Liontamer   Judges ⚖️

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

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

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

2. Ownership 1. Your submission must be your own, original arrangement. 4. Arrangement 2. Your arrangement must be substantial and original. Submissions must be different enough from the source material to clearly illustrate the contributions, modifications, and enhancements you have made. Acceptable arrangement often involves more than one of the following techniques: Modifying the genre, chord progression, instrumentation, rhythms, dynamics, tempo, or overall composition of the source material Adding original solos, transitions, harmonies, counter-melodies, lyrics, or vocals to the source material Taking the original game audio and simply adding drum loops or using an existing MIDI file and assigning new instruments does not qualify as substantial or original arrangement. --------------------------------- Quoting the relevant parts of the Submission Standards above: I'll quote myself from one ReMix we posted that was heavy on sampling the original audio: In that case, I'd argue the treatment of the sampled music was also different enough via the effects to at least create the impression that it wasn't directly sampled, in other words more substantially transformative from a sound design level. This submission only partially went in that direction. There is some arrangement of "Church" as well with some rhythmic similarities, but it's much more of a straightforward and traditional remix rather than an arrangement, combined with some original writing sections (e.g. 1:03-1:34) that fit very well with the Zelda sampling. There's nothing inherently wrong with all that, but it's not transformative enough for our Submission Standards, IMO. Great piece regardless, Goodman; you have great taste in instrumentation and sound design, and the track was nicely mixed! I hope you'd be willing to submit either a full-on arrangement (or much more substantially modified/transformed remix) of some VGM in the future. :-) NO

I never heard the first version, so I'm coming in clean. Dunno what it was previously lacking, but it's cohesive enough to me right now. At :13, the supporting guitar feels so quiet relative to the lead and drums, and the bassline's not cutting through as well as it should. That said, the overall presentation's cool for sure and I'm digging the arrangement. Didn't need the SFX at 1:24, but it's something there to add lil' herbs and spices, so I'll live. From 1:25-1:49, the drums feel like a plodding drag on this and the mallet perc's so quiet that it's effectively not contributing much, really from 1:37-1:49. Anyway, it's a brief thing and not enough to pull this below the line. To me, this is getting more right than wrong, and it's really just some mixing issues that are undermining this to some extent. Is it anything making me say hold this back though? Naw. The mixing could stand to be tweaked so that the guitars don't sound so distant, and the drums should have been more interesting in places (2:38-3:01 was another plodding area as well, both the drums and also the mallet timing), but the overall instrumentation, energy, and performances are excellent. :-) If this somehow doesn't make it as is, it's still got a spot here waiting for it, so stay in a positive mindset. Nice job, folks! YES

TIL I'm responsible for sharing all good music in the scene. :-D

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In that case, it was probably just something that someone was sharing on our forums -- in other words, not submitted to be part of OCR, just shared on the forums and not databasified. That Sonic Wanderer track's likely in the aether if a Google search of it turns up nothing.

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We've got a list of removals with the reasons and there's a page that hosts 'em. :-) https://ocremix.org/info/ReMix_Changelog https://williamjacksn.github.io/ocremoved/

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Artist Name: AshleyXR to be honest, there's not much thought process that goes into remixes for me when i do them. the main thing i like doing when i do is to base it off the song, of course, but it's also really important to add stuff that i thought maybe would've been cool for the song to have. sometimes the ideas aren't the best, and they're part of why they're not in the original song, but sometimes i just think it'd be nice to have it there, i guess LOL if it matters, none of the instruments besides synth (orchestra, electric bass) are real, and are VSTs. i doubt it's too hard to notice, though. most of the ones i used were Omnisphere (bells), Trilian (bass), Serum 2 (pads), and the touhou soundfont (which i unfortunately use a lot) for the piano. other than that, there isnt that much to this remix. Games & Sources Planet Wisp is a song made by Kenichi Tokoi for the 2D/3D game Sonic Colors, in the first act of the stage which is named after said stage, "Planet Wisp". Kenichi Tokoi joined Sega in 1996, and first composed for was Daytona USA: Championship Circuit Edition. The stage, Planet Wisp, is an area which holds the important race of Wisps, which are having their own powers abused by the antagonist, Dr. Eggman.

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Man, this opened up so promising, so I was wondering how it could get NOed, then it became obvious as soon as more stuff faded in; this is total mud with no high-end clarity. Perhaps a purposeful approach, but the fullest parts sound swamped, almost like the track's in mono, which is brutal. Had some sort of original interlude from 1:43-2:12 that didn't sound bad in a vacuum but also had 0 synergy with the "Dreamer " treatment, then right back to the arranged groove at 2:13 basically copy-pasta'ed. Nah, you've gotta go somewhere else with this, barely anything's developing once the groove's established. On the plus side, good use of sound effects here and there, even if they got mostly swallowed up and were lossy-sounding. Yeesh, finally something new around 3:41, more focused on some SoR SFX sampling, then getting back into the melody and changing the textures a little more. Like proph alluded to, trim the fat and get to the meat of things more quickly. That said, it's not enough to just reduce the runtime. Man, this needs dynamics, it's almost all just slammed intensity, barely any "let me up" sections, or changes in the groove, OR exploration of other areas of the theme as a form of dynamic contrast. Then a complete nothing of an ending with no transition, how come? :'-( This has potential, but it's gotta have further development. Poor mixing aside (is there stereo???), the core of this really beefs up the source tune nicely, so you have a legit good base here, but it has to change things up more quickly and not drag out. As I say to all the wanna-be musicians, G83, I applaud you. :-) I have a ton of musical ideas and don't enter the arena, so I respect you aiming to create something and showing genuine promise on top of that. Do keep at it; would love to hear another pass at this one to see what more you can do with it! NO (resubmit)

