Liontamer

ReMixer name: pu_freak Name of game(s) arranged: Wild ARMs Name of arrangement: Flight of the Eagle Name of individual song(s) arranged: The Bird which Flies in the Sky (Emma's Theme) Link to individual song(s) arranged: http://www.youtube.com/watch?v=fdAv75LhFvg Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This is my mix for the Wild ARMs album: ARMed and DANGerous. Jade asked me to do a remix for her album, but I never played the game and thus wasn't familiar with the soundtrack. I liked this source, since I could easily imagine how I could make a calm version of the so energetic (but short) source tune. One of the requirements for Jade's album was that it had to have a western vibe. To make it feel like a song that could be part of a western movie, I used a flute in addition to the piano (and the eagle at the end should also contribute to that vibe). The title of the source has inspired me a lot, because I wanted it to be like you could close your eyes while listening to this song and feel like you're an actual bird soaring through the sky. The soft flute and choir in the middle of the song would be the wind you can hear as it gently passes. -------------------------------------------- http://www.youtube.com/watch?v=gRKJaru5s6w

Definitely a big fan of this source tune. This approach clearly retains the structure of the original, including some instrumentation that mirrors the original closely. That said, this was a good listen. Though it's not bad, the original writing with the ambient tones or whatever those are from 1:04-1:35 didn't really integrate that well with the source tune backing pattern, IMO. 1:35-1:55 continued with a close cover while adding some original writing and SFX ear candy. You really hear the conservative structure of the source arrangement reflected from 1:54-3:28. More original writing from the ambiance and warbly stuff over the top of the source beats from 3:27 until the end at 4:16. The ending at 4:16 just cuts off abruptly during the fade down, which would need to be fixed. That said, the arrangement was going somewhat in the right direction in attempting to personalize the instrumentation, but it came off like more of a sound upgrade than a hugely interpretive piece. It keeps the core of the source tune intact while playing around with the textures, having good ear candy and some original writing, but in the end, it's just not different ENOUGH from the source, and much of the part-writing was wholesale from the source without a different enough mood, structure or fell compared to the original. This would definitely fit well in a Streets of Rage Remake environment, Jack, and it's not without merit. Hell, maybe I could be an outlier. But I compare back and forth with the original, and the overall feel is just too similar for me to pass when I think about the arrangement/interpretation standards here. It's just too conservative of an arrangement for me to sign off on. Some additional ideas interpretive could definitely gets this to a point where I'd feel comfortable passing it, but it's not at that point right now. Nice work on this regardless; no matter the guidelines here, this was an enjoyable piece that was put together well. NO

Hello Enclosed is my remix. Since you prefer download links to attachments, I've hosted the track for you in a zip file on (non temporary) mediafire link here: Please let me know if there's anything else Thanks for your consideration -Jack Contact Information * Xij * Jack Oughton * * www.xijmusic.com * Your userid (number, not name) on our forums, found by viewing your forum profile * e.g. djpretzel (http://ocremix.org/forums/member.php?u=1) has the userid of "1" Submission Information * Streets Of Rage * Vigilante Blues * Name of individual song(s) arranged: Innercity * 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. --------------------------------------------------

