Liontamer

Original Decision (Resub from form rejection) Contact Information > ReMixer name: HeavenWraith > Real name: Antanas Palaitis > Website: http://www.heavenwraithmusic.net > Forum userID: 50325 Submission Information > Game: Metal Slug 4 > ReMix Name: Eau Charix > Original Name: Furiously Hello once again. I've polished the piece following the advice you've all given me and some little nitpicks I've noticed myself since the last time I've submitted this track. Though, the only thing I couldn't make myself change was organ playing the main theme, I'm sorry and I hope it won't tick anybody off. On the bright side, I gave it more presence and backing pads, let's see how that'll work out. And lastly - thanks for your time. P. S. For convenience, you can call me Anthony, the international version of my name. P. P. S. And thanks for doing a great job of posting lots of mixposts/rejects recently. ------------------------ http://www.youtube.com/watch?v=fpph3E6KtfM

Having heard the 192kbps version (included in the first post), there's a little bit more clarity than before, but that alone wouldn't address the various issues here.

Forgot to update this a while back, but after NemesisTheory/Maurice was made aware of the potential issue, he looked into as well, and it matches the info I found on Psykosonik and the creation of the music being prior to the game. Unfortunately, that confirms it's ineligible as source material for OCR, so the submission can't be posted.

Not just the queue; real life as well. But it's boiling down to 1) more submissions than ever, 2) a higher percentage of submissions being too good to reject with the form letter, 3) less availability and enthusiasm from staff, and 4) a need for new judges. We're actually ahead of the usual pace of posting mixes, but we're also passing a higher percentage; we may have come to a point where the overall community has gotten better than where the bar currently is, but we're not going to raise that bar because this is a hobbyist community and we can't have it unreasonably high. After the FF6 album release & Kickstarter fulfillment is done, we'll be addressing this, but it boils down to rejecting more submissions without paneling them (raising the bar on the form letter rejection), letting inactive judges go & whip-cracking the staff, and testing some new candidates to bring in some new blood. In about a month, I'll have more free time to address the inbox side of it, but I'll chip away until then. If the artist doesn't do anything, possibly. He's known about the issue for a while, but his source files are pretty far away. We're nice people, and we'd hate to reject the track, but fixing it likely won't happen. I'll remind him one last time to send something or we've gotta ice it, but it looks like it wasn't meant to be.

OK, let's assume plagiarize could be too strong a word. That said, the wording isn't "a bit similar", it's TOO similar. For whatever reason, you believe you had reworked the information enough. The reality is, you didn't rework to nearly the extent that you believe you did. When you actually compare your WIP bio in parts, it's way too close to the MMN articles' structure AND phrasing. I'm just going to compare writings to highlight WHY Polo rightly criticized this. It's not meant to embarrass or shame, but it IS to make clear that even if you somehow didn't see this as being too close, it still was like trying to create a thesaurus version of the MMN story. If this were a submissions judgement, it would be commended for attempting to put one's own spin on things, but rejected for being too close of a cover. If you want to drop it, that's fine, but don't be discouraged from taking on other bios, as you've already written good stuff before. Just keep in mind that you've got to pull from as many good sources as you can and then synthesize all of that into your own voice on describing the character's story. While the MMN article may have a great breakdown, and it may seem like that needs to form the base of the bio, it shouldn't have held so fast to the structure and wording. Again, I'm trying to be clear just how many times this happened, so that Polo's POV is clarified.

Just to underscore what Polo's saying to Mirby re: sourcing: Do. NOT. Plagiarize. Phrasing. It's lazy, and you can always figure out how to restate ANY sentence fragment.

You can just quit the program like a typical application any time during the day, and it won't be using CPU. If you have the Web Control page open when you do this, a notice will pop up telling you that Folding@home has been disconnected. If you don't have the latest client (7.3.6) installed, I'd do that too, and uninstall any older clients. The older versions of the program installed as "Folding@home". Newer versions install as a folder names FAHClient and an application names FAHControl, so you have to uninstall the old application as well, not just install the new one.

