Liontamer

Hi there, Please visit my soundcloud link below for my submission: Original VGM below http://www.youtube.com/watch?v=m1qbVI9iTBU My mixer name is 'Capitulated Sound' Real Name: Matt Hird Email: Website: http://soundcloud.com/user4076963/ User ID: hulky (Sorry, I tried to find number but had no luck !) Game arranged: Chrono Trigger (SNES) Name of Arrangement: To Far Away Times - Touched Remix Original Track: To Far Away Times Originally VGM: http://www.youtube.com/watch?v=m1qbVI9iTBU Comments: My second attempt breaking through on the OCRemix scene...I previously submitted a Ninga Gaiden remix, "the devil removes his mask". It was a very close and in my opinion "Admirable" decline I did consider your comments but decided not to re-work my track as I personally was pretty happy with the output. Thats not to say I disagree'd with your opinions and I definitely value the constructive feedback! Am hoping this submission may meet the suitably high standard you guys set on your fantastic website. Thanks for listening Matt ------------------------------------------- http://www.youtube.com/watch?v=m1qbVI9iTBU

That only happens on YouTube. Great work on this, Paul. This is how you do it!

EDIT (11/5): It really took me a while to familiarize myself with the source enough to grasp the arrangement, but I've got my breakdown of what I recognized from the source. Thanks to jn for the thorough breakdown; I didn't agree with it all as far as being overt connections, but there was easily more than enough direct usage of the source: :39.5-1:44, 1:46-1:56, 1:59.75-2:13, 2:39.5-3:30, 4:09-5:00 = 189.25 seconds or 60.46% Onto the production side, this open up interestingly with organ followed by some pretty thin, fake stuff guitar at :13. The drumming and backing guitar work at :26 sounded pretty flimsy and lacking energy at first blush, but I think it ended up sounding OK. The lead at :40 sounded pretty nice, and I liked the dual layered leads at :52 a lot; good escalation and dynamic contrast there. Good transition at 1:19 along with solid layering of the proggy synth with the piano at 1:33. Another swank dynamic shift at 1:46; the piano and pads filled out the soundscape well. At 2:12, the piano was more exposed again, followed by the thin synth guitar at 2:26. The piano and string writing at 2:39 & 2:44 were well-written as well; again, the piano sample could have used more richness, though what was there was serviceable. The soundscape was somewhat muddy from 3:05-3:37, and I wasn't a fan of the tone of the drums; not a huge deal. Drastic changeup at 3:37 to some extremely fakey piano that sounded even more fakey than the other fakey piano. Pretty unrealistic string sequencing too. The production from 3:37 until the end at 5:13 was easily what really dragged this piece down to a NO vote. The drum tone arguably didn't fit the 4:09-4:35 section, though that wasn't a huge deal. Overall, this is a solid composition, but when the samples strain for credibility or the light rock textures sound too thin, it makes this piece sound in places like a WIP/sketch that hasn't been fully fleshed out yet. That was particularly a big deal from 3:37 until the end, where the fakeness of the samples was exposed much more during the 3/4 sections. Something happened there where pretty much nothing was done on the production side to mask or otherwise mitigate the unrealistic sound of the piano or string sequencing. The scrawny piano from 4:35-5:00 was probably the worst offender and was exposed during the final section when things should have finished strong. I really love how smart and creative the arrangement was, and how thoroughly the source tune ended up being used here. And while there were some notable issues with realism and production quality, I could have went with this as a YES with the arrangement carrying it. However, the lack of realism and serviceable articulations for the entire last third of the piece was too much of a pervasive issue to ignore and was a distinct quality disparity from the rest of the arrangement. If you can improve the realism of the 3/4 sections, this would be an easy pass. Don't give up on this one. NO (resubmit)

