Liontamer

What did you think? Post your opinion of this ReMix. ---------------------- I've been a fan of Hunz since 2005 when I heard "Draw the Line" off of Hellven's 2005 Debut album. The work of the contributors (mv, virt, rs3, funkymuskrat, xerxes, and more) to mv's Hellven netlabel was eye-opening stuff for me as I learned more about the scene after arriving here in 2002, so I'm really excited to have Hans aboard as a posted ReMixer. He's been at it in the demoscene for a long time, and along with Phil and Richie, 7bit Hero's debut here is nothing but awesome. Also, check out their soundtrack, front by Hunz, for Penny Time for more good times. All credit goes to forum-goer MusicHunter for living his handle, finding this great arrangement and plugging it here on the forums!

Interesting textures to start. The soundscape's (arguably) a bit thin, but I thought it was fleshed out enough, provided there were good dynamic changes later with a bit more meat. Nice subtle padding from 1:07-1:18 for that warmer sound; beautiful contrast with the thinner opening. Not really digging the electronic textures from 1:22-2:23. The stuttering lead and saw countermelody were both generic, the kicks & claps were vanilla and their patterns lacked complexity over the long haul (unlike the first section's creative percussion writing), the melody could have been pushed up a bit more, and the textures were on the empty side (aside from the beats). The same issues for me were there from 2:53-3:24, which basically repeated 1:37's portion. I liked the ideas of the arrangement, EXCEPT 1:22-2:23 & 2:53-3:24's trance parts, which could have been cool but weren't pulled off with as much variation and polish as they should have been. The chorus parts at 1:21, 1:37, 1:52, 2:08, 2:52 & 3:09 are basically the same gating technique over and over without much difference, and that aspect of the arrangement felt too repetitive and unvaried over time. That ultimately was the dealbreaker for me. The sound design was pretty cool with everything else except those sections. It's a great start, and I made just be the grandpa here not feeling the club-style portions are clicking all the way with the lack of variation and plain sound design, but we'll see what the others think. No matter how this vote goes, Tyler, this is a promising arrangement with some creative treatment of "Dearly Beloved" and I definitely want to hear more from you. If this doesn't make it, it's definitely worth putting some more time into; this could definitely be taken to that next level of complexity and fullness. NO (resubmit)

Remixer Name: Tspeiro Real Name: Tyler Speiran website: http://tspeiro.bandcamp.com userid: 49080 Name of Game: Kingdom Hearts Name of Arrangement: Trinity Name of individual song arranged: Dearly Beloved --------------------------

This one's too crowded for my taste. That said, it's clean ENOUGH, and Mike's arrangement is solid as a rock. Good energy throughout; the adaptation to a electronic piece was handled well, and I didn't even miss the vocals and lyrics, as awesome as Lisa Miskovsky work in the original is. I wish the piano wasn't so fake and robotic. I suppose that distinguishes it from the original, but that's still not a good thing. In any case, it was horribly exposed in the intro and close, but those were both brief, and it wasn't a standout issue elsewhere. The ending also unceremoniously cut out before the fade completed, so we'll need that fixed before posting, if possible. YES

Haha! I'md glad the video stressed that these songs aren't "bad," just high on the cheese factor. And sticking to original VGM: we love you WatchMojo community. Thanks for not wasting time with licensed stuff! Lookit all the OCR alums! Props to Laura Shigihara, Blake "Dummy" Robinson, virt & Grant Kirkhope for all making the list! Yo, I'd never heard of Total Distortion's "You Are Dead", but it's GREATNESS! We need this arranged to make the universe right.

