Liontamer

The arrangement's not bad, albeit a bit vanilla with some of the sound choices and definitely lacking in some of these flimsier textures. The layered bass kick/cymbals/clap at :45 wasn't horrible, but it was too loud while the overall texture felt sparse. Sparseness was more of a problem from 1:29-2:03; again, that super basic beat was too loud and exposed while the soundscape wasn't full due to a lack of padding. I'd also cut the fat on that extended buildup, it didn't need to be that long. Very nice original countermelodic synth writing at 2:04, followed by the softer synth at 2:13. I still think the melodic lead and bassier support writing were both too low compared to the supporting writing, but that wasn't a huge deal. The beat at 2:21 was a little meatier, but the kick was paper-thin. It just seemed that during the sections where a beat was meant to bring an added level of energy, it wasn't successful. Hopefully another J can better articulate the issues I'm having with the beats not integrating well into the piece. If that aspect was fixed up, the arrangement would be much more cohesive. The dynamic curve here was subtle, but had some good moments, but the weakness of the beats within otherwise sparse sections added up to a NO for now. It's got great potential though, Scott. NO (resubmit)

Heres all the info I think you need. ReMixer name: beatbell Real Name: Scott Campbell e-mail address: Userid: not sure Name of Game: Donkey Kong Country Name of Arrangment: "I'm in an Ice Cave" Song: "Ice Cave Chant" Thanks for listening! Scott Campbell ------------------

Opened up OK with a good cover of the clock-tick intro. Moved over into "Chrono Trigger" at :27. Not sure about the balance between the string lead at the percussion at :51; I would have pulled the percussion back compared to the lead. Other supporting writing like the pizz strings are pretty buried as a result. 1:58-2:27 was a nice rise in the energy level, but the soundscape was still very muddy. 2:40's lead & percussion writing sounded like a cut-and-paste of :51's section, with some slightly different things going on in the background. The supporting writing still sounded too indistinct as well. Also of note, the percussion writing was more sophisticated here than in your Zeal arrangement, but you're still putting your patterns on cruise control. 3:46-4:15 was another cut-and-paste, this time of 1:58-2:27, before heading into source tune's famous resolution and ending with the fading clock pendulum. With less mud and better balance among the parts, this would sound much more cohesive. If 2:40-4:15 hadn't been cut-and-pasted so simply and more substantial variations had been explored, I could be more in favor of this. That and the murky, imbalanced soundscape added up to a NO for me, even though Benjamín (yet again) had an overal enjoyable piece here. It just falls outside the standards a bit on the level of interpretation and development in the arrangement as well as the lack of clarity in the mixing. Would love to hear this developed a bit more in the second half and properly mixed throughout. It's not far from the mark, but the issues gauged against our specific standards add up. NO (resubmit)

ReMixer name: Benjaipod real name: Benjamín Watkins email address: website: https://soundcloud.com/benjaipod userid: 51950 Name of game: Chrono Trigger Name of arrangement: Time Stopper Batucada Name of individual song: Chrono Trigger Introduction theme Link to the original soundtrack: Adittional Information: As you may know, the composer of Chrono Trigger is Yasunori Mitsuda, i'm a big fan of his work. Comments: What if there is a Chrono Trigger movie? That's what i was thinking when i created this remix, i wanted to keep the escence of the song but make it powerful. I created a strong "batucada", "trashy" rythm, and started playing with it. finally i had this strong and powerful version of this awesome song. It really sound like a movie trailer for me. I hope you like it

The soundscape sounded a bit too distant, IMO, but it wasn't anything that negatively affected the decision. The arrangement, while conservative, did sound personalized via the layered performances. The introduction of the doubled lead at 2:05 was definitely needed late in the game to provide something fresh. The auto-pilot percussion was the weak point here, sounding robotically timed and extremely repetitive compared to the guitar work. I may be an outlier, because I likes the track in a vacuum, and I like sufficiently personalized, stylish covers, but this felt like the drums being on auto-pilot left the track feeling lazy and a bit too underdeveloped. Again, I like the track, but why have the drums robotically repeat like that when you can subtly vary them throughout the piece and better compliment the guitar work? It's a nice, smooth piece, Benjamín, but don't be complacent with the writing of such a critical background element. The percussion pattern isn't cool or creative enough to merit 3 minutes of non-stop repetition. But if the percussion writing becomes a bit more varied while still flowing well with the guitar performances, this could be a pass in my opinion. NO (resubmit)