He should compare the two with Palpable's insight, and flip his vote. We're allowed to mess up every once in a while; that's why we have the voting and analysis by the group, to catch when someone else's call is way off, in this case on the level of source usage. I've been there before, but Vinnie did a great job here elaborating on where the connections were. Man, :32-:47 was loud and cluttered. Same with 1:19-1:35 & 2:41-3:13. Why is so much of this flooded? The brass from 1:51-2:07 was very obscured, and the string accents might as well have not been there, they were so buried. The arrangement was a pass, even though Vig didn't study the source tune enough. But, dude, you're offending my ears with this volume and clutter. Why do I have to play the I'm-an-old-man-you're-hurting-my-ears card, when it's your fault this thing's too loud, Mak? Tone this down some, it'll still sound great. Again, you compare a track like this to "Consent (Make Me Dance)," and the difference is night and day. A track doesn't have to be flooded to be loud. It'll probably make it as it, but if you're willing to tone the levels down a little, this would be an easy pass to me. NO (refine/resubmit)

Jeez, this is cluttered. At first it seemed like it was just going to be some brief stuff to complain about, but from 1:35-onward, the vocals were getting buried, and the soundscape was stuffed up. The vocals from 2:47-2:50 were mud, but 2:52-3:36 was more upfront, though 3:31 started getting cluttered heading into the chorus. From 3:43-4:37, all the guitar work and padding was just totally indistinct. 5:46-6:10 was pretty muddy as well, then the final vocal verse was also cramped. Yeah, I'm not pulling the old man card, but you could go deaf listening to this, and not in the fun way. This could totally be pulled back and still sound just as dense and intense WITHOUT so many sections of this turning into a muddy pile of noise. It's too bad, because the arrangement is awesome, but this is unfortunately another piece where too many parts are stepping over one another and preventing the writing from being discerned and appreciated. Good luck on the vote, but IMO, you'd do wonders cleaning this up and sending it back. NO (resubmit) EDIT (10/25): Brandon sent in a tweaked version of his own accord to clean this up some and make the vocals more upfront. It's a nice improvement, IMO, without undermining the energy of the piece. The arrangement was excellent, and I'm totally on board now that things are cleaned up on the production side. YES

Opened up with a pretty interesting sound; nice and ominous. Melody arrived at :31 with a purposeful distant quality to it. 1:00 featured some bowed string coming in underneath, along with some countermelodic string work at 1:16. Nice start here that got me intrigued. The mixing seemed very strange at 1:30 when more elements were introduced. You had a pretty powerful orchestral ensemble playing very strongly, yet the sound of the orchestra was muted and placed way the synth lead; the orchestra should have been surrounding the lead, not stuck behind it. The style changed at 2:00 with the addition of some rumbling. Really bad brass articulations from 2:04-2:07. The bass kicks introduced then were powerful yet quiet. Actually, pretty much everything was super quiet, which makes 0 sense. Why were the levels so muted? The vox created a lot of background mud, obscuring the brass and absolutely burying the supporting string from 2:36-3:05, which might as well have not been there. Everything was 1:30-on was a cluttered mess. Usually, Vig notices these things, so I'm not sure why he didn't hone in more on that issue. Also, the melodic arrangement on the brass from 2:06-3:06 became plodding and boring by the end of the track. You need to create more melodic interpretation or instrumental variations for the lead so that the arrangement doesn't drag out. The supporting instrumentation is gradually building up was a good technique, but the leads were flat. Things were going well, Stefano, until the soundscape became super muddy from 1:30-onward. Figure out what changed there to cause the sound to go from clear to muddy and fix it, and make the second half of the arrangement more creative and varied as well. NO

On the production side, I thought this was muddier than it should have been, and while the beats were nice and beefy, I also thought they could have been toned down. While this had great energy, it was too flooded. The string and brass opening was definitely on the weak/fake side, but it was serviceable. I actually thought the ending sounded a little worse/more exposed in that regard, especially the final string decay. But I agree with the others that those bookends weren't poor enough in the big picture to reject the piece. On the arrangement side, this almost completely ignored the melody, so I had to wrap my head around the backing writing of the source to understand all of the source usage. That said, it's definitely there practically the entire way, it's just without the more memorable melody, so a lot of people who only fixate on that will think there's little to no connection here. This arrangement had simple but good original writing integrating with the backing writing of the original, though the mixing had entire sections where even those backing patterns were pushed too far in the back. The flooded sound of the production is almost too much for me to allow, and it should be cleaned up a bit, but for the most part the instrumentation remains distinct ENOUGH that I can look past the mixing issues. Good work here, Tyler; welcome aboard! YES (borderline)

It's just 4 notes; that's not enough to describe that whole MMZ theme as taken from Zorro. Don't worry about it.

If something's just private messaged, it has to be added to the panel. If it's emailed, it could bypass the panel. He's continuing to work on it. It depends on what djp wants to do, but there's no simultaneous reveal planned.

