Liontamer   Judges ⚖️

Not really. For example, if you send a 4 1/2 minute arrangement that uses Pokémon X for 2 1/2 minutes and Kirby Super Star for 2, the remix will be listed as Pokémon X, because that's the game score most represented in the arrangement. I'm always going to tag the game score used most in the arrangement; anything else literally doesn't make sense. That said, the hypothetical mix would show up when viewing listings of mixes associated with Kirby Super Star. Mega Man 5, for example, lists an MM1 and MM9 mix that also use a theme from MM5. http://ocremix.org/game/296/mega-man-5-nes/remixes

The bitrate was juuuuuuuuuuuuuuuuuuust a bit too high (193/194kbps) for the old standards, when 192kbps used to be the ceiling.

WE ARE LIVE!

I'm hosting tonight. Are you a ReMixer available to talk VGM at 9 PM Eastern this evening? Let me know! Also, feel free to post questions!

Artist profiles aren't forum accounts. The information in an artist/composer profile is informational and mostly static, and there's no need to anyone to have the ability to change it besides staff. If someone has a site or picture to add to it or they want to change their artist handle, we can handle it. For stuff that's more customizable, there's always the forum profile.

Nah. 10 or so people can go back and fix theirs. It's better than 140 pins all being off by the same distance.

Yeah, someone moved everything at once, so I just generally shifted them back. So all the people who individually moved stuff back to seemingly fix it fucked it up for themselves and should have left them alone. Jarel should investigate how to tighten up the access to moving things.

We aim to please. Done!

Deleted mine too. Not sure I'm comfortable with this being publicly shared via Twitter. Well, I know who the most paranoid are. OUT TO GET YOU!

I'm glad you had nothing to do with the song then. You can join Vig in the grandpa lane. Lovely piece here, and I hope Leandro keeps 'em coming! His next mix in the pipeline is great!

It almost goes without saying, but there's no need to pin your actual home address. Just pin yourself on the city you live in or the nearby major city/area.

We have a ton of mixes like that. I generally just check which theme/game is used more, and that determines what game the mix is filed under in the database.

"How DARE you change the genre?", he says, as if this hasn't been done for decades in official arrange albums. What a maroon.

For personal use, I don't think anyone could stop you. Not sure I see a problem with it. That's like asking "If I own a DVD, could I put the audio from it on my iPhone for personal use?" Well, yeah... no one would mind.

An eventual forum migration to Invision (IPB) doesn't support HTML or titles with more than 64 characters (including code), so plain text it is for everyone. We've saved the old titles (just in case), but I don't believe they're workable in IPB.

As good cop to djp's bad cop, I'd just say that if someone hurr-hurr's that an album doesn't get released after someone announced an earlier date, I don't really mind that stuff. I don't have a problem with someone whapping Garrett for being unhelpful/needlessly douchey about it , but I'm also not offended. Album delays happen; sometimes the right people aren't free/available, but everything comes together nicely in the end no matter how long it takes.

Opened up pretty solidly, with good energy. The arrangement had good variations of the theme, as well as some original soloing-style stuff. 2:06's section felt like a copy-pasta, but got out of that feeling a little later, so my initial fears of laziness in the structure were put to rest. The ending was a bit sudden and could have been given a bit more space to wind down. I'm not going ZOMG at the production quality, and OA and Chimpa's criticism aren't necessarily wrong. I liked their insight into the rhythm guitar patterns needing variation and some of the mixing choices. I myself felt the soundscape was slightly muddy. I didn't agree on the crits of the transitions though, but that may just be me. On the whole, this was solid work and the arrangement carried it nicely for me. Issues aside, I didn't feel it needs to be held back as is, but if it doesn't make it, this wouldn't need TOO much work to get it where it needs to be. Count me in. YES

If you think THAT was a downer, try http://www.remix64.com/track/ezprado/the-great-giana-sisters/ Also, it's more implicit than explicit around here, but if it gets posted to the site nowadays, the track is good and worthwhile. I thought the writeup conveyed that, while we got into the details with analyzing this one, the arrangement and production standards are (purposefully) separated from the ability to enjoy the music. And that the right side won out in terms of adding it to OCR.

Interesting lo-fi opening. The bass and groove brought in at :28 sounded busy yet empty, if that makes sense. The bassline could have been pulled back, since it tends to compete with the lead, while the beats were plain & thin and didn't fill out the background enough. Not sure why the strings during part of :56-1:10 were behind the beat, but it sounded awkward. Obviously, ZUN's stuff has never been realistic, but I thought the string attacks in the arrangement still sounded too unrealistic; when the tempo is comparatively slower, robotic attacks drag the piece down more. The plodding kick beat finally dropped at 1:39, and the percussion worked better to accent the string work until 1:53. Here, the percussion pattern clicked much better with the rest of the instrumentation and was positioned in the back of the soundfield. The plain, plodding groove came back at 1:53. I liked the arrangement ideas there with the melodic lead, crystalline accents and bass synth, but again the groove plodded, was mixed too loudly (especially the bass kick) and didn't complement the other sounds. From 2:50-on, the melodic lead was also repeating itself too much without any other variations or interpretive development. 2:50's section was empty, as well as 4:05's. From 2:50-on in particular, you did try to make the melody sound different by sometimes not doubling it, or by changing the textures and energy level surrounding it, so that was headed in the right direction. That said, once you've heard the melody once, you've basically heard it a ton more times. Hopefully, the musician Js can better articulate what's not working here. If you can make the backing patterns softer and more creative & complimentary to the lead, the piece would be in better shape. Right now, it's got potential, but the mixing is off and there are backing patterns are weak. NO (resubmit)

