Liontamer

Not my thing personally, and the biggest drawback was that the beats should have been more varied and interesting. That and the repetition at the end made this feel paint-by-numbers than it should have. That said, this had some melodically and rhythmically interpretive things while also personalizing the sounds during the more cover-ish verses. I would have liked to have heard more melodic interpretation and variation, but that didn't end up being the approach here. Decent dropoff at 2:10, though I would have liked to have heard something more melodically different from the opening at :00. Perhaps I'm being too lenient, as I'm admittedly underwhelmed, but on the substance it gets by. From a creative standpoint, this is merely OK, but it could have been great. The final third not really evolving much (and having a bland finish) ended up being a disappointment, IMO, but this does still get by on a solid overall level of expansion and interpretation. Gary shows off some good potential for the future. YES (borderline)

* Your ReMixer name: T1lTED * Your real name: Gary Burrell * Your website * Your userid: 51011 * Name of game(s) arranged: The Legend of Zelda - A Link to the Past * Name of arrangement: A Link to Zelda * Name of individual song(s) arranged: "The Legend of Zelda Theme" (Overworld Theme)

Definitely love cynics PRE-EMPTIVELY complaining. Let's get something very clear: with all respect to vertexguy, we were justified in rejecting those old covers many years ago; they were short, undeveloped, minimally interpretive, not particularly personalized, and not mixed well. We also HAVE a posted ReMix by Chris, because it was everything those old submission were not, i.e. mixed well, and more interpretive. He didn't have to compromise his approach to music in order to get posted: http://ocremix.org/remix/OCR02027/ There are such things as interpretive covers, covers that are well-performed and demonstrate a unique interpretation of the source music, and we love to post them. Some things with your arrangement: The guitar performance is cool. The percussion was OK, but the writing was on the bland side, and it didn't quite gel with the rest of your performance. For the backing pattern, you might as well have just taken a MIDI and put some better samples on it; it sounds too close to the original "Funky Stars" with little interpretation. At least you have some parts where the guitar doubles it, and you have some original writing involved as well, so that goes in the right direction of making the arrangement more interpretive; but it's not enough in that direction. In any case, it's not a bad track, but would need to be developed further for what we're looking for. HOWEVER, it's not actually eligible in the first place to be submitted, because the original song is not from music originally created for a video game. Apart from being an original demoscene song made in January 1996 that wasn't created for Barkley, Shut Up and Jam: Gaiden, the song being used in a Worms 2 cracktro doesn't mean it was created for an original video game soundtrack. That would be like ripping the Blu-ray of Games of Thrones, adding in your own cracktro with music promoting the fact that you ripped it, and then claiming the song used was part of the Game of Thrones television soundtrack. Cracktro music is ineligible to be arranged for OC ReMix, so even if the arrangement were all sorts of amazing and fit the standards, we couldn't accept this track. That said, you're not warning anyone about anything. Get over yourself, stupidly claiming that we either "don't get" your music or are too biased against XYZ genre/styles to post your music. You clearly don't listen to what's posted at all, or you'd realize that we have plenty of music with live musicians, whether it's rock, metal, jazz, piano, acoustic guitar, or orchestral. So to claim we discourage live musicians is hilariously ignorant. Also, calling one of our moderators a "faggot" means you're immature. We've had people acting even douchier than you eventually come to understand that they were being stupid. If you get over yourself and grow up, we'd be more than happy to hear another submission from you. Don't fuck around. - Larry NO Override

Original name : Title Theme Game: Barkley Shut Up and Jam Gaiden My version: Hybrid Song Cover Remixer name: Master Ceddy Real name: Cedrick Daniel Halley e-mail: Username: MasterCeddy Bonus: YOUTUBE PERFORMANCE VERSION HERE: And I warn you guys. Don't do like you did to Chris Klein a.k.a Vertexguy the first time he went to your website. I didn't just add drums and guitars to my remix. I worked as hard as anyone. Playing real instruments is the shit. Don't fuck around. ----------------------------------

Neither did we.

