Liontamer   Judges ⚖️

It was originally released as OGGs and WAVs. This updated release is MP3s and FLACs. The source tune names are also corrected to the official titles, the album art is embedded, and the files are tagged to be compatible with iTunes and portable music players. That's why.

Strong weaving of the themes. Here's all I could make out: Adrian's Asleep (Map25) - :00-1:11 lead; 1:11-1:48 support; 1:48-2:10, 2:29-2:31, 2:33-2:35, 2:40.5-2:48, 2:50-2:53 lead Shawn's Got the Shotgun (Map07) - 1:11-1:48 lead, 2:57-3:11 lead, 3:11-3:59 support Running from Evil (Map01) - 2:11-2:27 lead, 2:27-2:42 supporting Bye Bye American Pie (Map23) - 2:35-2:42.75, 4:00-4:06 lead Into Sandy's City (Map09) - 3:11-3:15.5, 3:21-3:59 lead Any other insights are appreciated. Other people's attempts at a breakdown aren't entirely clear or accurate.

The arrangement remains awesome. I could end up being a total outlier or merely outvoted, but while the dryness of the first version was gone, it was replaced with something that was mostly too muddy and wet. In some places, the mixing change helped, but all of the fullest sections generally sounded cramped with a lot of parts seemingly overlapping and mushing together (particularly :58-1:28, 1:48-2:10, 2:35-3:40, and 4:23-4:59). The entire first minute seemed good, and I was glad to hear things more fully fleshed out than the previous version. Once we hit the first fuller section at :58 though, I thought the soundscape became VERY murky and cramped. Meanwhile, the electric guitar from :58-1:28, 1:48-2:10 & 2:35-3:19 could have used a murkier sound to disguise its fakeness and give it more body/quasi-realism. Adam's violin at 2:09 was mixed better, with a wetter sound that masked any minor performance issues and blended more with the overall soundscape. The guitar at 3:41 had some swanky delay on it that made it sound great. Nice improvement on the synth at 3:54; the delay these also helped it. The soundscape was a bit swamped at things filled in more at 4:08 and then way more so from 4:23-4:59. I'm certainly not the production expert judge, but I know the gist of what I'm hearing even if I can't articulate it as well as I'd like to. In the effort to thicken up the sound, which WAS a good move, the pendulum swung too hard the other way, and now there's a lot of unnecessary mud. Once that's tweaked, we're off to the races. If this doesn't make it, DON'T give up on this. I hate when production ends up being the only big issue, because I want to see arrangements like this get posted, but wouldn't want to vote against my instincts. I'm very confident Adam can adjust things to improve it to where it should be. NO (refine/resubmit) EDIT (10/09): One other thing to note, the cymbals cut off abruptly at :52 (sounds bad) and 1:46 (not as big a deal). Anyway, I asked Adam for a revision on this and the selective volume cuts he made really exposed the guitar sample at 1:03/1:47/etc., but I'll go with it. While the soundscape of the original resub is a little too murky, IMO, the way it's mixed ultimately did a good ENOUGH job of thickening up the weaker samples and giving this a full sound, and I can make out the various parts well enough. It's a bit too unintentionally lo-fi, but we'll live. I'm not going to make the perfect the enemy of the good with these issues or Adam's further mixing tweaks, and the arrangement is super excellent, so let's go. YES (borderline)

Original Decision 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. Link to arrangement: So, here I am, giving this song a second go! When I initially submitted, I honestly wasn't convinced on its chances. It wasn't the mixing my main worry though (even if I knew it wasn't stellar), but I wasn't sure about how the judges were going to react to the arrangement. Luckily for me, the song was rejected because of the mixing and the arrangement actually received some compliments! Anyway, I then noticed that Argle was offering free mixing, and considering that he already was a collaber in this remix, it seemed like a great idea to have him mix the song, since he's much better at that than me! Main changes from the original song are (obviously) a much better mix, better samples for the drum kit, better amps for the guitar tracks and a pad in the violin section. Argle also added a much better use of reverb than my original submission, giving the mix more of an eerie feeling. Hope you like it! Old write-up: 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 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! ----------------------------------

