in regards to quality since it was posted, but I definitely agree with OA that the foundation was there. The arrangement concept was very smooth despite the mechanical timing in the execution. Would have liked for more to be there, but no hate on keeping it brief.