Liontamer

It might just be your download on Fishy's, but I'll also say we went for quality over quantity as far as the count, so definitely have no fear! The replayability and production level of the album is way, way up there, thanks to the generous support of the album backers, who ROCK!

I am exicte! THANKS YOU to everyone who helped support the album via Kickstarter, allowing us to take it to the next level of game music!

Never was here. As for "where did some tracks go?", just linking OC Removed doesn't explain it, so... http://ocremix.org/info/Frequently_Asked_Questions#Why_have_some_songs_been_removed.3F http://ocremix.org/info/ReMix_Changelog

Definitely not an invalid crit, but I wasn't as bothered by some of the looseness in the live performances, just noting. This ultimately sounded fine to me on that level. Arrangement was pretty sweet. I was a bit underwhelmed by the "Sky Sanctuary" usage, because, while it was there, it felt pretty marginalized. But together with the Sonic Colors source usage, the overall usage was dominant and overt enough. Yeah, this could seemingly lose a couple of things without impacting the song too much. But if you didn't get rid of anything, you HAVE to declutter these textures. Yep, totally agreed here, the mixing is undermining this. On some other vocal-related points, the off-key moment at 2:48-2:51 was pretty unfortunate. Otherwise the vocals were generally on point. Also, the key of the Bastion lyrical cameo just didn't click at all with the Sonic Colors arrangement and felt really forced; I'd honestly ice it. You know, you mailed me about basically having hit a wall as far as getting mixes passed, and it's pretty apparent that's not far from the mark. It's certainly not for a lack of really awesome arrangements, but, as you get more ambitious and your textures become more complex, the inability to cleanly mix and all of these parts is throwing a huge monkeywrench into all of this creative greatness. The next stage of your growth as a musician is 1) buying something better than $20 headphones to mix to (my Senn HD497s were around $60, it doesn't need to break the bank) and 2) nagging the slew of artists in the community who've got their mixing on lock for their advice. The Workshop is made for this, and you now have at least 4 or 5 submissions that all could desperately use some targeted advice there about how to handle dense textures and giving your parts room to breathe. Take it to the next level. NO (refine/resubmit)

The lead's not totally buried, but it's certainly obscured too much. Aside from that minor clarification, Vig's right about everything. It was disappointing that 1:59 was basically a rinse and repeat of the opening verse, and 3:27's section was just mirroring the initial build, so there's really not much substance to the arrangement in the long run. This was a decent base, but the track's indeed washed out and the arrangement needs further substance and development. Interesting approach though, Isacco, I hope to hear more from you and you show potential. NO

Maybe change some timestamps in the first paragraph and it's still the same vote. Cluttered mixing culprits: 0:58-1:23 - mallet percussion and strings handling leads were BURIED by the rhythm guitars 2:55-3:48 - the strings are so buried Other areas didn't suffer AS badly, but the whole thing could use another pass. You should be begging Sixto, SnappleMan or PuD for production advice at this point. But EQ, EQ, EQ is your friend. So many things are bleeding into each other and it's messing up the epicness of this top-notch arrangement. I disagreed with Vig's crits on some of the solos/structure. As long as the mixing is de-cluttered, the arrangement doesn't need to be touched. NO (refine/resubmit)

Gotta agree with Vig all the way. Pretty thin sounds, a bland groove, and a cookie-cutter electronic arrangement in too many places. Rather corny boom-tss opening until :39. The countermelodic writing at :43 was way too loud and drowned out the lead, but the lead sound was pretty vanilla as well. The wubs from 1:09-1:35 weren't an inherently bad idea, but didn't mesh very well with the other instrumentation. 1:36-2:15's section ended up clicking the best as far as the sound choices and mixing/balancing of the parts. You could have something better going on with that sound palette and forgoing a lot of the other ideas. 2:28's section was another instance where the stuff around the lead was taking the focus away from the melody. 2:56's section until 3:22 turned out very cluttered as well. Just being honest, I don't think this arrangement will be the one to get you posted, but it's definitely a cool learning experience. The combination of the two source tunes was actually really cool and surprisingly seemless in theory, but the execution turned out vanilla or messy in many places, which I'm hoping another J can further elaborate on. Take a listen to something like DigiE's past few mixes, as they're able to make more effective, better balanced pieces with somewhat similar sounds. That said, this is much better than your previous 2 takes on that, and easily could have made the site back in the early days. Your potential is actually pretty strong and as long as you stay dedicated, you could be coming out with some really awesome stuff. Definitely stick with it. NO