There's something that comes off too loud and imbalanced with this; the leads and beat overpower everything else, and don't lock together as well as they should with the supporting writing. It's pretty difficult to hear any details of the supporting instrumentation. With the dropoff of background elements at :52, this sounded too empty despite the volume. The core drum beat during the verses also felt too static over the long run. Well, I form lettered this in the inbox for being too muddy (and also to speed things up a bit), but this version now seems a bit too bright. Overall, I think the arrangement is OK and extended the theme decently, but the textures just don't click all the way and the drum pattern during the verses quickly got boring/complacent after a while. It's alright, and there's a lot of attention paid to various effects and instrument changes to make the theme variations not be cut-and-paste, but something feels a bit too repetitive/overlong about the arrangement, and the production possibly isn't quite as balanced as it should be. I'm initially leaning NO (resubmit), but I need a second or third opinion before I vote on this. EDIT (10/10): Shaun sent an update of his own accord: Checking out the revised version, the overall levels seemed a touch lower, but the soundscape was balance better, and I could hear more of the detail work. With the production being more solid now, I'm good to go with this. YES

Mega Man X - Zero's Theme (the one with the nasty guitar riff where he falls from the sky in the opening sequence and annihilates some poor robots) Added some slight stuttering and glitchery madness in the 2nd half for some variation. Also completely gutted the super saw synths and the orchestral strings. Cheers, ~Shaun -------------------------------

OH SNAP! Nice!

The arrangement's not bad, albeit a bit vanilla with some of the sound choices and definitely lacking in some of these flimsier textures. The layered bass kick/cymbals/clap at :45 wasn't horrible, but it was too loud while the overall texture felt sparse. Sparseness was more of a problem from 1:29-2:03; again, that super basic beat was too loud and exposed while the soundscape wasn't full due to a lack of padding. I'd also cut the fat on that extended buildup, it didn't need to be that long. Very nice original countermelodic synth writing at 2:04, followed by the softer synth at 2:13. I still think the melodic lead and bassier support writing were both too low compared to the supporting writing, but that wasn't a huge deal. The beat at 2:21 was a little meatier, but the kick was paper-thin. It just seemed that during the sections where a beat was meant to bring an added level of energy, it wasn't successful. Hopefully another J can better articulate the issues I'm having with the beats not integrating well into the piece. If that aspect was fixed up, the arrangement would be much more cohesive. The dynamic curve here was subtle, but had some good moments, but the weakness of the beats within otherwise sparse sections added up to a NO for now. It's got great potential though, Scott. NO (resubmit)

Heres all the info I think you need. ReMixer name: beatbell Real Name: Scott Campbell e-mail address: Userid: not sure Name of Game: Donkey Kong Country Name of Arrangment: "I'm in an Ice Cave" Song: "Ice Cave Chant" Thanks for listening! Scott Campbell ------------------

Opened up OK with a good cover of the clock-tick intro. Moved over into "Chrono Trigger" at :27. Not sure about the balance between the string lead at the percussion at :51; I would have pulled the percussion back compared to the lead. Other supporting writing like the pizz strings are pretty buried as a result. 1:58-2:27 was a nice rise in the energy level, but the soundscape was still very muddy. 2:40's lead & percussion writing sounded like a cut-and-paste of :51's section, with some slightly different things going on in the background. The supporting writing still sounded too indistinct as well. Also of note, the percussion writing was more sophisticated here than in your Zeal arrangement, but you're still putting your patterns on cruise control. 3:46-4:15 was another cut-and-paste, this time of 1:58-2:27, before heading into source tune's famous resolution and ending with the fading clock pendulum. With less mud and better balance among the parts, this would sound much more cohesive. If 2:40-4:15 hadn't been cut-and-pasted so simply and more substantial variations had been explored, I could be more in favor of this. That and the murky, imbalanced soundscape added up to a NO for me, even though Benjamín (yet again) had an overal enjoyable piece here. It just falls outside the standards a bit on the level of interpretation and development in the arrangement as well as the lack of clarity in the mixing. Would love to hear this developed a bit more in the second half and properly mixed throughout. It's not far from the mark, but the issues gauged against our specific standards add up. NO (resubmit)