Nice opening. The padding seemed a little too full for the first 40 seconds for my taste, but that eventually ended, and it was just a personal taste thing, and you quickly get used to it on repeated listens. It's not a crit against the piece. The "On the Prowl" melody kicked in at :50, albeit in an understated way. Not sure if the busy, splashy cymbals at 1:11-1:21 totally fit the mood of the rest of the instrumentation, but we'll keep it moving. Good stuff at 1:22 with the chiptune-ish lead; really sweet sound there, and I liked the ear candy of the supporting instrumentation as well with the whirring noises and active drums. The instrumental changes from 1:47-2:48 were interesting, but the textures weren't clicking. The delay-type effect with the melodic lead was done in a way that de-emphasizes that melody a fair bit; it's not bad, just something to consider. I'd also genuinely consider slimming this section down. It's pretty repetitive and said what it had to say about halfway through. Very cool retro lead comping until 3:08. The writing from 3:08-3:18 doesn't work at all with the source tune, but at least it was pushed to the back at 3:29. I'd argue for changing the sound of that part, but probably just rewriting that little line to something that has more synergy with the "Prowl" melody instead. Not a big deal here at all, just something that caught my ear. The dropoff at 3:39 was OK, moving into some different stuff at 3:49 before ratcheting back up at 4:20 with some cooler effects and rhythmic changes to the melodic lead. Nice countermelodic sound cameo-ing at 4:51. Pretty cool, grimy sound to that final section that finished things strong, albeit just a little bit repetitive by the time it finished at 5:39. On the whole, this works pretty well. I'm not a fan of a couple of the instrumentation and writing choices, but those were pretty minor in the big picture. What's here evolved pretty nicely on the whole, kept the source tune in constant use, and presented a unique, stylized take on it even while retaining its core structure. I could see Frank Klepacki digging this take, for sure. Jack's actually guilty of deluging the inbox with too many subs at once, but I've enjoyed listening to them. Though I didn't panel may of them to save our staff some time, he's got creative ideas. The polish of his work isn't consistent from track to track, but that's something that'll come with additional time and experience. Hopefully, he'll stay active here even if every submission he has doesn't make it. This one here is a good example of both his skill and potential when the structure and flow of an arrangement is generally clicking the whole way through. Nice work. YES

Hello Enclosed is my remix. Please let me know if there's anything else Thanks for your consideration -Jack Contact Information * Xij * Jack Oughton * * www.xijmusic.com * Your userid (number, not name) on our forums, found by viewing your forum profile * e.g. djpretzel (http://ocremix.org/forums/member.php?u=1) has the userid of "1" Submission Information * Command and Conquer * Prowl * Name of individual song(s) arranged On The Prowl * 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. ---------------------------------

What? OCR is evolving! OC ReMix Presents Pokémon: The Eevee EP! August 20, 2013 Contact: press@ocremix.org FAIRFAX, VA--OverClocked ReMix has released today The Eevee EP, a fan-made tribute to the music of Pokémon celebrating the popular character Eevee. The album pays homage to this Evolution Pokémon through nine tracks inspired by Eevee and all of its final forms. Among those tributes is Eevee's latest form, Sylveon, which will make its game debut in the upcoming sixth generation Pokémon games Pokémon X & Pokémon Y, due for release on the Nintendo 3DS on October 12th. The album is available for free download at http://eevee.ocremix.org. Director Dustin "Theory of N" Lagaly and nine other OC ReMix community musicians created The Eevee EP after Lagaly was drawn to the concept of musical tributes to Eevee's evolutions. "I absolutely LOVE Pokémon, so I took on the challenge of putting together this album showcasing some of OC ReMix's talent. The remixes themselves are a musical embodiment of each Pokémon's type (aside from Sylveon, whose type was unknown at the time of creation) and are remixes of source tunes from the game in which the Pokémon first debuted," said Lagaly. "The artists did a FANTASTIC job of accomplishing this on such a short deadline (the album was 90% complete within a month) and everyone was really easy to work with. Overall, a very fun project to direct and I'd do it again in a heartbeat. Enjoy the music!" The Eevee EP marks OCR's second Pokémon album after their 2011 release The Missingno Tracks. This album was produced to help promote the music of Pokémon, was made by fans, for fans, and is not affiliated with or endorsed by GAME FREAK, Creatures or Nintendo; all original compositions are copyright their respective owners. 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: DOWNLOAD: http://eevee.ocremix.org TORRENT: http://bt.ocremix.org/torrents/Pokemon_series_-_The_Eevee_EP.torrent COMMENTS: http://ocremix.org/forums/showthread.php?t=44740 SUPPORT THE GAMES: PRE-ORDER Pokémon X & Pokémon Y