Contact Information * ReMixer name: LucasFlicky * Real name: Lucas Reis * * www.lucasflicky.com * User ID: 48572 Submission Information * Game: The Embodiment of Scarlet Devil * Remix Name: Touhou Chinese Iced-Tea * Song Name: Shangai Teahouse * Composer: ZUN * Original Song: This was originally made for a couple of touhou-tard friends of mine, as some kind of gift for both, their taste for electronic music and exotic instrumentation leaded me to this arrange, lead violins with electronic background, some solid bass, merging the personal preferences of both of them into the same song. ------------------------------------------

The snare drum beat is super vanilla and shouldn't sound so much cleaner than the guitar work. Maybe it's just me, but the drumbeat plods and should be taking more of a backseat to the guitar lead, not competing for space. The lead guitar work was performed well, but the rhythm guitar sounded pretty muddy and the textures here just didn't glue together well. There wasn't much in the way of dynamics, IMO, as it was just an aggressive sound with no breaks from :53-on; this needed a breather somewhere for some contrast. The percussion writing also was too repetitive/samey over the long haul. There were some more interpretive sections, and I'm not ignoring the original part-writing under the melody or the wholly original transitions, but the A-type melody wasn't handled in an interpretive way, and there wasn't much difference in the phrasing or style from :53's section vs. 1:45's. Some subtle melodic variations at 1:06, 1:45 and/or 1:59 would keep things interesting and well-developed. The wild supporting guitar work under theme from 2:25 was a good touch to provide something different, but the core beats basically being on auto-pilot for so long undermined that attempt to ramp up the overall energy for the close. This isn't a poor concept or poorly performed, but it's underdeveloped as an arrangement. I know you went for dynamics here, but I thought the curve ended up pretty flat. Don't be discouraged, Thomas, but do spice it up. NO

* My ReMixer name: Too Cool For School * My real name: Thomas Benton Murray * My website: http://toocoolforschool.bandcamp.com/ * My userid: 52168 * Game title: Tetris * Original arrangement title: Theme A * Song title: Blocks Of Madness! * Description: I've always loved the music from Tetris, and I've always wanted to make a cover of it and I thought it would make an awesome first submission, but nothing I could come up with seemed good enough for such an iconic game soundtrack. Especially since you guys already have so many remixes of this particular song. I wanted it to be original, not too repetitive, but remain faithful to the original. So I re recorded this track several times, set it down for a few months while I learned how to mix and master and I picked back up and polished it until I could proudly submit it. In this track I sacrificed a bit of volume for dynamics. I hope it lives up to your awesome standards. Thanks for your consideration! Sincerely, Thomas Benton Murray of Too Cool For School ----------------------------------------------------------------------------------------

As soon as things picked up at :22, this piece consistently sounded needlessly lossy and muffled for some reason. I'm not sure of the cause, but it defintiely undermines the energy of the piece. I'm not a fan of the panning and the way the soundscape sounded cramped. This almost like certain parts would get pushed down only when other channels triggered. The woodwind soundfont first brought in at 1:23 sounds uber-fake; definitely not feeling it and was glad it bounced at 1:48. The attacks and trills were way too unrealistic and exposed. The fadeout ending was a bit anti-climactic, but otherwise I really enjoyed the creativity and dynamics of the arrangement. There could stand to be a bit more dynamic contrast, as most of the time, things are loud and the chip sounds bordered on shrill sometimes; softening some areas would help. Mainly, I felt it was the mixing and production that needed tightening up. Hopefully some musician Js can point you in the right direction, as this has good potential, Chris. I hope you're willing to revisit this one. NO (resubmit)

Hi OCRemix! I'm ChrisColaMusic. My submission is a remix of music from the Legend of Zelda games on Game Boy and Game Boy color. The tracks primarily used are "Mabe Village" from Link's Awakening, "Horon Village" from Oracle of Seasons, and "Lynna Village" from Oracle of Ages. "Mabe Village" is the most prominently featured of the three, I would say. The name of the arrangement is "Get Some Fresh Air." The track is a blend of chip-tune sounds, bouncy rhythms, echoey synths, and some orchestral instruments too. The remix starts with the "House" theme from Link's Awakening with a tinny and claustrophobic filter, then the listener "gets some fresh air" by stepping outside, and the remix starts. Even if my submission doesn't cut it, I hope you enjoy the music! You can reach me at the address used to send this email, chriscola66@yahoo.com. -------------------- - "Mabe Village" (Link's Awakening) - "Horon Village" (Oracle of Seasons) - "Lynna Village" (Oracle of Ages)

It's a cool arrangement that would have been over the bar in ye olden days but, IMO, doesn't bring it enough for the current standards. It's not undeveloped, but it feels underdeveloped. On a more minor thing, the clap groove (while layered) sounds super basic and doesn't fill out the soundscape. Meanwhile, the level of melodic interpretation was low and the adaptation to this genre wasn't personalized and expanded as much as it could have been. 2:10 was essentially a copy-pasta of :48, while 2:24 was essentially a copy-pasta of 1:29 only thickened a little bit. Ultimately, for a 3 minute arrangement, it felt like there wasn't enough development or evolution in the long run. It's a good cover that was somewhat personalized, just not enough to really allow it to stand apart from the original. It's still a cool piece, but there's a lot of unrealized potential. NO (resubmit)