Sure, good energy here, but this is pretty much a straightforward cover of the original with different beats. The dropoff at 1:09 was cool though. The dub-wub section at 1:24 was surprisingly skimpy and didn't have much going on. Basically 26 seconds of nothing going on. I appreciate the intent of the changeup, but it was a bit too barren, IMO. Then the cover-ish chorus repeated 1:50 with different beats. I'd be a little more behind this if the leads didn't quite sound so close to the feel of the original, though the personalization of the supporting instruments was a step in the right direction. That said, Vig's also right that the ending was fairly abrupt and not a meaningful resolution. I'd argue the more cover-ish melodic sections need some more ideas to distinguish them from the original, and the wubby section could use something melodic to give it more direction, rather than leaving the middle rather flat. Good start here though, this has potential, Jesse. NO (resubmit)

Pretty lengthy build. 1:26.5-1:55.5 finally brought in the "Green Hill Zone" theme. Something about the phasing bothered me a little, but that could be a lack of clarity with the mixing. Theme came back with phasing from 2:09-2:36, and the mixing still bothers me. 2:45-3:15 changed up the lead for another nice change of pace. Paul John definitely did a good job with the lead variations, before going back to 2:09's style from 3:41.75-4:10.5. The arrangement was 4:23-long, so I needed more than 131.5 seconds' worth of overt source usage to qualify the VGM as "dominant" in the arrangement: :00-:05 (Stage Clear), 1:26.5-1:55.5, 2:07.5-2:36, 2:45.25-3:15, 3:41.75-4:10.5 = 120.5 seconds or 45.82% Another J can let me know if I'm missing something from "Green Hill Zone" that's being used in a way I don't necessarily recognize, but I didn't think so. Otherwise, while I was bothered by the mixing for lacking some high-end, but I could have passed it on that level anyway. This was otherwise obviously well-produced with solid arrangement ideas. It needs a bit more Sonic theme usage to put it over the top for me on the arrangement level, which was a standards dealbreaker for me for an otherwise strong piece. Would love to see a tweaked version here that involved "Green Hill" a little more. NO (resubmit) EDIT (8/5): djp ID'ed more source usage, enough to put it over the top for me, so my vote is changed to YES below.

I just don't get the electronica staple of a super-fake sounding piano on top of a groove. I've heard a lot of cases where it works despite my personal reservations, especially in doujin scene arrangements, but here's it's just not working. The keys at :14 are too thin and it's too fake-sounding on account of the mechanical timing and how exposed it is. The groove's meant to be beefy, and I hear how you're attempting that. But the soundscape sounded VERY hollow; texturally, there's just nothing going on until :56. This needed some high-end clarity and consistent background padding to give the sound some depth. Even after :56, it just gets cluttered and muddy when more parts come in. Keepin' it real, this isn't gonna be the piece that gets you posted. I wouldn't have even paneled this in the first place, and I don't feel you can get it to where it needs to be at your current skill level. Whatever potential might be there in the arrangement was undermined by pretty poor sounds and mixing. You'll need to improve the articulations of your organic-style instruments, and the textures need to be on point. Gotta walk before you can run, but many have made the journey, and it takes a while, so don't be discouraged in the long run. Stay hungry. NO