ReMixer name: Benjaipod real name: Benjamín Watkins email address: website: https://soundcloud.com/benjaipod userid: 51950 Name of game: Chrono Trigger Name of arrangement: Zeal Palace, Acoustic Arrangement Name of individual song: Corridors of time Additional information about game: SNES game, original composer: Yasunori Mitsuda Link to the original soundtrack Comments: I recorded this like 3 months ago, I know, and i am aware that this is really close to the original ost, but i wanted to introduce a new concept for this song. I think that an acoustic version suits perfectly to the style. I used the latin percusion expansion of Ezdrummer, Cubase 5, some strings samples and 3 or 4 acoustic guitars, played by me. I don't know if this is what you are looking for in OCremix, but is worth the try. ---------------------------------------

The mixing here was pretty muddy. Not sure how it ended up that way, but it basically jacked up the piece at times. 1:07-2:07 was a loud, swamped up mess. Wrong note at 2:16. More cramped textures from 3:47-4:47. I felt bad for Nathalie's violin, which was a strong contribution, but was usually competing to be heard with everything else instead of standing out more. The layered clap sound was also pretty weak despite being way too loud. There were some good arrangement ideas, but short and sweet, these instrument textures were almost never cohesive, either because the beat choices were weak or more importantly, things were poorly mixed and didn't occupy the proper space when the soundscape was at its fullest. The arrangement is creative & fun and has promise, but the production could use another pass to fully realize the potential here. NO (resubmit)

If it passed, we'd need a more unique track name than "Source Tune (Artist Mix)" - LT Producer name: MEZ Real Names: Graham Gomez Soundcloud: soundcloud.com/mez-music-1 Submission: Game: Mario Kart 64 Track Name: Rainbow Road - MEZ Remix Original Track: Rainbow Road While the melody is specifically from Rainbow Road in Mario Kart 64, this track for me was meant to embody the whole feeling of nostalgia for my childhood days. SONG LINK: RAINBOW ROAD - MEZ REMIX Thank you for considering my submission! MEZ -----------------------------------------

The melodic interpretation of the source was personalized well and the glitch approach was interesting. This a really cool concept here, but that core beat & clap pattern was just too repetitive. Even Devo's "Satisfaction" would have some brief dropoffs here and there (plus its usage of vocals allowed for other kinds of rhythmic and dynamic shifts, which this lacked in comparison). Employing some brief variations and dropoffs in the groove would help this not sound too static in the long-run. The rest was weird, certainly, but I could get behind this with some tweaks to the beat pattern over the course of the 3 1/2 minutes. NO (resubmit)

1) Remixer Name- Bob-omb and The Bullet Bills 2) D L 1) Game Being Arranged- Super Mario Bros 2) Name Of Arrangement- It's a Series Of Tubes! 3) Name Of Arranged Song- Underground Theme 4) Original Composer- Koji Kondo 5) Why is so much of the Nintenocore scene focused on Metal? I love the idea of Glitch merging with many genres, but why so much Metal? We'll rather than complain I got to doin, and tried for a simple Rock(maybe Punk)/Glitch. I was channeling the spirit of Devo (specifically "Satisfaction") here and not trying to have a strong hook, just a catchy cacophony of Mario music (we all know the Underground Theme, what more could I add?) I wanted to have a train wreck style can't-take-my-ears-off-how-disjointed-it-is-but-I-want-to-keep-listening sound. IDK, maybe I just made a wreck. 6) I'm concerned the Attachment didn't work, here is the Youtube(Dan2227) link 3:51 -----------------------------------

The arrangement was melodically straightforward and was honestly a bit plain in the treatment there considering what we're looking for. It was personalized, but ultimately too repetitive in the big picture. Right down to the supporting writing, :12-1:12's section was basically 1:12-2:12's section with no meaningful variation from verse to verse. I really wasn't feeling the mixing of the sequenced string padding here and thought the soundscape was somewhat murky-sounding overall. The drumwork also felt plodding after a while. Something about the energy isn't really coming through all the way due to the way this was mixed. 2:12-2:56's soloing was OK, but wasn't tight until 2:33. The drums were a weak link, not by being poorly performed, but not being creative enough with the patterns during the verses and soloing. I'd say this barely gets by due to the personalized performance of the source and some good solo integrations, but there was definitely a lot of unrealized potential. I wish there had been some more arrangement substance with the source treatment and more creativity behind the drums to really complement the other good ideas and energetic performances here. But what's here was solid, IMO, and gets more right than wrong as far as fitting our guidelines. YES