So yeah, I'm listening again and while I hear a little more, I'm still not hearing enough to go over 50% as far as overt source usage. :01.5-36, 37.5-39, 40.75-43, 44-50, 54.5-59.5, 1:01-1:03.25, 1:04.5-1.09.75, 1:22-1:26.25, 1:29.5-1:39, 1:42-1:44, 1:49.25-1:52.5, 1:56.5-1:58, 2:10-2:11, 2:24-2:29, 3:12.75-3:41, 3:45.5-3:48, 4:06.5-4:07, 4:09.5-4:11.25, 4:13-4:14.5, 4:16.5-4:18.25, 4:19.5-4:28.75, 4:33.5-4:38, 4:41-4:49 = 140.25 seconds of a 318 second-long piece or 44.1% overt source usage I gave as much credit as I could for the more liberal areas (1:22-3:12). I hear the chord progression for much of 1:22-2:00, but then the comping goes off into its own thing for most of 2:00-3:12, where any usage of Maridia became even more abstract. As per my usual, implied chord progressions don't count as overt source usage to me, just like I wouldn't accept an arrangement only or mostly using implied chord progressions as the connection to the source. Voicings do want. That depends on your POV and the overall context of the arrangement, but it can be a slippery slope. That said, it passed and we wanted to post it for years but not with the huge distortion issues. After years (I'm very relaxed) of back and forth email pings, I ultimately gave a drop-dead date of August 1st. Well, I FINALLY heard back TODAY from Nick and he finally was able to get back to the original computer that he had the track on and re-render it WITHOUT the distortion. The distortion was indeed fixed, and I'm just waiting to see if there's a WAV available for an even better encoding. All's well that ends well.

We have it from June 27th, but it'll be a long while. There's a lot of people ahead of you in line.

There's a chance this isn't him, but it's the only semblance of a lead out there: http://facebook.com/norihiko.yamanuki

Socks are rocked. How we lookin', Dafydd?

I love the piece in a vacuum, and it's not like there's 0 interpretation, but there didn't feel like there was enough beyond the genre adaptation. Besides some slight rhythmic changes and interplay from 2:22-3:11, everything was straightforward. I dig it, but IMO we also need a further level of interpretation than what's here. The tempo's different, it has a more ambient sound to the piano, and the overall instrumentation is different, but there's little melodic interpretation, and some but not enough overall personalization in this arrangement. I'm willing to hear out the case for this being interpretive enough, but it's not quite there for me, despite being a sweet listen. With some further evolution in this arrangement that was less by the numbers, I could get behind this. NO (resubmit)

"Gates in his path" works for me. Awaiting any edits and/or signoff from Dafydd y Polo. [sic]

The percussion really makes it. Everything's nice and chill. Just great work here all around by Jordan and Adam.

Done. Done. Done. Tweaked it. Yes, he can take more hits. Clarified it with "sometimes" and dropped the shield mention. Tweaked it. Yeah, that's what I'm referring to. They're only important in the sense that he's just getting through the end of each area. Tweaked it to "numerous gates," though that may affect the reading flow of the sentence; it ultimately seems alright to me, but if there's any edit suggestions there, let me know. OK, she's now a UPS package. Changed "return" to "deliver" a la "deliver us from evil". I mentioned "saving the day" later, so I'll prevent the chance of using the verb twice. Arthur doesn't bitch. Added a sentence at the end to allude to that (can tweak if needed).

Sure. "Calling for help" refers to the game mechanic being used when the quote happens, but if you read through the other assist calls for MvC3, they're not all framed as distress calls. In a lot of cases, the character says something strong/heroic, as in Arthur's case. Changing "a hit" to "damage" keeps the amount of hits non-specific, so I'll roll with that. Then changing "enemy firepower" to "hits" makes it clearer that he's not redirecting energy. Recommendations.

Cool. I edited things above. NP; reversed the order. It is indeed something Arthur says. http://marvelvscapcom.wikia.com/wiki/Special_Conversations#Arthur_5 Either way, it was just a way to add in something he says and finish strong. I could replace it with "Hohaha!" and/or move it to the beginning. But yeah, it's something he says that's just short for "Tally ho!" Much of the time that's true. But in the latter 2 games in the series (Super and Ultimate), certain armors allow Arthur to absorb more than 1 hit before he loses it. In Ghouls'n Ghosts, his upgraded armor still goes after one hit, but in Super Ghouls'n Ghosts, the gold armor comes with a shield that can absorb an additional hit (and there's an even better shield than can take 3 additional hits). In Ultimate Ghosts'n Goblins, he can just take multiple hits by default, but having something better than the default steel armor allows him to take even more. I added the parenthetical about the shield to clarify it a bit without getting too specific about the game it happens in, but if anyone thinks further clarification is needed, run some edit suggestions by me. I'm not bothered by it myself, but if you have a edit rec to address it and it works better, we can roll with that.