Not sure I heard what Vig heard, that's for sure. I'm going off of the version 2 in his post above mine with the alleged improvements, so NOT the original submitted version. The delay effects employed were pretty one dimensional, the textures were way too murky and cluttered, and organic-intentioned instrumentation such as the piano was exposed too often (though the piano at 2:26 sounded more realistic, even in the mixing was poor). 2:27-2:47 had a metric ton of distortion and light popping, with even more up to 3:21. Vig's complained of wax in the ears lately, it might have happened here. The advantage of judging on headphones... I hate to be that hater, but while the arrangement shows promise, the poor mixing and pervasive distortion & popping in the second half made this dead on arrival. This needs a lot of mixing improvements and TLC to pass. NO

Or you're deaf and don't recognize Natols (a.k.a. "Open Your Eyes") at all. 2:38-3:29 & 3:54-4:50 in the mix.

It's not fixed on the current version, because it's already fixed for v6. So send good vibes for v6.

So lucky to see this quickly at PAX, but it definitely looks just as great as Bastion. REEEEALLY looks good.

A pair of Sennheiser HD 497s recommended in 2005 by GrayLightning still serve me well to this day, and I've also got a pair of M-Audios from BGC when I need to tune out the world and hear DAT BASS.

Track #2 by halc is OUT! His take on "UNATCO" is sweeeeeet, so you better get! http://facebook.com/DeusEx/app_108468622525037

About your artist name? If so, loud and clear.

OC ReMix & Eidos Montreal Present Deus Ex: Sonic Augmentation March 20, 2013 Contact: press@ocremix.org FAIRFAX, VA--In collaboration with Eidos Montreal, OverClocked ReMix is announcing its 39th arrangement album, Deus Ex: Sonic Augmentation. This album was made as a tribute to the original Deus Ex, released in 2000 for the PC, and features eight tracks by ten artists inspired by the game's futuristic, dystopian world, with nods also to its sequels Deus Ex: Invisible War and Deus Ex: Human Revolution. Sonic Augmentation is featured for free streaming and download on the "OC ReMix" tab of Eidos Montreal's official Deus Ex Facebook page at http://facebook.com/DeusEx, with two new tracks unlocked each week until all eight are unveiled. The complete package, including lossless versions, is available at http://augment.ocremix.org. "In collaboration with OC ReMix, the world's #1 online video game music remix organization, original composer Alexander Brandon and the OC ReMix team have completely remixed and reimagined the slammin' sounds of the original Deus Ex soundtrack to bring them to you like you've never heard before," said Eidos Montreal's Adam Badke in an announcement on the company's blog. The album includes several heavy hitting OC ReMixers and game composers including Alexander Brandon collaborating with Jimmy Hinson (Call of Duty: Black Ops II, Mass Effect 2), as well as Andrew "zircon" Aversa (Soulcalibur V, Monkey Island 2 Special Edition) and Jillian Aversa (Soulcalibur V, Halo: Combat Evolved Anniversary) and many more. Album director Larry Oji adds, "Even if you've heard other music from all of the contributors here, all ten of them presented ideas and sounds different than what you're used to hearing from them. Get ready for a different side of these talented composers and arrangers, as well as a different side to Deus Ex. With a focus on the original game alongside representation of both sequels, and Alexander Brandon himself being involved, there's a little something for every DX fan. Everyone did a great job capturing and expanding on the feel of the series in their own unique, interpretive ways - after all, sonic augmentation is what we do!" Previous OC ReMix albums include Donkey Kong Country 2: Serious Monkey Business, Mega Man X: Maverick Rising, and the official soundtrack to Super Street Fighter II Turbo HD Remix in partnership with Capcom. One of their upcoming albums nearing completion is the highly anticipated, Kickstarter-funded Final Fantasy VI: Balance and Ruin. About Eidos Montreal Founded in 2007, Eidos Montreal is a leading video game development studio in Montreal. Embracing the philosophy to always pursue excellence in the development of games and create immersive, captivating experiences for players, Eidos Montreal made its mark on the video game world with the release of its first video game, Deus Ex: Human Revolution, and is currently developing Thief for PC and next-gen gaming consoles. Eidos Montreal is part of Square Enix Europe. 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. ### Full Package: http://augment.ocremix.org Stream/Download (2 new tracks unlocked each week): http://facebook.com/DeusEx/app_108468622525037 Eidos Announcement (Blog): http://community.eidosmontreal.com/blogs/Sonic-Augmentation Eidos Announcement (Tumblr): http://eidosmontreal.tumblr.com/post/45773769939/deus-ex-sonic-augmentation-launches-today-the Comments: http://ocremix.org/forums/showthread.php?t=43353 Deus Ex Eidos Montreal OC ReMix

Looking forward to checking this out for sure.

