Liontamer

The opening didn't actually sound like Bubble Man, and the lyrics initially don't as well; nothing wrong with an original intro; just noting it. I like the overall sound to start, though the vocals immediately sounded too muddy and the timing, while not horrible or anything, was disjointed and behind the beat. I like the tone of the guitar though, and I like what you're going for with the overall sound. Source finally kicked in at :44. Nice handling of the melody vocals at 1:13. The airyness they have sounds sweet, but again, the vocals still sound too muddy and need to sound sharper. You'll need to EQ them so that they're not competing in the same frequency range as the guitars. Hopefully, a musician J can give you detailed advice. The arrangement was sounding a bit repetitive at 1:57; nothing that was a red flag, but there could have been some variation employed in that verse. The dropoff at 2:13 could have been an interesting transition towards the finish, but I felt the bass cameos of the other themes (2:21-2:35) were messy and out of left field with no synnergy; they merely broke the flow of the song without adding anything. Perhaps ice that and throw in a straightforward cameo of the beginning of the Bubble Man theme in. This is in a really good place to get some tweaks and pass. 1) Clean up the mixing so the vocals aren't bleeding into the other instrumentation. 2) Improve of get rid of the bassline stuff from 2:21-2:35, it just sounds out of place. 3) This one was the most minor issue for me, but tighten up the timing some as well. It may bother others more. Otherwise, the arrangement was a pretty solid pass aside from the hiccup at the end. Now the mixing just needs to be tightened up some for the win. Really sounding cool so far, Paragon! I know just getting it evaluated it has taken a while, so hopefully you still have the source files intact, but this is VERY promising and I hope you'll go for tweaking this! NO (resubmit)

Good evening! Got a submission for you. This is a Mega Man 2 rock song featuring synthesized vocals using the Vocaloid software. It was originally a Dwelling of Duels entry, but the mixing has been improved with some outside assistance (who wants to remain nameless, and who encouraged me to submit it to you). I originally wanted to make a wah-heavy "disco-rock" type of song, but somehow I would up making a bouncy little happy grunge number instead. The lyrics are just generic love song tripe which I translated into Japanese (and I don't speak Japanese, so I can't vouch for the accuracy of the translation), so I'm not including them. They really shouldn't be the focus. Artist name: Paragon feat. Hatsune Miku (if you don't want to credit a fictional character with a performance, I understand -- just credit it to Paragon) Song title: This Love is Involuntary Game: Mega Man 2 Source song: Bubble Man's stage (along with bonus snippets of other MM2 songs in the bass interludes) Thanks! ---------------------------------------------- http://www.youtube.com/watch?v=5G8XQ89risA

Can't help but get a proud papa bear kind of feel listening to this. :'-) I'm certainly not djpretzel, but having been an OCR fan for 10 years and a judge for 8, hearing the skill and grace of the collaboration between Mansoor and Sabrina just fills me with a sense of pride for both them and how far this community has come. It's amazing to hear the diversity and talent of artists like these on a regular basis. Beautiful work.

Sheer elegance.

One of my personal favorite mixes throughout his whole musical career, and that's saying something, because he has so many unique pieces. Just when you think you've heard it all from Chris... amazing.

Dayum. http://www.businessinsider.com/disney-buys-lucasfilm-for-4-billion-2012-10 http://youtu.be/YyqlTi7lkhY Disney seems to take care of their franchises, and the Marvel Comics purchase has worked out great so far, IMO. But Scott Bloom on the Tweeter had a fun question: Can't say I'm hyped about Star Wars: Episode VII personally, but it'll make bank, let's not waste time assuming otherwise. So how are you guys feeling about this major acquisition?

Sorry for the wait on this one; I held it in order to give this the fairest look at the arrangement that I could alongside your breakdown. I didn't quite agree with some of the most liberal aspects of the arrangement counting as overt source usage; some moments you gave yourself credit for sounded too liberal and too loose of a connection to count. That said, there were also some brief spots here and there where a note or pattern based from the source was trailing off that I'd count. The track needed 120 seconds worth of overt source usage to pass on arrangement with over 50%: :19-:27, :49-1:13, 1:21-1:33, 1:36-1:48, 2:14-2:23.75, 2:33.5-2:38, 2:42.75-3:02, 3:31-3:52 = 110.5 seconds or 46.04% I didn't find the production bothersome enough to have any criticisms of it, but I'd say this is a great base where you could tweak some of the mixing and add a few more overt references to the source that don't get too liberal and you could easily get this mixes passed. You're 90% of the way there. NO (resubmit)

Those should be fixed, and the first one was just a link typo that needed to be corrected. If you catch other things, feel free to let me know, sure.

The lossless version from HoaH ending cuts off due to their crossfading (poo), so I'll get a proper one from DS if he has a WAV, or just use the previous version. Thanks for the catch!

That. I'm also still a NO on the revised version. Let's not get hasty about the edits it needs to be a fully-formed song sans the Beatles sampling.