ReMixer name: Benjaipod real name: Benjamín Watkins email address: website: https://soundcloud.com/benjaipod userid: 51950 Name of game: Chrono Trigger Name of arrangement: Time Stopper Batucada Name of individual song: Chrono Trigger Introduction theme Link to the original soundtrack: Adittional Information: As you may know, the composer of Chrono Trigger is Yasunori Mitsuda, i'm a big fan of his work. Comments: What if there is a Chrono Trigger movie? That's what i was thinking when i created this remix, i wanted to keep the escence of the song but make it powerful. I created a strong "batucada", "trashy" rythm, and started playing with it. finally i had this strong and powerful version of this awesome song. It really sound like a movie trailer for me. I hope you like it

The soundscape sounded a bit too distant, IMO, but it wasn't anything that negatively affected the decision. The arrangement, while conservative, did sound personalized via the layered performances. The introduction of the doubled lead at 2:05 was definitely needed late in the game to provide something fresh. The auto-pilot percussion was the weak point here, sounding robotically timed and extremely repetitive compared to the guitar work. I may be an outlier, because I likes the track in a vacuum, and I like sufficiently personalized, stylish covers, but this felt like the drums being on auto-pilot left the track feeling lazy and a bit too underdeveloped. Again, I like the track, but why have the drums robotically repeat like that when you can subtly vary them throughout the piece and better compliment the guitar work? It's a nice, smooth piece, Benjamín, but don't be complacent with the writing of such a critical background element. The percussion pattern isn't cool or creative enough to merit 3 minutes of non-stop repetition. But if the percussion writing becomes a bit more varied while still flowing well with the guitar performances, this could be a pass in my opinion. NO (resubmit)

ReMixer name: Benjaipod real name: Benjamín Watkins email address: website: https://soundcloud.com/benjaipod userid: 51950 Name of game: Chrono Trigger Name of arrangement: Zeal Palace, Acoustic Arrangement Name of individual song: Corridors of time Additional information about game: SNES game, original composer: Yasunori Mitsuda Link to the original soundtrack Comments: I recorded this like 3 months ago, I know, and i am aware that this is really close to the original ost, but i wanted to introduce a new concept for this song. I think that an acoustic version suits perfectly to the style. I used the latin percusion expansion of Ezdrummer, Cubase 5, some strings samples and 3 or 4 acoustic guitars, played by me. I don't know if this is what you are looking for in OCremix, but is worth the try. ---------------------------------------

The mixing here was pretty muddy. Not sure how it ended up that way, but it basically jacked up the piece at times. 1:07-2:07 was a loud, swamped up mess. Wrong note at 2:16. More cramped textures from 3:47-4:47. I felt bad for Nathalie's violin, which was a strong contribution, but was usually competing to be heard with everything else instead of standing out more. The layered clap sound was also pretty weak despite being way too loud. There were some good arrangement ideas, but short and sweet, these instrument textures were almost never cohesive, either because the beat choices were weak or more importantly, things were poorly mixed and didn't occupy the proper space when the soundscape was at its fullest. The arrangement is creative & fun and has promise, but the production could use another pass to fully realize the potential here. NO (resubmit)

If it passed, we'd need a more unique track name than "Source Tune (Artist Mix)" - LT Producer name: MEZ Real Names: Graham Gomez Soundcloud: soundcloud.com/mez-music-1 Submission: Game: Mario Kart 64 Track Name: Rainbow Road - MEZ Remix Original Track: Rainbow Road While the melody is specifically from Rainbow Road in Mario Kart 64, this track for me was meant to embody the whole feeling of nostalgia for my childhood days. SONG LINK: RAINBOW ROAD - MEZ REMIX Thank you for considering my submission! MEZ -----------------------------------------

The melodic interpretation of the source was personalized well and the glitch approach was interesting. This a really cool concept here, but that core beat & clap pattern was just too repetitive. Even Devo's "Satisfaction" would have some brief dropoffs here and there (plus its usage of vocals allowed for other kinds of rhythmic and dynamic shifts, which this lacked in comparison). Employing some brief variations and dropoffs in the groove would help this not sound too static in the long-run. The rest was weird, certainly, but I could get behind this with some tweaks to the beat pattern over the course of the 3 1/2 minutes. NO (resubmit)

