Liontamer

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)

Formal stuff: Contact Information Your ReMixer name: jnWake. Your email address: This one... Collab ReMixer name: Argle. Submission Information Name of game(s) arranged: Final Fantasy IX. Name of arrangement: Into the Sandstorm. Name of individual song(s) arranged: Cleyra Trunk. Hi, This is my second submission to the site! I originally made this track for the FFIX project but it didn't make it... Anyway, this mix is a progressive metal or something like that version of the Cleyra Trunk theme. The original is a mysterious slow paced song, while mine is a heavier and faster (but not fast) version of it. I tried to keep the eerie harmonies from the original but the mix may feel a bit liberal. Argle provides a violin section in the middle of the song. Anyway, to make judging easier I'll make a breakdown here. First, for the original ( https://www.youtube.com/watch?v=XacP6hf29UA ) Section 1 - 0:00 - 0:28 : This is the "main melody" of the song to me. I use the initial ascension (A - A - B - G) a lot in my mix. Also, the first part has A and F as low notes, which is also an element present in the mix. Section 2 - 0:29 - 0:58 : My mix has a version of the diminished arpeggios here. Section 3 - 1:49 - 1:56 : Weird descending chords! Section 4 - 1:57 - 2:24 : Some sort of arpeggios here too. And now, my mix: 0:00 - 0:58: "Eerie" intro. E. Piano plays the Section 1 notes. 0:59 - 1:25: Heavy section based on Section 4 (E. Piano again). 1:26 - 2:09: E. Piano based on Section 1 (here I use the A-F thing I mentioned there). I like the piano effect at 1:47. 2:10 - 2:34: The Argle part! The guitar part is based on Section 2. I like how the violin keeps playing when this section ends. Next section is a repeat. 2:56 - 3:17: Yet another part based on section 2 (the E. Piano plays the arpeggios). 3:18 - 3:40: Here the mix gets a bit liberal. The E. Piano is using the same motive from Section 1. 3:41 - 3:54: Finally, Section 3! Not the same chords, but same idea. 3:55 - 4:38: Synth solo. The chord progression follows the idea from Section 3. Outro is a repeat. Hope you like it! Gah, forgot the arrangement link: . ------------------------------------------------------------ http://www.youtube.com/watch?v=XacP6hf29UA

The track was 4:41-long, so I needed at least 140.5 seconds' worth of overt source usage for it to be dominant within the arrangement. :30.5-:32, :40.5-:43, 1:24-1:26, 1:30.5-1:32, 1:37.5-1:39, 1:40.75-1:45.5, 1:47.5-1:53, 1:54.5-2:05, 2:31.5-3:09.5, 3:38-4:08, 4:09-4:14, 4:15.5-4:21, 4:22.5-4:28, 4:29.5-4:36 = 120.25 seconds A looser connection that I'm also counting is 2:05-2:31, which directly follows the note progression of the leads and backing pad from :06-:11 of the source. There's another looser instance of this from 3:12-3:38 of the mix as well. Even if you just count the first instance, that's enough added source usage to put this over the top. Paneling it is just a formality for me to have the source breakdown on record and also let the other Js enjoy Mike's great work. Short and sweet, it's a great arrangement that evolved nicely, getting at nearly all the various sections of the source. Great companion to the other two TG2 mixes! YES

Hello Guys Sir_NutS over here with another submission, this time, a little bit of backstory: (no time travel this time) around 2007 I proposed to make a small remix project to a few friends, the game was Top Gear 2, which has an awesome soundtrack and the project was meant to be electronica-only. I gathered around 5 remixers including myself to remix the 5 tracks from the OST. 2 of those remixers couldn't finish their tracks, I was making very slow progress on mine, and the other two were completed. They were bLiNd's "Dance Nation" and Rayza's "Rolling Start". Back to 2013, I finally finished my track. I've always wanted to make a Psychedelic trance remix for OCR, since there seems to be a lack of representation in that genre. But dealing with this remix made me see why, and it's the reason it took so long. Psy trance being a bassline-centric genre, where melody usage is almost non-existant, it was very hard to pull a remix that represented the original well while also sounding authentic. Not to mention trying to nail the acid sounds the genre is known for, and then mastering which was a royal pain in the ass. At times, I abandoned the track in anger for months, only to pick it up later, work on it a it, and get frustrated again. In the last few months I managed to get the track to a point I'm satisfied with it, and I think it sounds authentic enough. I'm a huge fan of Infected Mushrooms and Juno Reactor, and in this track, it shows. Hope you enjoy it, and i hope we can (finally) have some Psy trance on the site. The Title: "Velocity Shift" The original track: Special thanks to Rayza for providing the audio samples from the game... 7 years ago. --------------------------------------

What was the point of that little part from :57-:59? Starts off pretty minimalist, so I'm hoping it goes somewhere; 1:23 was that chance. A little escalation occurs, but it's basically coasting and I'm waiting for that next idea. OK, another iteration with some rising notes added on top, but an overall static layout. 2:37 finally changes into something more. And, again, I like Jack's arrangements, but we get yet another instance where the track peaks and is dense, yet the background is TOO sparse. Noooooooo, not again. The drums from 2:42-3:27 are well-written and have a good tone, but the background needs to be a bit fuller. Also, the drums cut out abruptly at 3:27 out of nowhere; don't miss small details like that. At 3:25, we move into some totally different instrumentation for the finish. The accenting chords and wind-type lead from 3:25-4:13 were off-key on purpose, that much was obvious. That said, I don't really see the point, including closing it at 4:39 with some blue notes on the piano, but ooook. You have to hear it a number of times to get used it, and also focus less on the odd notes and more on the Schala piano base they're actually built around. Well, this is definitely the closest to the bar I've heard out of your submissions so far. The first 2:23 was pretty static as far as the treatment of the source, but did gradually evolve, but I'd like to hear just a little more substantive development there. Besides the drums sounding naked, the second half from 2:37-on was pretty swank. The more I listen to it, the more it seems like it click ENOUGH, but that's really because the second half finishes stronger. This is REALLY close to passing, IMO, and it could get there. Hopefully some semblance of the project files is there. Let's lift up creativity of the first half a bit or shorten it so that it isn't static for so long. Really strong stuff, just a little tightening up that's needed; perhaps I'm just being very tough on it. I've taken issue with various things in your submissions, Jack, but I'm definitely impressed with your current skills and the potential on display. Hopefully you stick around here, smooth out the rough edges and contribute some great stuff. NO (borderline)