Liontamer

Why'd they drop that cake? :'-( Sorry, Kris.

Seriously. I thought I had reclaimed my life again. :'-(

We asked Max to give us a quizzical look and he kindly hooked us up! Much love to Smooth for pushing VGM fellow acapella legends Rough McGruff!

I've got Tim Follin requests that need to be done first!

It's probably from Chrono Trigger.

It's time for the NEW hotness in video game music acapella, from OC ReMix! Introducing ROUGH MCGRUFF, BABY!! Skillz, baby!!! We're debuting the supergroup with 3 ZOMG HUGE TRACKS, BABY! Each better than the last, son! Mega Man 3 - "Snake Man" Acapella! WE OWN YOU, SMOOTH MCGROOVE! PREPARE FOR PWNAGE! :-PPPPPP ●http://youtu.be/aoC8W5ALnJI Yoshi's Island - "Aboveground (Dizzy)" Acapella! Yoshi's Island, son! We get you dizzy, son! Acapella like u've NEVER heard, son! ●http://youtu.be/mrwJD9twm-E Streets of Rage 3 - "Cycle I" Acapella! Takin' it to the STREETS OF RAGE, son! We punch you with music, son! ●http://youtu.be/h6TFk67Vm_U

If you had been in the judges channel, you would have had a voice in this. We all decided as a unit if this was the best course. Plus the testing matched the votes of every previous submission, even on violations. Honestly, I was coming up on 10 years on the panel in July, and I like listening to the submissions, but Judganator truly makes me feel as if a great weight has been lifted off of my shoulders. I'm literally feeling a lot less stress right now, and this is a huge help for OCR as well as more seamless music integration and evalutation into Oculus Rift.

Rexy's post wasn't off topic. And she wasn't telling you to "LEAVE, GO AWAY" to some other site, so she's not stirring up drama, only you are. In any case, this isn't an idea that's going to be done. So we're done here.

BIRFDAY! Hey hey!

This is too liberal based on what I could make out, and I'll be voting NO. I'll come back with a thorough vote and we'll see if my opinion changes by finding more overt A-to-B source connections, not just using chord progressions, which aren't explicit enough connections. Also, Chimpa's NO is grandpa'ing, IMO. EDIT (7/3): I liked the track a lot. I saw the comments about the trumpet never letting up with the perpetual soloing, and I'm not inherently against pulling it back during some portions for dynamic contrast. However, I thought that criticism was getting way too subjective over a valid stylistic approach. I also didn't find any meaningful fault with any of the intonation issues as the overall performance was strong. On the performance level and on a conceptual level, I was perfectly cool with this all the way and would love a unique approach like this on OCR. Unfortunately, where I did feel I have to reject this on is not using the source tune enough within the arrangement. The track was 4:06-long, so I needed at least 123 seconds of overt source usage for the VGM to be dominant in the arrangement. The vibes-like stuff, where the source melody was explicitly used were the only areas that I counted as identifiable usage of the source: :48-1:12, 1:36-2:00, 2:24-3:12 = 96 seconds or 39% (yipes) You could argue that a portion like 1:12-1:19 was a super liberal/loose reference to 1:13-1:19 of source, but it's just not a strong enough resemblance. There were a lot of sections (including the opening) merely implying the progression of the source's chorus, e.g. :00-:48, 1:11-1:35, 2:00-2:24, 3:35-4:00. Then 3:12-3:35 implied the progression of the main melody. This really needed less implicit similarities and more explicit calls to the source tune. If you ever wanted to add something explicitly from the source into these sections, that could put it over the top as far as the VGM source material being used for a dominant portion of the song. I greatly enjoyed this one, but as is, it's currently outside of our standards due to the (too) limited source usage.

You might want to calm down (and type properly). Just... dial it back. Try not to (needlessly) take offense to everyone. Short and sweet: thank you for the proposed idea. However, we're definitely never, ever going to do tiered or scored levels of judging, especially for submissions that aren't accepted. Our judging process isn't meant to use a scoring system. A submission either makes it to OCR or it doesn't. Rexy's not being negative. She's correctly saying that (because we'll never do this idea) you'd need to hit other sites for feedback with a ranking-style approach. Because of the unlimited number of ways an arrangement can be approached, a scoring system attempting to take into account all of the different things that can go right and wrong with an arrangement doesn't seem like it could be consistent enough to accomplish what you want. That said, it wouldn't involve scores, but the Feedback checklist the judges came up with is a really good resource that we may be able to include in a deeper way with an improved Workshop. All of those things are literally the problems the judges look for in submissions, so if you can avoid those problems, you'll be well on the way to getting a submission passed. Your thread actually spun off into a conversation about Workshop improvements djp wants community input about. Catch up there and chime in some thoughts.

Thanks a lot for being so thorough here. Going above and beyond in laying it out definitely helps. Can't promise a quick fix, but djp is looking at getting this working consistently. EDIT (3/24): As of last night, this is now fixed. Thanks again for laying the issues out so well.

I think there's enough butthurt to go around re: a YES/NO system to then go and add ratings or rankings, which tip heavily to nostalgia and genre bias than anything concrete. Part of the reason VGMix2's rating system eventually stopped effective was after the initial enthusiasm wore off to reviewing and it was left with maybe only 3 regulars that bothered reviewing and scoring consistently. The passion fades. I liked VGMix2, but that's been done before and the system was flawed on the reviews level in the long run. That basically seems like what you're asking for, tiers based on fan reviews has been done. Personally, I'm just not a fan of the inconsistencies of hive-mind scoring systems. I wrote this years ago, so I'll have to find the post. Music is subjective enough that I don't see the benefit of ratings by people who don't necessarily care about any particular standards.

ReMixes already don't have to be "perfect and pro." While, I guess I can appreciate the perception of that, the standards are here to make being approved as an OC ReMix mean something. Adding second- and third-class quality tiers to stuff that isn't passed aren't labels that benefit the perception of that work for the artists, plus it adds a level of work I'm not interested in pursuing. TL;DR - There's only one tier: whether it's approved.

Friday, April 11 to Sunday, April 13 Boston Convention & Exhibition Center, Boston, MA http://east.paxsite.com Live free or die! (Wait, that's New Hampshire...) OCR heads to New England to attend the 5th annual PAX East! VGM lovers, come hug us (and win stuff, but not for hugging us. But please hug us)! PANEL! OverClocked ReMix: Hugging & Cuddling Video Game Music Since 1999! Cuttlefish Theatre Sunday, April 13th, 12PM Panelists: DarkeSword Diodes DragonAvenger José the Bronx Rican Level 99 OA Vilecat We'll see you there! Who else is going?!

You rock for putting this on my radar! DO NOT SKIP, PEOPLE!

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)