I was worried when I saw that sampling list in the updated comments, but it's mostly speech samples. Loved the arrangement before, and this only tightens the screws and removes the grating production, all without sacrificing any of its character. Great work by Jordan (just co-signing after the fact)! He holds his mixes often, but they're always worth the wait. YES

Not really sure I'm feeling the piano chord dissonance in here, but it's not a huge deal. Whatever part comes in at :32 seems too distant and quiet compared to the beats. Not sure everything should sound quite this lo-fi, but I could live with it if the arrangement was on point; it's purposeful, I just don't know about it properly serving the track, including the purposeful distortion getting really loud from 2:58-3:11. I could see it working, but I'd pull it back a little. Not sure if the dissonance brought back from 1:20-1:35 through the supporting chords works very well. OK, after listening back some more, that definitely isn't working, IMO. Also, at 1:35, I hear how your brass orchestration is meant to arrange the source tune, but I thought it was handled too liberally, and it goes on repeating like that for more than half the piece. It sounded like too liberal of a simplication of the source tune, and not something I'd count as overt source usage; if I'm wrong and you can make a direct A-to-B comparison from the source to this mix, let me know. The string backing is more clearly arranged from the source melody, but it's drowned down by 1:44 as other instruments were added into the mix. Don't lose site of the source not being arranged TOO drastically. Again, please correct me if I'm wrong. The structure here was deliberate, but it plods. Even though you varied the instrumentation, it just came off to me like the writing wasn't particularly sophisticated. I get how this was a gradual build, but 1:35-3:11 droned for too long without doing much, again, droning for more than half the piece in a way that ran too long and marginalized the overt usage of the source material. If you can keep the source from sounding marginalized and underdeveloped AND make the source usage more overt and varied from 1:35-3:11, I could get behind this, over-the-top production.mixing and all). But right now this would need some arrangement substance/TLC. NO (resubmit)

Contact Info ReMixer Name: David L. Puga (formerly The Joker) Real Name: David L. Puga Email: Website: facebook.com/dlpmusic Submission Info Game Title: Sonic 2 ReMix Title: Egg Shaped Prison Source Title: Boss Theme Original Link: ReMix Link: Comments: This track is from BadAss Volume 2, as well as the first ReMix I submit under my own name. I wanted to do Robotnik's theme for a while. It's one of my favorite songs from a game. I made this version of the remix from the bones of an older remix that just wasn't living up to what I wanted it to be. I always thought of Robotnik (I know it's Eggman now, but it was Robotnik when I played the game) was seen as more of a monster to the woodland creatures in Sonic. Abducting them & performing horrible experiments on them. I wanted the track to kind of capture that. I was inspired by the 28 Days Later theme a bit, & went from the simple piano intro into a more dirty electro sound. Ending with a guitar chugg & raising the distortion over everything to symbolize Robotnik's complete transformation into the Eggman. The Egg Shaped Prison being his own mind. --------------------------

Had to.

More stuffs to keep this thread going. Spelunky's Derek Yu absorbing that Twitter HATE. http://storify.com/metasynthie/reasonable-responses-to-the-unreasonable-derek-yu?utm_source=t.co&utm_content=storify-pingback&utm_medium=sfy.co-twitter&awesm=sfy.co_aOSy&utm_campaign=