Taking Arthur. Already added a quote (from MvC3) and refs: http://ocremix.org/info/Arthur It gets a bit list-y, but its not a bad start. Bring on the edit recs! EDIT: Ain't no one banning ME from attempting a bio. Seriously though, this should be relatively minimal edit work (the game plots are all the same, i.e. barebones story, rescue the princess) and will take one off the list. IMO, I'd also say let Polo work on Bayonetta; he's a great editor and should make it quick. Also, some of the other in-progress ones are in limbo, so I don't see the point in holding back the productive from other work.

Almost everyone eventually hates their first mixpost in retrospect, at least if they're from ye olden days. Ask Beatdrop and DarkeSword.

Nope, it hasn't been substantively updated. Sometime this weekend.

http://youtu.be/chYZP85d8Mc

Surprised I never posted here. Been a fan of this one since 2002. Nice, chill and relaxing.

Send it again.

It's not a complete set of listings yet (we're still tagging things), but it's getting there: http://ocremix.org/forums/tags.php?tag=lyrics-existing http://ocremix.org/forums/tags.php?tag=lyrics-original EDIT: Anything with lyrics or original spoken dialogue (almost nothing sampled) is in a spreadsheet: https://docs.google.com/spreadsheet/ccc?key=0AjZ-TkKWy5oLdHp6MWxaSE5DX2JuZVpXSUE2eXNwaGc#gid=0

Too loud for my grandpa ears, and not as melodious as I would have liked. At times, the backing pattern of the source was in play but nearly buried. That said, what's here works as far as the arrangement goes. By 2:30, I was really hoping for some kind of dramatic dynamic shift to add another dimension to this. I'm not ignoring the dropoff at 1:35, but the overall volume there was still over the top, and the instrumentation wasn't different, so it wasn't a particularly dynamic drop. By 3:00, I was admittedly getting bored because the track was basically in the same gear the whole time. The changeup at 3:18 was a brief glimpse of something new as a couple more new ideas led to the finish. It IS a creative enough approach, and it ticks the boxes on both arrangement and production, but it represents a degree of untapped potential, IMO. It's not a borderline YES, but it's admittedly not an enthusiastic one either. There's not enough of a hook to it, and it could evolve more. I don't hate the track, but it's just not my thing. Objectivity! YES

Contact information: ReMixer name: Homeslice Name: Joshua Clark Website: https://soundcloud.com/jabzimdolla User ID: 46434 Submission information: Game arranged: Chrono Trigger Arrangement name: Oh, Traveller from an Arcane Land Song arranged: Secret of the Forest Link to original song: Inspiration: Chrono Trigger is still, to this day, my absolute favourite JRPG. I loved every aspect of the game (with a special mention to the soundtrack which is, to say the least, phantasmagorical) and after about my 4th play-through I realised a remix was in order and this was the result. Hope you enjoy --------------------------------------------

The source breakdown was VERY appreciated, thanks. Great source tune choice; one that takes several listens to wrap one's head around, but it's a very unique piece to go for. First things first, this arrangement is sweet. From a compositional standpoint, I dug it. The guitar chugs from :59-1:25 were conceptually OK, but the writing was undermined by how scrawny they sounded. Not a dealbreaker, but unfortunate. Actually, listening through more, the mixing quality really varies from section to section. The supporting guitar at 1:46 sounded puny again, and they also added a lot of mud to the soundscape. On the slight plus side, the string samples sounded so fake that the muddiness actually was beneficial to that part by not exposing the fakeness as much. There's the one drop of lemonade from that lemon. Overall, the mixing was a negative, not a positive. Onto Adam's appearance at 2:10, and I dislike the mixing even more. EVERYTHING sounded too distant and lo-fi. Even if it's purposeful to create contrast with the sections before and after it, it's not executed well. The violin performance was alright, but should have been tighter, plus it was mixed too dryly. This section would sound better if it were louder, yet wetter and more upfront in the soundscape. Chugs were thin at 2:56, and while I liked the drum writing, the soundscape felt a bit too sparse, IMO. Maybe someone will agree, but it's potentially up for debate. The cymbals at 3:18-3:29 helped fill things out for a bit. Nice deal at 3:41. Not really feeling the synth lead, but it's just personal taste and doesn't affect my vote there. The gradual escalation of things and the interplay with the chords until 4:37 were all well-written. Exposed fake strings at 4:58 for the finish isn't how I would have gone out, but we'll live. Yeesh, I feel like I'm nitpicking the hell out of it, but there's SOMETHING about the production that's really hurting much of this. And that sucks because I LOVE the arrangement. I know Vig would have some good production advice, but really I'm just looking for someone to confirm or deny that I'm grandpa'ing the production. I'd live if this passed as is on the strength of the arrangement, but it really sounds too muted and distant to me. Damn. NO (resubmit)