CONTEST! Win Whitaker Trebella's Polymer OST! 100 FREE DOWNLOADS UP FOR GRABS! All you have to do to enter is... 1. Follow BOTH Whitaker & OC ReMix on Twitter; and 2. Plug Polymer with the following Tweet: • "CONTEST! 100 VGM fans win the Polymer OST! 1. Copy-pasta this tweet by 6/21! 2. FOLLOW @wtrebella & @ocremix! http://wtrebella.bandcamp.com/album/polymer-original-soundtrack" Chances to win are HIGH, so get in there! The soundtrack is normally $3 on Bandcamp, but we've got 100 codes EXCLUSIVELY for OC ReMix fans! The music is super smooth, and features bonus unused tracks AND arrangements! On June 22nd, we'll be sending codes out to 100 lucky entrants! ENTER! GET! Composer Whitaker Trebella has an awesome track record of indie game scores that you can check out at Bandcamp (http://wtrebella.bandcamp.com)! His latest puzzle game for iOS, Polymer, was entirely his creation and has had over half a million downloads! You can get the free version, as well as the full version for $2.99! ••• Check out Polymer! ••• • Polymer (FREE VERSION)! https://itunes.apple.com/us/app/polymer-free/id617836686 • Polymer (FULL VERSION)! https://itunes.apple.com/us/app/polymer/id499490016 • TRAILER! http://youtu.be/BbEJ3x4mI3M • SITE! http://wtrebella.com/portfolio/polymer/ • Post-Mortem promotion insight from Whitaker! http://wtrebella.com/results-of-polymers-free-promotion/

Emailed you.

Emailed you. EDIT: Why are you responding to Brandon as if he has any say?

No Larry on this album = bad. :'-(

That's because it's Luiza.

Intro seemed pretty strong. The beats at :42 had some meat to them, and there were obviously effects employed on them, but they seemed comparably too dry and exposed compared to everything else. If anything hurt this arrangement, it was that issue. By about 1:45, the dynamic curve already sounded too flat, mainly on account of the beat pattern being so static. That said, there ARE subtle rhythmic variations throughout, I DO notice them; but the pattern basically sounds fixed & repetitive on account of the percussion sound never changing for almost 4 whole minutes. One idea would be that you could swap the sounds of the beat out a couple of times over the course of the track to create subtle but more pronounced dynamic contrast without needing to resort to something drastic that would disturb the overall pacing and flow of the track. Either way, you need something that more effectively creates variation and dynamic contrast for the backing instrumentation. Meanwhile, the foreground treatment of the Zeal theme and the overall arrangement and production ideas were excellent, and I wouldn't change a thing about the rest of the piece. This is definitely well on the way to passing, John, and just needs some background writing tweaks to give this more obvious development & evolution over the course of the arrangement. I hope you tweak it and resubmit this so we can pass it and post it. Get feedback on your revisions from a couple of people first before you do, but I definitely want to see this posted in some form. NO (resubmit) EDIT/P.S. Don't forget, for here you need a more creative title than "Source Tune Name (Artist Mix)".

The panning's too wide. Though it wasn't a huge, HUGE deal, and I didn't notice that issue in the previous version, the extreme panning does make the parts harder to make out on headphones. The core beat/kick still is weak. I'm not sure if the tempo slowdown around 3:36 is new; I don't recall it from before, but I'm not feeling the way tempo shifted; there was no point to it because it was the exact same writing, just barely and briefly slowed down, with otherwise 0 meaningful variation Dynamically, the second half is a rinse/repeat of the first. The transitions between JJ2 and SM64 were slightly different from the first half, but the way the energy level changes and the way the instrumentation/textures sound is basically just repeating things and staying in the same gear. Yeah, the final section of Mario was maybe a LIIIIITTLE more intense than prior iterations, but it's not particularly different. Unfortunately, I find it a little funny that I like the arrangement a bit less now, having heard this revision. Adjust the panning so it's not as drastic, beef up the beat, and try to introduce more obvious dynamic contrast into the song through more distinct changes in instrumentation, textures, rhythm, or intensity (just something so the overall energy level doesn't hover in the same place). Still a NO for now, but this still has good promise and can be lifted up above the bar.