1) Remixer Name- Bob-omb and The Bullet Bills 2) D L 1) Game Being Arranged- Super Mario Bros 2) Name Of Arrangement- It's a Series Of Tubes! 3) Name Of Arranged Song- Underground Theme 4) Original Composer- Koji Kondo 5) Why is so much of the Nintenocore scene focused on Metal? I love the idea of Glitch merging with many genres, but why so much Metal? We'll rather than complain I got to doin, and tried for a simple Rock(maybe Punk)/Glitch. I was channeling the spirit of Devo (specifically "Satisfaction") here and not trying to have a strong hook, just a catchy cacophony of Mario music (we all know the Underground Theme, what more could I add?) I wanted to have a train wreck style can't-take-my-ears-off-how-disjointed-it-is-but-I-want-to-keep-listening sound. IDK, maybe I just made a wreck. 6) I'm concerned the Attachment didn't work, here is the Youtube(Dan2227) link 3:51 -----------------------------------

The arrangement was melodically straightforward and was honestly a bit plain in the treatment there considering what we're looking for. It was personalized, but ultimately too repetitive in the big picture. Right down to the supporting writing, :12-1:12's section was basically 1:12-2:12's section with no meaningful variation from verse to verse. I really wasn't feeling the mixing of the sequenced string padding here and thought the soundscape was somewhat murky-sounding overall. The drumwork also felt plodding after a while. Something about the energy isn't really coming through all the way due to the way this was mixed. 2:12-2:56's soloing was OK, but wasn't tight until 2:33. The drums were a weak link, not by being poorly performed, but not being creative enough with the patterns during the verses and soloing. I'd say this barely gets by due to the personalized performance of the source and some good solo integrations, but there was definitely a lot of unrealized potential. I wish there had been some more arrangement substance with the source treatment and more creativity behind the drums to really complement the other good ideas and energetic performances here. But what's here was solid, IMO, and gets more right than wrong as far as fitting our guidelines. YES

Contact Information Remixer Name: Mario Speedwagon Real Name/s: Submitter; Ivan N. Potocnik. Bandmates; Jonathan Romero, Johnathan Colonna, Tyler Palmatier. Websites: https://www.facebook.com/MarioSpeedwagonMusic http://www.reverbnation.com/msw http://www.twitter.com/mswmusic http://www.youtube.com/user/mariospeedwagonmusic https://soundcloud.com/mario-speedwagon Submission Information Name Of Game: Street Fighter II Name Of Arrangement: Legend of the Masters Name Of Tune Arranged: Ken Masters' Theme Link To Original Soundtrack: Additional Comments Mario Speedwagon is a band I play with. We are a VGM group out of Oneonta, New York that takes your favorite tunes from video games throughout the years, and puts them into a medium through which they can be played live and enjoyed in the classic ensemble of Guitar, Bass Guitar, Kit Drums, and Synth (actually, keytar. ^.^). We've been playing live for a while, now, but this is the first song we've ever recorded, and this is our second submission to OverClocked ReMix. We try to stay relatively true to the original form of the music, but associate our own unique style with it, as well as that powerful feel of live instrumentation. Hope you Enjoy! = D -Ivan N. Potocnik (Bassists for Mario Speedwagon) Also, here is a YouTube link in case (for whatever odd reason) the link/attachment doesn't work.

I'm always right too, so let's not forget that very important, salient point.

You're basically implying either a new sub-forum (not happening) or thread tags for crowdfunding and ReMixer releases (maybe), but those types of threads nonetheless belong in Community.

Yep. AT ALL.