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Project Phoenix, based in Tokyo, has JUST launched its Kickstarter efforts to make an indie JRPG. We're hoping to raise the $100,000 we're seeking in funding to secure the 3D modeling for the game, which itself is currently in the very early stages of development (and shooting for a mid-2015 release). Right now, you can check out the team and the early concept work and see if you'd like to get on board. The FAQ goes over some common questions like "Why only $100K for a game Kickstarter?" (the team will be paid after it comes out, and $100,000 is not the budget to make the entire game, it's primarily for the modeling) and "Why's the lead character named Ruffles?" (It's fun!), so be sure to check that and the rest of the information out. That said, we've got a great, diverse team in place, including Final Fantasy series composer Nobuo Uematsu (his first-ever indie game he's agreed to work on, even before Oceanhorn), as well as Metal Gear Solid V vocalist Donna Burke (her work on the "Sins of the Father" trailer is incredible), and several artists, programmers and developers with experience from the Final Fantasy series, The Elder Scrolls: Skyrim, Valkyria Chronicles, L.A. Noire, Diablo III, Halo 4, Crysis 3, and several more top game titles, as well as films and anime. I'm also on board as part of the Community Team, and would sincerely appreciate you checking out what's been cooked up so far. We're already more than 50% of the way to the goal in the first 6 hours, but we feel a project like this hearkening back to old-school JRPGs should interest a lot of people so we're hoping to hit some stretch goals to expand the scope of the project. If you're able to spread the word about Project Phoenix, I'd greatly appreciate it! There's also a chance OC ReMix could get involved in some form making some music, and that's of course music to my ears since OCR came out with a not-too-shabby tribute to Final Fantasy VI last month. KICKSTARTER: http://kickstarter.com/projects/1300298569/project-phoenix-japans-indie-rpg-feat-aaa-talent PAYPAL (available after the Kickstarter as well!): http://projectphoenix.info/store/ HOMEPAGE/FORUMS: http://projectphoenix.info FACEBOOK: http://facebook.com/projectphoenix.info TWITTER: http://twitter.com/PhoenixJRPG

I like these other wrong answers. The FAQ link talks about removals, but doesn't explicitly talk about the numbering gaps (plus the anchor doesn't go right to that section since it's close to the bottom). We probably should add the bit about numbering gaps with the ReMixes into the main FAQ though. There are gaps in the numbering because we've removed many mixes from OC ReMix either by request or because they were violations of the standards here. Here's the big list of removed stuff to detail the numbering gaps: http://ocremix.org/info/ReMix_Changelog

So, originally, the beats were really weak and a legit dealbreaker issue, not just me being an old man per the usual. I form letterered it to speed up the process and Argle was cool enough to respond back with some resubmission tweaks that fix the issue and get the piece solidly there, IMO. I still though the beat-writing was metronome-ish in places, which didn't drive the track forward in the way I think was intended. But the beats in this resub did have that denser sound needed to properly fill things out. The arrangement was relatively conservative to start but expanded with new part-writing and personalized well with the instrumentation. The live instruments starting at 1:30 added beautiful interpretive touches to things in the second half, and it was nothing but goodness all around. Nice job on this, guys! YES

Your ReMixer names: Skolar, Argle Name of game(s) arranged: Sonic the Hedgehog Name of individual song(s) arranged: Green Hill Zone - Name of arrangement: Did a Hedgehog Just Come Through Here? Skolar: Argle offered to provide violin for my original version. I was happy that someone was interested enough in my remix to help with it, but I knew that in the state it was in, my remix wouldn't come close to doing a live instrument recording justice. Fortunately, that problem was solved a few days later when Argle - apparently just for fun - completely remade the remix into this polished orchestral-electronic-I-don't-even-know-what-to-call-it. I can't pretend to take credit for how cool it sounds at this point, but I'm proud to have participated in something that wound up sounding this awesome Argle: I initially offered to do some recording for Skolar, cuz sampled violin makes me a sad panda. Since he sent me a MIDI to work from and I had to patch everything to samples anyway to get a working mix, I figured I'd make a tweak here. And a tweak there. All of the sudden I had a mix that was fairly different from Skolar's original track, yet built on the foundation of it. Moral of the story is sending me a project MIDI is a dangerous thing. Many thanks to him for inspiring me with this tune; it's a source I probably never would have chosen on my own. ----------------------------------