Liontamer   Judges ⚖️

We go by box art, not title screen. But if you search with the 's, it'll come up. By the way, folks, it's worth noting that the breakdown Wake included in the album notes is pretty accurate, i.e. at nearly any point in the arrangement, there's at least 1 source in play; pretty impressive for 8+ minutes!

What did you think? Post your opinion of this ReMix.

OC ReMix Presents Futebol Arte: World Cup Tribute EP! June 30, 2014 Contact: press@ocremix.org FAIRFAX, VA...OverClocked ReMix pays homage to the action of the 2014 World Cup with our latest album, Futebol Arte: World Cup Tribute EP!! Honoring the world's most popular sport during its biggest global gathering, Futebol Arte: World Cup Tribute EP features seven arrangements of themes from a diverse group of international football games! Led by Croatian director Ivan Hakštok, Futebol Arte is available for free download at http://ocremix.org/info/Futebol_Arte:_World_Cup_Tribute_EP. This album was produced to help promote video game music and soccer video games, was made by fans, for fans, and is not affiliated with or endorsed by any of the publishers or developers of the original games; all original compositions are copyright their respective owners. Seven artists collaborated on all-new tributes to a host of soccer games never before given the OC ReMix treatment, including: Tehkan World Cup Mario Strikers Charged Pro Evolution Soccer 3 (World Soccer Winning Eleven 7 International) Mega Man Soccer Battle Soccer 2 Kunio Kun no Nekketsu Soccer League Inazuma Eleven. "As a big fan of football/soccer/fussball/futebol/nogomet/whatever-you-call-it, I thought it would be nice to pay a musical tribute to the 2014 World Cup in Brazil," said album director Ivan Hakštok. "Football/soccer games are a bit underrepresented as far as remixing is concerned, even though they have lots of really good soundtracks, and I hope this album will help remedy that a bit. This album features seven tracks and seven artists, maybe not enough to fit a football team of eleven players, but enough to rock." 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://ocremix.org/info/Futebol_Arte:_World_Cup_Tribute_EP Torrent: http://bt.ocremix.org/torrents/Futebol_Arte_-_World_Cup_Tribute_EP.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=47302

Preview it: http://www.youtube.com/embed/JM47ljYcWJY Download it: http://ocremix.org/info/Futebol_Arte:_World_Cup_Tribute_EP Torrent: http://bt.ocremix.org/torrents/Futebol_Arte_-_World_Cup_Tribute_EP.torrent

We gonna be on!

If there are comments from different places, I usually end up synthesizing them anyway into the album notes, so I wouldn't worry about it either way.

SGC is awesome. That is all.

As long as it uses the original song for the majority of the track, that's cool. It DOESN'T matter if you refer to just one portion of the source tune most of or the entire time, as long as the arrangement itself is sufficiently creative and developed. Notice, I rejected it for not using more of the source tune back then. We all make mistakes.

I'm definitely glad dropping it didn't happen.

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)