Preview it: http://www.youtube.com/embed/a9Gh596TFqU Download it: http://badass2.ocremix.org Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes_-_Volume_II.torrent You know how in movies or games or whatever, when there is a sequel they tend to be way darker than the original? Well, here's our sequel. But while it's not on a boat and lacks chipmunks, it'll be horrifying nonetheless. After 2 years of hard work, we bring you BadAss: Volume II. A collection of boss and battle themes done in a style that is both awesome and kick-ass, as well as mean. Really mean. As soon as we released Volume I, we went right to work on Volume II. The thing we wanted to do with this album was make it even meaner than the first; to make the hardest album on OCR yet. Volume I had a few tracks that were meant as a respite from the onslaught of BadAssedness. You'll find none of that here, so abandon all hope... something something... OH! Abandon all hope, ye who enter here! This will also be the last BadAss I direct, but I think it's a great swan song. There will most likely be newer entries in the BA line, and I've no doubt they will be excellent. As for me, I couldn't have asked for a better album than this one here. I've always been a big fan of the more intense VG ReMixes, and this is a fulfillment of what I wanted to do with BadAss, and one of the best things I've gotten to be a part of in OCR. I thank all the arrangers, and artists for all their hard work. We made a damn fine album, filled with kickassery hardcore style. They say the sequel is always darker. From everyone involved in the project: Welcome to BadAss 2, hope you're ready for a beating! We swear you'll enjoy it, though, or your money back. - David L. Puga After the success of the first album, it's time to present its twisted brother. BadAss: Volume II is darker, grittier, and even more BadAss than the first volume was! As we did the first time around, David and I searched around to find the most twisted of artists to bring you the terror that is contained within BadAss 2. The sometimes heroic vibe of the first volume is completely gone now. This is the darkest stuff you'll find on all of OCR! From the darkest guitar solos to the most sinister synths: You'll be terrified the entire way. And you'll love it because of that. Ladies and gentlemen, from the deepest depths of hell, BadAss 2 will swallow you whole! Enjoy, but listen at your own risk… - Pieter van Os (pu_freak)

You posted it in Off Topic, that's why. Moved to Help & Newbies and renamed. Help Joe out. His music is semi-decent, you all owe him.

I thought the soundscape sounded pretty murky to start. I thought it was a purposeful effect just for the buildup until the track basically kicked off at :29. The piano lead was very muddy and semi-buried. Weird transition (or lackthereof) at 2:08; no big deal, but it shouldn't have been this jarring, include the change to a much cleaner soundscape. Wow, I really disliked how muffled/cluttered 2:27's section sounded. The lead and countermelody are well written but very obscured; all you prominently hear are the beats and not much else. The piano at 3:13 was mechanical sounding, but otherwise well-written and well-executed. I think the overly low-fi sound has to go; it just sounds like an unintentional low-quality encoding and a lot of the details in the composition ended up lost in the shuffle and mudding together, including a decent portion of the lead work. The arrangement was 5:25-long, so I needed more than 162.5 of overt source usage for the source material to be dominant in the arrangement: :31-:33, :34-:36, :38-:40, :42.25-:43, :58.75-1:12.5, 1:13.75-1:27, 1:32-1:37.5, 1:39.5-1:45.5, 1:46.75-1:52, 1:54-2:00, 2:01.75-2:08, 2:11-2:14, 2:16.5-2:18.5, 2:22-2:25, 2:27.5-2:30.5, 2:32.75-2:36, 2:38.5-2:41.5, 2:43.5-2:51.5, 2:54.5-2:57.5, 3:00-3:03, 3:05.5-3:08, 3:16.5-3:20, 3:39-3:40.5, 3:41.5-3:43, 3:44.5-3:45.5, 3:59.5-4:02.5, 4:04.75-4:07.5, 4:32-4:55 = 132.75 seconds or 40.8% The arrangement was cool, and super creative with a lot of excellent variations, embellishment and original writing ideas. Everything pieced together well, BUT I felt the source tune needed to be used in more places given what I could make out. I never count rests in a melody because there's always something else to draw from in the source that can be in play. I listened to a lot of the supporting writing in "Phendrana Drifts" to see if any other part writing from the original was applied, but I couldn't ID anything. That said, I'm not familiar with other Metroid Prime songs, so maybe there are some cameos I'm missing, or other parts from "Phendrana Drifts" referenced that need to be pointed out to me. IMO, besides adding some more source tune usage, it's also a matter of cleaning up the mixing some, Josh. I love the track, but even if the amount of source usage wasn't a question for me, the mixing as it stands now was too messy to let go without needing some cleaning up. NO (resubmit)