If this passes, we should double-check that this isn't based on a previous string or orchestral arrangement. I'm also curious as to whether it's a live quartet (with more player credits needed) or multi-tracked. Either way, this was a smooth listen. Arrangement-wise, this was structurally close, but the excellent live performance dynamics and new part-writing to accommodate the full quartet were a thing of beauty. It's short and sweet; count me in. Keep 'em coming, Spencer! YES

This is also one of those pieces where there's a lot of usage of underlying progressions at the expense of direct, explicit usage of the source tune. That said, when I stopwatched it, this didn't rely on the progressions as much as explicit use of the source material, which was key for me. For a 5:06-long piece, I needed at least 153 seconds' worth of overt source usage for the source material to be dominant in the arrangement: 25.75-44, 47.75-51.5, 55.25-58.75, 1:02.5-1:06.5, 1:10-1:12, 1:13.75-1:46, 1:50.5-1:54.5, 1:58-2:00.5, 2:08-2:09, 2:12-2:12.5, 2:26.75-2:27.25, 2:31.25-3:02.25, 3:04.5-3:06, 3:08-3:11.5, 3:15.5-3:23, 3:26.5-3:30, 3:34-3:47, 3:48.75-4:02.5, 4:17.5-4:18.25, 4:24.75-4:25.5, 4:28.75-4:29.5, 4:43.75-4:44.5, 4:46.25-5:04 = 166.25 seconds or 54.3% overt source usage Onto the production crits, WHOA, :44-1:12 sounded pretty flooded. Definitely pull this BACK. The highs are too piercing/sizzling here (worst offenders were :59-1:11, 3:04-3:34), and there's a lot of needless mud during the densest sections that obscures the detail-work in the writing and layering (e.g :44-1:12, 2:31-2:44, 3:19-3:34, 3:48-4:02). Arrangement-wise, I'm all over this. The dub-wub elements are used well, the compositional dynamics are good, and the arrangement's extremely creative. However, the soundscape is just too flooded. If the mixing were cleaned up and balanced, so that the high-end sizzle were toned down and the densest sections could breathe a bit, I'd be all over this in a heartbeat. Pains me to do this when the arrangement is WAY, WAY over the line, but one more pass at the production would make this way better IMO. NO (borderline/refine/resubmit) EDIT (11/4): Changed vote below.

Hi guys, this is my first submission, please be gentle! Contact Remixer Name: GlacialSpoon Real Name: Robert Kemp Website: happysalad.net (home of my gaming podcast The SaladCast) OCRemix userid: 52260 Submission Game: The Legend of Zelda: Ocarina of Time Arrangement name: Saria's Drop Songs arranged: Saria's Song with a hint of Epona's Song Original link: http://www.youtube.com/watch?v=zaFDLWbTL4k About Rob: Rob has been composing and producing digital music since tracking on an Amiga was a thing under the guises of "Glacial" and more recently "GlacialSpoon". As a hobbyist from Suffolk in the UK, a single track can takes months to evolve and contort itself into something deemed worthy of public exposure. Listen to more at http://www.last.fm/music/GlacialSpoon Rob's notes: I hope you enjoy this light, dubstep tribute to Saria's Song from Ocarina of Time. Taking a 30 second loop and extending it out to a full track proved a little tricky and I had to pad out around the main theme with an ambient intro build up, and extra sequences. Hopefully these extending phrases help punctuate the main theme when it takes to the fore. I couldn't make a dubstep track without a bit of a filthy drop either! Thanks -----------------------------------------