Full Package: http://augment.ocremix.org Stream/Download (2 new tracks unlocked each week): http://facebook.com/DeusEx/app_108468622525037 Eidos Announcement (Blog): http://community.eidosmontreal.com/blogs/Sonic-Augmentation Eidos Announcement (Tumblr): http://eidosmontreal.tumblr.com/post/45773769939/deus-ex-sonic-augmentation-launches-today-the Deus Ex Eidos Montreal OC ReMix How do you know the original Deus Ex is a special game? Even today, people joke that when they're reminded of it, they immediately have to go and reinstall it. That's how infectious it is. A critical part of the game's indelible impression is the music, which is why I was excited when Kyle Augustson-Stallock, then Deus Ex: Human Revolution's community manager, floated the idea of us creating a ReMix album back in October 2010. When I asked the OCR staff and community to come up with an arrangement EP, I shouldn't have been surprised that they did such a great job capturing and expanding on the feel of the DX series in their own unique, interpretive ways. After all, sonic augmentation is what we do. Even if you've heard other music from all of the contributors here, all ten of them presented ideas and sounds different than what you're used to hearing from them. Get ready for a different side of these talented composers and arrangers, as well as a different side to Deus Ex. With a focus on the original game alongside representation of both sequels, there's a little something for every DX fan. Special thanks to Kyle Augustson-Stallock for originally commissioning the album and establishing the framework for us to work with. Kyle is great to hang with in person, and it's always an honor to collaborate with legit OC ReMix fans in the games industry who know we're passionate about what we do. A big thanks to Eidos Montréal's André Vu, Adam Badke, and Valérie Bourdeau for seeing Sonic Augmentation through to completion and working hard to get this music into your hands. Special thanks also to Alexander Brandon (two-time contributor here, how awesome is that!) and Michiel van den Bos for enjoying the album, as well as Deus Ex: Human Revolution audio director Steve Szczepkowski for his kind words on the project. Much love to the artists for their seemingly limitless creativity, Andrew "OA" Luers for some really slick album art that I did my best to augment, my wife Paige for her patience and encouragement, and David "djpretzel" Lloyd for starting OC ReMix, a place where video game music is celebrated as a true form of artistic expression. Last, but not least, thank you to you the fans who listen to OC ReMix and go out of their way to spread the word. We like you the best of all. - Larry Oji (Liontamer)

As long as it was given before, it shouldn't cause a problem.

ReMixer name - Mak Eightman real name- Max V. Kravchenko email address- userid: 32137 Submission Information: Title - "Find Me" link to remix - attached Name of game arranged - Castlevania: Bloodlines System: Genesis Name of individual song arranged - Mysterious Curse(password menu) Link to the original soundtrack - Vampire Variations II project Director: Chernabogue Hi! SD3's lvl-up theme was my best remix in my opinion. So here is another project and another short source - another attempt to make soething nice. Thanks!

Fun stuff! Worth that look, certainly.

They make a good point. Where does "The Sky, Clouds, and You" (Chu Chu's theme) even appear in this arrangement? Damned if I know. It could be referenced somewhere in the first 1:34, but I'm not making it out there or elsewhere. All I recognize here so far is "Flight."

Pretty interesting stuff back in the day. Definitely a liberal take on the Prelude, but I couldn't disagree more with the last comment. I found it very intriguing when I first heard it in '02, and while it lacks some polish in its age, it shows what can be done creatively with a piece of VGM.