Contact Information Your ReMixer name: jnWake. Submission Information Name of game(s) arranged: Starcraft II: Wings of Liberty. Name of arrangement: "We'll never be Angels" Name of individual song(s) arranged: "We weren't Angels" (Youtube link here: ).This was made for the Blizzard Month at DoD, my first entry there. Sadly, the month was a bit boring since only 1 other person competed... At least I won (even if 1st of 2 isn't that much of an accomplishment)! Anyway, Starcraft music has always been pretty cool, so I tried to make a mix that sort of kept the feeling of the original. Hence, my song is a sort of progressive and sort of rock-ish effort that varies between slow, heavy and fast paced sections, just like most Terran themes. I also tried to mantain the typical Terran instruments: Distortion guitar for rhytm, synth leads, organs and the violin leads that were introduced on SCII. I also gave it my own touch by adding a lot more piano than the typical Starcraft song. The arrangement is, in my opinion, very straightforward in source usage. The source has a, generally speaking, ABC structure. My mix takes those sections and uses them in a BABCA order. In particular, I like how I used the C section of the source by having the piano the chord progression and then throwing violin and synth solos over it (all of this begins at 2:40 in my song). K, I'll explain source usage now. So, the original theme has 3 main sections: A - from 0:07 to 1:20: Most important things here are the main acoustic guitar melody and the clean guitar melody that begins at 0:52. B - from 1:21 to 2:12: I use almost everything from this section! C - from 2:13 to ending: Most important thing from this section is the chord progression and the clean guitar melodies. And now, my remix! 0:00 - 1:22: Based on section B. Organ does the chord progression from that section. Lead guitars play the melodies from that section too. 1:23 - 1:49: Also based on section B. Now I focus more on the rhytm though. Piano does a variation of the guitar melody too. 1:50 - 2:15: Piano plays A section's acoustic guitar with different base chords. 2:16 - 2:42: Another variation of the B section, now on the style of the remix's intro. 2:43 - 3:09: Piano plays a variation of C section's clean guitar. The transition to this section is also similar to the transition from section B to section C in the original source. 3:10 - 3:40: Synth solo! Still based on section C. 3:41 - 4:11: This one is trickier, but piano is doing a 3/4 variation of section A's acoustic guitar. 4:12 - end: Chord progression is taken from section A. Lead guitar is playing section A's acoustic guitar melody while the piano plays section A's clean guitar melody. I think that covers it! I don't really have much else to say, hope you like it! ------------------------------------------------------------

Some of the synth design was a little plain, and the core snare beat pattern, while decent, definitely dragged over time. The mixing during the choruses felt pretty cluttered as well, but it wasn't a huge deal. 2:49 was definitely the moment where something new and interesting should have happened with the verse instrumentation, and it didn't happen, which was boring and disappointing, just being frank. That said, the variation of the chorus from 3:04-3:19 was sweet due to the effects & new beat sounds used there and made for a good finish. Honestly, a bit disappointing for me. Until the drop at 2:34, it felt like this piece was just stuck in one gear with a relatively flat dynamic curve. Adam's a pretty solid artist, but there was too much repetition and too little development compared to some of his other work. Things started off interesting, but 1:06-1:50 went for a wholesale copy-pasta of :14-:58. 1:58 had just a measly key change until finally something else happened at 2:05-2:34 to provide some added melodic variation followed by dynamic contrast. Perhaps I'm being too tough, because this does have some solid interpretation ideas. It just comes across like a bit too much coasting/repetition for such a brief track. Consider seeing what you can do to make 1:06-1:50 & 2:49-3:04 stand apart from :14-:58, and consider varying the sound and/or timing of the core beat pattern. I could just be an outlier, but the lack of dynamics really stood out to me. It's a very good start, and very far along, but it does need some additional polish for a strong finish, IMO. NO(resubmit)

Your ReMixer name: Argle Name of game(s) arranged: Donkey Kong Land Name of individual song(s) arranged: Bad Boss Boogie - Name of arrangement: Boss Land Beatdown I remember Donkey Kong Land being really HARD, mainly due to the graphics which made the enemies blend in with the background. At least that was my impression of it. Not sure the rendered graphics that looked so sweet on the SNES worked out quite as well on the Game Boy. Anyway, it had some great tunes as well. This is one of my favorites. I always thought it was pretty badass fight theme, so an industrial techno mix seemed the natural thing to do. ------------------------------

It's not gonna light the world on fire with complexity or innovation, but this was a pretty solid cover with a solid amount of personalized ear candy. The sampling was OK, although 3:34-3:46 seemed pretty pointless; it did allow for some dynamic contrast. I liked how each iteration of the verse had different things going on with the surrounding instrumentation. That said, the development of the actual melodic part of arrangement (namely the source chorus) was just the same all the time -- :55-1:37, 1:51-2:04, 2:33-3:01 (cool effects here though), 3:05-3:34, 3:47-4:40 -- which pulled this down when it comes to the level of interpretation and development. Some sort of substantial variation in the chorus treatment would be great; the surrounding instrumentation never being the same is good, but the chorus almost always sounds the same. Same lead, same key, no rhythmic variation, no grace notes, no other personalization. Develop that aspect a bit more to put this solidly over the top. What's here is a great base. NO (resubmit)