OC ReMix Publishes Free Perfection. OST by Omni-Psyence! June 11, 2013 Contact: press@ocremix.org FAIRFAX, VA-Perfection., a puzzle title developed by Greg Lobanov for multiple platforms, was released earlier this year for 99¢. Today, OverClocked ReMix has released Omni-Psyence's chillout-style game soundtrack for free. The score is available by BitTorrent download at http://ocremix.org/album/45/perfection-original-soundtrack. This marks the sixth time OverClocked ReMix, a community primarily focused on fan arrangements of video game music, has published an original soundtrack on behalf of a game developer. Perfection. Original Soundtrack features the four in-game compositions by Cory "Omni-Psyence" Richards, OC ReMixer and independent composer, alongside unused pieces and an arrangement by Richards featuring the violin and vocals of Tera "TeraCMusic" Catallo, whose work has been praised by fellow multi-talented musician Lindsey Stirling. OC ReMix will continue to publish more free game soundtracks on behalf of interested game developers and publishers in the future, providing convenient hosting and free promotion. "The Perfection. soundtrack is a collection of pure tone, meditative ambient-synth soundscapes with an evocative, slightly Eastern melodic patchwork," said Omni-Psyence. "This was composed to support the minimalist and zen-like aspect of the game; this is all about relaxation and taking your mind away from everything else. I want to thank Greg Lobanov for allowing me the opportunity to write music for his excellent creation, and OC ReMix for supporting video game music as strongly as it does. Long live VGM!" Perfection. is described by IndieGames.com as "Fruit Ninja for smart people," and is a simple, soothing puzzle game about cutting shapes to fit into outlines. There is an infinite number of puzzles, each randomly generated to be unique and interesting. Its gameplay is very minimalistic and very forgiving; there is no time limit, and you can cut as many times as you want and undo as many times as you want until you get each shape right. Whether you get it perfect or not, once a shape is completed, it's gone forever. There's no commitment to go back and master what you've already seen; only what's new and in front of you. Links Get the Game! Only 99¢! (iOS/Android/Windows/Linux/Mac) - http://perfectiongame.net Official Game Trailer - http://youtu.be/Bs_NcyqVDbw Album Info - http://ocremix.org/album/45/perfection-original-soundtrack OST Download (BitTorrent) - http://bt.ocremix.org/torrents/Perfection_Original_Soundtrack.torrent Review the Album - http://ocremix.org/forums/showthread.php?t=44092 Dumb and Fat Games Homepage - http://dumbandfat.com Omni-Psyence's Homepage - http://omnipsyence.com 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. ###

I've been maxin' and relaxin' to Cory's work here for a while (and Tera's guest performance), so I'm glad we've finally put this out, and also have it coinciding with Perfection. being featured by IndieCade at E3! Definitely get the game if you haven't already. I've been watching Banov's Twitter feed, and he's continuing to add to and improve it, all while planning his next stuff. One to watch.

There's some light but pretty obvious hiss that's unfortunately audible throughout. I definitely love the arrangement, and I could see this passing due to the character of this winning out, but I can't get over the lack of realism in much of the sound. A piano-playing J can correct me, but the piano sample just sounds too thin in the higher octaves and many of the decays sound too sudden. I guess that can be a style, but it doesn't sound very good in the big picture; someone can let me know if it's just my personal taste, but I felt a lot of the energy inherent in the writing was undermined by the thin, somewhat rigid sound. The arrangement really was sweet though; it was close. NO (resubmit)

Some generic-sounding instrumentation pads and a vanilla lead synth opened things up, though once the track got fuller at :42, the textures were OK. The soundscape was a little swamped, but it was a personal choice that wasn't really overpowering the track for me, at least at this stage. "Underground BGM" finally kicked in at :42. A slow build was occurring with some escalation at 1:00, but the pace plodded pretty quickly. Always dislike the way thin, exposed claps like those from 1:28-1:44 don't do anything to really fill out the soundscape. 2:05-on basically rehashed the verse with a lot of overly busy original writing ideas on top. It was definitely a strange combination where the foreground writing was super-busy yet the pace and dynamics were otherwise static. You could stand to have some rhythmic variations, for sure; otherwise, this beat writing really does drag out. Jeez, the original writing from 2:51-3:31 was over the top. I'm not inherently against the additions there, but the actual parts playing the source melody really got obscured as a result. The whole soundscape was very muddy as well for that final section. 2:05-2:24 was cluttered as well, but at least I could parse individual parts out, unlike 2:24-2:33 & 3:07-3:31 which was extremely cramped. Give the parts some more room to breath. You'd got the interpretation factor there, that's good. But you need to fine tune the writing details like Vig said. Some rhythmic variations of that overly repetitive beat would help, and you need to clean up the soundscape a bit for the fullest sections. Some instrumental variations could really do wonders for this as well; again, another move to help this not be as plodding and repetitive over the long haul. It can't just be stapling new writing on top of the verse reduxes when the tempo is so deliberate and the overall feel is too repetitive; that's actually not keeping things insteresting. That said, you may not be able to get this to a state where it could pass, but you show potential overall. Keep at it, Corey, and just stay hungry to learn. NO

This is awesome. I'm really glad Yan was able to take another pass at the production. This'll really stand the test of time much better now, and it sounds excellent.