I'll go back later and add some more things, but the list is there for anyone's haunted house or whatever spooky thing you may need it for.

uTorrent's a perfectly fine program to use and it's what I use. I'll admit, I don't quite get what you're so concerned about, but if you're basically asking "Is it safe to install uTorrent on my computer, or will uTorrent somehow infect my computer with a virus?" then everyone's telling you it's fine. The uTorrent program itself is safe. To ensure you don't install any bloatware, just pay attention to each step of the installation process.

That's an original demoscene song by Laxity (Thomas E. Petersen) called "The Alibi." Pretty sure that's the version played through Vibrants though (http://youtu.be/sXto5fBFC1E), as it's definitely not the the SID chip original. Over at Remix.Kwed.Org, moog made an awesome smooth version as well: http://remix.kwed.org/?search_id=3048 - All of moog's material on R:K:O is worth checking out.

Normally DarkeSword is bad cop, but this is ridiculous, so I'm chiming in. If you so much as look at someone here cross-eyed and I'm told about it, you're DEFINITELY banned and erased from this forum. Legit community member or not, you can't treat people like they're stupid and pull something shady like this TWICE, and feign ignorance the second time.

Above and beyond anyone's wildest expectations. Thanks to EVERYONE for helping make this happen!

No pressure. But if you DO, please give us a heads up so we can announce on Twitter for someone to get the $50 spot that would open up.

Load the group up in Mp3tag, sort the Comments alphabetically, and look for ones that begin with "http". If the mix is from an album of some sort with a homepage, I'd usually include it. From there, you'd have to manually look through what you have and don't have, and many of those designations are also of non-OCR albums, but that's the easiest way to start sorting through it.

We're in the final stretch, with only 7 FF6 albums left to be claimed by backing at the $50 level. WHOOOOO will be the final people to snag that set???

Correct, it's by ID #. Neblix has you there.

Thanks for the catch. Not sure what happened with this one, as the WAV I have said 3:18 when viewing the file in Windows Explorer (and still does), but is indeed 2:43 when you actually load it up in WinAmp. There could have been some sort of corruption when downloading that one, but it'll be fixed.

Heard back and will vote on this later: EDIT (10/29): Don't agree there. These connections, IMO, aren't overt enough, and the chord connection is a very loose one. You shouldn't only be looking for the melody, and I don't agree with how you gave it credit there. That said, the pads from 1:46-1:58.5 use backing writing ideas from sustained lines from :30-:35 and :03-:16 of the source. 2:00.5-2:05 refers to 4 notes from the bassline at :28-:30 of Cold Man, only slowed down. At least that's something. In the chorus, you could argue for the 2-note chords taken from 1:04-1:06 of the source's YouTube, but that's about it and anything else there sounds like a total reach. None of the vocals beyond the verses sounded like they had any overt connection to either source. So you could conceiveably credit 2:07-2:10.5, 2:15-2:18.5, 2:23.25-2:26.75, 2:32-2:35.5 for 14 seconds of a super tenuous connection. There are two more instances of that repeating from 3:09 until the end for a total of 52 seconds. IMO, that's just too tangential of a connection to actually give credit for, so I don't. ------------------------------------------------------------------------------------------------------- I think the explanations for the "liberal" parts of the track are vague and only account for unspecific portions of the sections that were timestamped. Much of those explanations seems too liberal to credit, IMO. So I needed more than 129 seconds of a 4:18-long track to overtly use the sources so that the source material is dominant: :01.5-:16, :17.75-:36, :38.5-1:02, 1:03.5-1:12, 1:46-1:58.5, 2:00.5-2:07, 2:40.5-3:04, 3:07.75-3:09.75 - 109.25 seconds or 42.34% I love the piece, but I can't co-sign on these YESs. I'm not saying you have to treat Robbie's explanation as a "gotcha" on the arrangement, as I've seen plenty of artists undersell how connected their own arrangements are to the source tunes. But when he says the Wily links are tenuous and reliant on the chord structure, he isn't kidding. While the track sounds awesome in a vacuum, I think it got a little too indulgent with some very, very scant connections that are for all intents and purposes original writing, making the arrangement a little too heavy with original writing vs. overt source tune usage. I think it could be easy enough for Robbie to use some portions of the Wily theme in the background in a more straightforward, more overtly identifiable way to easily and unambiguously put this over the top on source usage. NO (resubmit)

He's right. Real life intervened 8 months into the process, but it was a worthwhile project, definitely worth the subsequent 34 months of part-time work on it.

Yep. However, game assignment can only go to one game; when I know which specific game inspired the ReMixer, I use that.

If you read Ryan's sub letter in the judging decision, it's representing Escape. There are a handful of game reassignments we still need to make live on the site to reflect corrections I've made for the torrents, but we'll get everything updated soon.

I definitely thought about that, but I had two reasons I didn't pursue it. 1) I haven't seen any mainstream music programs that make any notable use of the field (correct me if I'm wrong). And 2) With the way we post ReMixes in the present day, djp may queue up a few mixes intending to post them on a certain day, but then circumstances change, so I didn't want files out there with potentially inaccurate dates. It would be annoying for djp to have to keep retagging and reuploading mixes he's about to post.