Contact Information Remixer Name: Mario Speedwagon Real Name/s: Submitter; Ivan N. Potocnik. Bandmates; Jonathan Romero, Johnathan Colonna, Tyler Palmatier. Websites: https://www.facebook.com/MarioSpeedwagonMusic http://www.reverbnation.com/msw http://www.twitter.com/mswmusic http://www.youtube.com/user/mariospeedwagonmusic https://soundcloud.com/mario-speedwagon Submission Information Name Of Game: Street Fighter II Name Of Arrangement: Legend of the Masters Name Of Tune Arranged: Ken Masters' Theme Link To Original Soundtrack: Additional Comments Mario Speedwagon is a band I play with. We are a VGM group out of Oneonta, New York that takes your favorite tunes from video games throughout the years, and puts them into a medium through which they can be played live and enjoyed in the classic ensemble of Guitar, Bass Guitar, Kit Drums, and Synth (actually, keytar. ^.^). We've been playing live for a while, now, but this is the first song we've ever recorded, and this is our second submission to OverClocked ReMix. We try to stay relatively true to the original form of the music, but associate our own unique style with it, as well as that powerful feel of live instrumentation. Hope you Enjoy! = D -Ivan N. Potocnik (Bassists for Mario Speedwagon) Also, here is a YouTube link in case (for whatever odd reason) the link/attachment doesn't work.

I'm always right too, so let's not forget that very important, salient point.

You're basically implying either a new sub-forum (not happening) or thread tags for crowdfunding and ReMixer releases (maybe), but those types of threads nonetheless belong in Community.

Yep. AT ALL.

Preview it: http://www.youtube.com/embed/a9Gh596TFqU Download it: http://badass2.ocremix.org Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes_-_Volume_II.torrent You know how in movies or games or whatever, when there is a sequel they tend to be way darker than the original? Well, here's our sequel. But while it's not on a boat and lacks chipmunks, it'll be horrifying nonetheless. After 2 years of hard work, we bring you BadAss: Volume II. A collection of boss and battle themes done in a style that is both awesome and kick-ass, as well as mean. Really mean. As soon as we released Volume I, we went right to work on Volume II. The thing we wanted to do with this album was make it even meaner than the first; to make the hardest album on OCR yet. Volume I had a few tracks that were meant as a respite from the onslaught of BadAssedness. You'll find none of that here, so abandon all hope... something something... OH! Abandon all hope, ye who enter here! This will also be the last BadAss I direct, but I think it's a great swan song. There will most likely be newer entries in the BA line, and I've no doubt they will be excellent. As for me, I couldn't have asked for a better album than this one here. I've always been a big fan of the more intense VG ReMixes, and this is a fulfillment of what I wanted to do with BadAss, and one of the best things I've gotten to be a part of in OCR. I thank all the arrangers, and artists for all their hard work. We made a damn fine album, filled with kickassery hardcore style. They say the sequel is always darker. From everyone involved in the project: Welcome to BadAss 2, hope you're ready for a beating! We swear you'll enjoy it, though, or your money back. - David L. Puga After the success of the first album, it's time to present its twisted brother. BadAss: Volume II is darker, grittier, and even more BadAss than the first volume was! As we did the first time around, David and I searched around to find the most twisted of artists to bring you the terror that is contained within BadAss 2. The sometimes heroic vibe of the first volume is completely gone now. This is the darkest stuff you'll find on all of OCR! From the darkest guitar solos to the most sinister synths: You'll be terrified the entire way. And you'll love it because of that. Ladies and gentlemen, from the deepest depths of hell, BadAss 2 will swallow you whole! Enjoy, but listen at your own risk… - Pieter van Os (pu_freak)

You posted it in Off Topic, that's why. Moved to Help & Newbies and renamed. Help Joe out. His music is semi-decent, you all owe him.