Well, look at all the nice stuff Morgan said, it warms a middle-aged man’s heart! We’re glad to have you too. :-) This was definitely a trip on the USS Weirdshit, and I’m here for it. Boy, this gets pretty grimey, and props to Chimpa for her post-production efforts as well; just like the Mario 64 piece that she also mastered, everything sounds awesome on my car stereo, which can’t be taken for granted. (I’ve heard pro tracks that don’t come out sounding full and clean on car stereo, to be sure.) Just voted on mooooooooo.ooorgan’s Super Mario 64 piece before this, which I believe was the second or third track of his that I’ve judged. That said, the dude’s got me trained now: expect a journey and expect to be impressed. YES

Just going to close this out with the same sentiments. Everything until 2:02's a superstraightforward cover with little interpretation beyond the adoption of this instrumentation, which itself is close to the source tune. Reconstruction/recreation's not a bad goal in a vacuum, it's just outside of our interpretive arrangement standards. I linked several melodically conservative arrangements in the writeup for this piece that still manage to still stand apart as distinct from the original music: https://ocremix.org/remix/OCR04414 Piano tone from 2:52-3:09 was too thin yet bright, which exposed that particular sample moreso than any of the other stuff like the bowed strings. That said, the energy of the track's strong and uses the samples well overall; very much a doujin scene-style track. If you're willing to rework the first half, this definitely could have a place here. We hope to hear from you again with another submission, even if it isn't a rework on this specific one. :-) NO (resubmit)

The keyboard's tone was noticeably thin, but it certainly gets by. Funked up note at :50 (too high), but recovered quickly enough that I'll just mark it as a speedbump and move on. Nice original ornamentation throughout to compliment the arranged melody. Cool original writing from 2:35 (though another off-note at 2:50). Nice genteel aproach from 3:18 until the finish for a softer touch that made you pay attention. Somehow, that last bass-y note turned off-key around 4:24 and then hung around fading out, ah well. Sure, a few lil' splotches that should have been ironed out, but otherwise lovely for the Mothers! Thank you for finally bringing Mother 3 to OCR, Sebastian, we appreciate it! :-) YES

The intro wasn't promising as far as standing apart from the original, but there was more edge to the guitar performance after :23. I did catch what proph noticed about the bass sounding odd from the intro until :22; it didn't bother me personally, but it's arguably too much. The drums did feel underwhelming and with a quality disparity of those uncanny valley samples juxtaposed with the very lively guitar. The plodding snare writing was sapping energy from the killer guitar work, even though the fills were good. I liked some of the fills and writing, but the overall feel of the drumkit was repetitive, plodding, and underwhelming with the core snare pattern. The melodic line of the beginning of the chorus (:50-:59) was very quiet compared to the backing guitar; it doesn't HAVE to be punched up, but didn't necessarily seem intentional. I did like the brief moment from 1:19-1:29; even though the drums sounded thin, it was an extremely cool way to adapt that brief part of the source, and easily the most transformative part of the arrangement. 1:29-1:48 had some good original writing on top of the theme via the guitar soloing for some more personalization of the approach. Nice use of the 1-Up SFX at 1:18, that was a nice touch. Not a huge deal because they were couched reasonably well in the soundscape, but the strings from 2:17-2:26 were pretty fake-sounding; they're actually a decent element and add good texture throughout the piece overall, but they were higher in that particular section and more exposed, so it was worth calling out. 3:05 with "The Street of Rage" cameo was a nice piece of personalization, especially as the finish; I would have loved the instrumentation approach here to sound/feel more distinct from the source in the way that you did with the "Street of Rage" cameo, but I don't inherently have a problem with what's there. Fairly solid for a more cover-ish/sound upgrade arrangement approach. Definitely want to get this posted in some form, and I could also see the case for passing this as is. IMO, the snare drum pattern being bland, mostly metronome-like, and seemingly lacking round-robin style humanization/variations from verse to verse (i.e. not overtly different-sounding enough) was holding this back. proph seems to think this only needs some minor adjustments, and I get where he's coming from; aside from the drum issue, it's otherwise well in the right direction, Andy! If this doesn't make it as is, I definitely hope you're open to some tweaks to the drum writing/programming to really get this sounding its best. It's a pleasure to see something from you in the inbox once again! :-) NO (resubmit)

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