Hi. This is Kayla Richardson, also known as dJ~noeko, or if you prefer, just noeko. I'm submitting this remix because I'm rather proud of it and I think the remixing community would appreciate it. I am, due to computer related issues, unable to properly format MP3s for submission. However, the soundcloud link provided contains a downloadable file's whose quality is 16bit wav. The remix is from the Sega Genesis game Sonic 3 and Knuckles, and the remixed tracks are Flying Battery Zone Acts 1 and 2, with a brief interlude of the Sonic 3 Invincibility theme. The full title of the remix being "SEGA - Flying Battery Zone Act 1+2 (noeko remix ft samplingmasters jk)" You can both listen to and download the remix here: -------------------------------------------------- http://www.youtube.com/watch?v=loFvDTvUyW4

There are. Look harder. If you're reading but haven't listened yet, do yourself a favor and don't skip past this. Great stuff.

The soundscape sounded too muddy to start until :19. I wasn't put off by the sequencing from :20-on when the theme truly kicked in. It's obviously meant to be very stiffly timed much like the original song's feel, so I thought that was a fine and fair aspect to retain here. I see how others could take issue with it, but I strongly feel that that aspect is executed well-enough in this arrangement in a clear nod to the source. This should not be held against it. The bowed strings and brass samples both sounded very unrealistic and too thin & flimsy, so those sounds could be improved; muddy soundscape or not, those parts were still very exposed to me. The chorus at :58 was personalized very nicely, and even when sections repeated, there were always different instrumental variations being employed here. Unfortunately, the mixing just ends up sounding very muddy and lo-fi for the densest sections, in particular :00-:19, :58-1:07 & 1:58-2:47. To me, this is a conservatively structured but solidly and creatively personalized arrangement. If the mixing was good, i would YES this in a second. Some of the sample strain for credibility and realism, but I thought the arrangement rose above that. However, the overally mixing of this piece really undermines the quality of the arrangement. I specifically agreed with this, and I think that's the main problem here. Right now, the densest sections all sound too cluttered and indistinct. If you could address this, and possibly improve the realism of the instrumentation as well, this would be in much better shape to be approved. Very, very promising; even in this state, it will make a solid addition to the FF9 project, even if it does need additional polish. NO (resubmit)

As I said, I thought the recording/production quality was already pretty poor, unfortunately. I'm not sure what has happened with Guillaume's setup that causes the sound quality to sound lo-fi, but it should be improved. Still, what's there with the production could possibly be serviceable if the arrangement was very strong, though I could likely vote NO on that level still. As far as the arrangement goes, this does try to make a lot from a little, but I felt it wasn't very engaging for the first half, and ultimately didn't feel like a substantive piece. That's always going to be a problem when trying to arrange a source tune that's just a bunch of seemingly random chords at random intervals. There's no easy way at all to make the connections from the relatively random progression of the source to the more orderly changes done in this arrangement. That relationship from source to arrangement is just not apparent or overt enough. I felt like 1:01-2:05 was performed too loosely and with too much dissonance in a manner that didn't seem to have a substantial purpose. I agreed with Deia that an arrangement focused more on "The Deceased Laugh" would automatically possess more focus and direction and play more to Guillaume's arrangement and performance strengths. It's a good effort here, but the poor mixing, awkward performance in the first half, and lack of a clear connection to the "Twilight" source tune all make this a NO.

The track was 3:55 long, so I needed 117.5 seconds of overt source usage to pass this on the source use level. :07.75-:12, :14.5-:30, :42.5-:46.5, :49-1:03.5, 1:10.5-1:42, 1:57.5-2:02.75, 2:04.5-2:09.25, 2:16.5-2:21.25, 2:23.75-2:25.5, 2:40.75-2:56, 3:00.5-3:17.5, 3:19.75-3:24 = 127.5 seconds or 54.26% I wasn't worried here, but I just wanted to make sure things checked out and that I wasn't merely feeling it was a pass on that level. Onto the arrangement itself, the woodwind sequencing/timing and realism were both weak, and improving the overall sound of the piano sample would be good going forward. While 1) many casual listeners won't notice the flaws, 2) this execution is serviceable enough and 3) a lot of care's put into this, the lack of realism in the timing is definitely the weak link here. Upgrading the samples for future tracks would be nice. That said, the arrangement here was excellent and the dynamics were a genuine highlight. Solid stuff here from Pieter, who I hope only continues moving upward with his production as well. YES

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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