Opened up pretty beefy with some good minor rhythmic changeups. The vox brought in at :29 was pretty fake and slightly behind the beat. Adding more elements at :44 with the wind lead was a must to not expose the vox as much, as it happened again briefly form :59-1:06. The synths were pretty boilerplate synths, but I felt the saws at 1:48 were too generic myself. The melody at 2:03 was OK, as were the beats, but the balance felt off until 2:18 with the beats being too loud. The plucked string sound at 2:35 sounded a bit too exposed, not that it was meant to sound realistic; good doubling though with the wind lead from 2:49-3:04. Nice usage of sound effects briefly after 3:04 as well, and the hand percussion sprinkled throughout was good as well. The track basically kept the same energy level until the drop at 4:09, so things felt a bit repetitive, but mostly good there. There are production things that I'd change here, like the saws arriving again at 4:53 (nooooooooooooo), and that thin clap at 5:00 & 5:07, just things that sound weak in comparison to the other instrumentation. It's not the strongest piece in terms of the sound design, since I found this a bit imbalanced. That said, I thought the arrangement was interpretive for the genre adaptation and was able to barely carry it over the line for me. We'll see if anyone has a strong opinion against it, and I'll likely revisit my own, but despite the flaws the arrangement's solid enough for a borderline YES. EDIT (3/25): I disagreed with the comments about the piece being too repetitive to NO it just on those grounds, but I'll go ahead and flip my vote to close this out more quickly. The fake/exposed/behind-the-beat vox, generic saws, and thin padding are enough reasons to lean toward holding this back. The kick was beefy, but the other elements should be strengthened so that there aren't a lot of weak links in the chain to point out. NO (resubmit)

= Download link Contact Information RJ remixes Jonathan Lemethy and Richard Földhazi https://soundcloud.com/rjremixes 51359 Submission Information Donkey Kong Country King K. Rules Donkey Kong Country: King K. Rool We did this remix becouse we love Donkey kong Country and trance, With some influence from Dash Berlin and Armin van buuren! we thought that King K. Rool would rock as an DJ! We hope u like it! -----------------------------------------------------

I was the outlier then, and I'm still cool with it now. It's definitely less abrasive now, so hopefully the consensus goes in favor of it this time around. YES

Original Decision I used to always distort the fuck out of my master tracks... New version of Banish remixed and modified to meet the panel's reasonable standards: https://soundcloud.com/brent-wollman/banish Crank it! ----------------------------------------------

Not really. For example, if you send a 4 1/2 minute arrangement that uses Pokémon X for 2 1/2 minutes and Kirby Super Star for 2, the remix will be listed as Pokémon X, because that's the game score most represented in the arrangement. I'm always going to tag the game score used most in the arrangement; anything else literally doesn't make sense. That said, the hypothetical mix would show up when viewing listings of mixes associated with Kirby Super Star. Mega Man 5, for example, lists an MM1 and MM9 mix that also use a theme from MM5. http://ocremix.org/game/296/mega-man-5-nes/remixes

The bitrate was juuuuuuuuuuuuuuuuuuust a bit too high (193/194kbps) for the old standards, when 192kbps used to be the ceiling.

WE ARE LIVE!

I'm hosting tonight. Are you a ReMixer available to talk VGM at 9 PM Eastern this evening? Let me know! Also, feel free to post questions!

Artist profiles aren't forum accounts. The information in an artist/composer profile is informational and mostly static, and there's no need to anyone to have the ability to change it besides staff. If someone has a site or picture to add to it or they want to change their artist handle, we can handle it. For stuff that's more customizable, there's always the forum profile.

Nah. 10 or so people can go back and fix theirs. It's better than 140 pins all being off by the same distance.

Yeah, someone moved everything at once, so I just generally shifted them back. So all the people who individually moved stuff back to seemingly fix it fucked it up for themselves and should have left them alone. Jarel should investigate how to tighten up the access to moving things.

We aim to please. Done!

Deleted mine too. Not sure I'm comfortable with this being publicly shared via Twitter. Well, I know who the most paranoid are. OUT TO GET YOU!

I'm glad you had nothing to do with the song then. You can join Vig in the grandpa lane. Lovely piece here, and I hope Leandro keeps 'em coming! His next mix in the pipeline is great!

It almost goes without saying, but there's no need to pin your actual home address. Just pin yourself on the city you live in or the nearby major city/area.

We have a ton of mixes like that. I generally just check which theme/game is used more, and that determines what game the mix is filed under in the database.

"How DARE you change the genre?", he says, as if this hasn't been done for decades in official arrange albums. What a maroon.