I thought the soundscape sounded pretty murky to start. I thought it was a purposeful effect just for the buildup until the track basically kicked off at :29. The piano lead was very muddy and semi-buried. Weird transition (or lackthereof) at 2:08; no big deal, but it shouldn't have been this jarring, include the change to a much cleaner soundscape. Wow, I really disliked how muffled/cluttered 2:27's section sounded. The lead and countermelody are well written but very obscured; all you prominently hear are the beats and not much else. The piano at 3:13 was mechanical sounding, but otherwise well-written and well-executed. I think the overly low-fi sound has to go; it just sounds like an unintentional low-quality encoding and a lot of the details in the composition ended up lost in the shuffle and mudding together, including a decent portion of the lead work. The arrangement was 5:25-long, so I needed more than 162.5 of overt source usage for the source material to be dominant in the arrangement: :31-:33, :34-:36, :38-:40, :42.25-:43, :58.75-1:12.5, 1:13.75-1:27, 1:32-1:37.5, 1:39.5-1:45.5, 1:46.75-1:52, 1:54-2:00, 2:01.75-2:08, 2:11-2:14, 2:16.5-2:18.5, 2:22-2:25, 2:27.5-2:30.5, 2:32.75-2:36, 2:38.5-2:41.5, 2:43.5-2:51.5, 2:54.5-2:57.5, 3:00-3:03, 3:05.5-3:08, 3:16.5-3:20, 3:39-3:40.5, 3:41.5-3:43, 3:44.5-3:45.5, 3:59.5-4:02.5, 4:04.75-4:07.5, 4:32-4:55 = 132.75 seconds or 40.8% The arrangement was cool, and super creative with a lot of excellent variations, embellishment and original writing ideas. Everything pieced together well, BUT I felt the source tune needed to be used in more places given what I could make out. I never count rests in a melody because there's always something else to draw from in the source that can be in play. I listened to a lot of the supporting writing in "Phendrana Drifts" to see if any other part writing from the original was applied, but I couldn't ID anything. That said, I'm not familiar with other Metroid Prime songs, so maybe there are some cameos I'm missing, or other parts from "Phendrana Drifts" referenced that need to be pointed out to me. IMO, besides adding some more source tune usage, it's also a matter of cleaning up the mixing some, Josh. I love the track, but even if the amount of source usage wasn't a question for me, the mixing as it stands now was too messy to let go without needing some cleaning up. NO (resubmit)

Way to not read the writeup.

I'm listening again, and while the overall sound is still grating from a personal taste standpoint, I thought this came out fine. There was some copy-pasta action with :41 repeating at 1:42, but the last verse at 2:37 at least had some differences in the leads. I thought the personalization of the verse arrangement was substantial enough to mitigate that negative. I'm not OMG YES, but at the same time, the arrangement substance was there, even if the sound design wasn't particularly impressive. That's gotta count for something, so I'm sticking to mah (borderline) guns. That said, addressing the crits of the NOs would solidly put this on track.

Elaborating: Patrick, you can buy the domain name from ME, at least I'll put the coin to good use! (i.e. Nintendo World Championships 1990 gold NES cartridge) P.S. You're trollin' us good, orrrrrrr...

Obvious scam is obvious. C'mon, Pat! Don' do DAT! Can someone (read: ANYONE) who knows how to obtain a domain the correct way walk Patrick through the proper steps? I'm sure it would be informative for others with the same question of how to do it.

I thought the sound quality of the piano was solid enough, but putting that out there. The beat opened up with a static/plain feel, but I was interested in seeing where the gradual escalation would go. By :28, the texture was meant to sound a bit fuller, but the rhythms were fairly plain and there seemed to be too much empty space. Something introduced around :28 was causing soft but audible & pervasive clicks/pops (e.g. :29, :34, :36, :40-:44, :48-:54, 1:07, 1:45-2:27: etc.). Even if the arrangement and production were otherwise on point, this much distortion would be a deal-breaker. The change in leads at 1:13 was welcome, though some further variations in the core groove writing would have been good. Decent dropoff at 1:43, with the rebuild leading back up into 2:27. The soundscape was noticeably muddier at 2:27, and I felt like the energy in this composition ultimately never got beyond second gear at 2:27, which doesn't sound intentional. Despite the obvious buildups and dropoffs, and some lead changes, it doesn't feel like any fully successful dynamic shifts were taking place. The groove felt too repetitive, the textures sounded too sparsely-written despite the volume & amount of things going on, and this was basically in a low gear and never truly turned the corner on. Even if you kept this groove intact, the textures need to be less vacant, and the dynamic contrast has to be more pronounced. Pick the brain of people like Flexstyle, bLiNd, zircon and others, let them know we said it has potential and that you need some opinions on how else to spruce up something like this. It's a solid effort so far, Beth, and I really like the rhythmic changes applied to the Zelda songs. But the composition itself just lacks the detail work to make it sound more cohesive and more varied. NO (resubmit)

I'll be working on it a little bit. Some things are in motion. ... Yes, that's all you get for now.

Hey, you shutupz! You're ruining it for those of us still on staff who dream of one day escaping.