Liontamer   Judges ⚖️

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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Project Phoenix, based in Tokyo, has JUST launched its Kickstarter efforts to make an indie JRPG. We're hoping to raise the $100,000 we're seeking in funding to secure the 3D modeling for the game, which itself is currently in the very early stages of development (and shooting for a mid-2015 release). Right now, you can check out the team and the early concept work and see if you'd like to get on board. The FAQ goes over some common questions like "Why only $100K for a game Kickstarter?" (the team will be paid after it comes out, and $100,000 is not the budget to make the entire game, it's primarily for the modeling) and "Why's the lead character named Ruffles?" (It's fun!), so be sure to check that and the rest of the information out. That said, we've got a great, diverse team in place, including Final Fantasy series composer Nobuo Uematsu (his first-ever indie game he's agreed to work on, even before Oceanhorn), as well as Metal Gear Solid V vocalist Donna Burke (her work on the "Sins of the Father" trailer is incredible), and several artists, programmers and developers with experience from the Final Fantasy series, The Elder Scrolls: Skyrim, Valkyria Chronicles, L.A. Noire, Diablo III, Halo 4, Crysis 3, and several more top game titles, as well as films and anime. I'm also on board as part of the Community Team, and would sincerely appreciate you checking out what's been cooked up so far. We're already more than 50% of the way to the goal in the first 6 hours, but we feel a project like this hearkening back to old-school JRPGs should interest a lot of people so we're hoping to hit some stretch goals to expand the scope of the project. If you're able to spread the word about Project Phoenix, I'd greatly appreciate it! There's also a chance OC ReMix could get involved in some form making some music, and that's of course music to my ears since OCR came out with a not-too-shabby tribute to Final Fantasy VI last month. KICKSTARTER: http://kickstarter.com/projects/1300298569/project-phoenix-japans-indie-rpg-feat-aaa-talent PAYPAL (available after the Kickstarter as well!): http://projectphoenix.info/store/ HOMEPAGE/FORUMS: http://projectphoenix.info FACEBOOK: http://facebook.com/projectphoenix.info TWITTER: http://twitter.com/PhoenixJRPG

I like these other wrong answers. The FAQ link talks about removals, but doesn't explicitly talk about the numbering gaps (plus the anchor doesn't go right to that section since it's close to the bottom). We probably should add the bit about numbering gaps with the ReMixes into the main FAQ though. There are gaps in the numbering because we've removed many mixes from OC ReMix either by request or because they were violations of the standards here. Here's the big list of removed stuff to detail the numbering gaps: http://ocremix.org/info/ReMix_Changelog

So, originally, the beats were really weak and a legit dealbreaker issue, not just me being an old man per the usual. I form letterered it to speed up the process and Argle was cool enough to respond back with some resubmission tweaks that fix the issue and get the piece solidly there, IMO. I still though the beat-writing was metronome-ish in places, which didn't drive the track forward in the way I think was intended. But the beats in this resub did have that denser sound needed to properly fill things out. The arrangement was relatively conservative to start but expanded with new part-writing and personalized well with the instrumentation. The live instruments starting at 1:30 added beautiful interpretive touches to things in the second half, and it was nothing but goodness all around. Nice job on this, guys! YES

Your ReMixer names: Skolar, Argle Name of game(s) arranged: Sonic the Hedgehog Name of individual song(s) arranged: Green Hill Zone - Name of arrangement: Did a Hedgehog Just Come Through Here? Skolar: Argle offered to provide violin for my original version. I was happy that someone was interested enough in my remix to help with it, but I knew that in the state it was in, my remix wouldn't come close to doing a live instrument recording justice. Fortunately, that problem was solved a few days later when Argle - apparently just for fun - completely remade the remix into this polished orchestral-electronic-I-don't-even-know-what-to-call-it. I can't pretend to take credit for how cool it sounds at this point, but I'm proud to have participated in something that wound up sounding this awesome Argle: I initially offered to do some recording for Skolar, cuz sampled violin makes me a sad panda. Since he sent me a MIDI to work from and I had to patch everything to samples anyway to get a working mix, I figured I'd make a tweak here. And a tweak there. All of the sudden I had a mix that was fairly different from Skolar's original track, yet built on the foundation of it. Moral of the story is sending me a project MIDI is a dangerous thing. Many thanks to him for inspiring me with this tune; it's a source I probably never would have chosen on my own. ----------------------------------

Not a fan of how blocky the performance sounded from :38-:49, and the fakeness of the piano was VERY unfortunate throughout. Anything that can be done in the future to smooth out the velocities and make the piano sound more humanized would be great. The more delicate notes sounded good on the whole, but when the volume was higher, you couldn't help but pay very close attention to how stiff/unnatural the performance comes across. It's not WAY below the bar given the arrangement and some decent handling of the production to at least thicken up the piano sound, even the rigid timing was still very exposed. Also, I'm down with the arrangement, and I can understand these YES'es given the strength of it. I won't die with this posted as is, but hearing it I've got to dissent along with Palpable and ask for more votes. NO (resubmit)

A little dated, sure, but this has always been nice and chill. The arrangement was handled pretty conservatively, but was all pieced together nicely.

Hey, I like being shown the light. Not on 50% though. I'm always basing that on the standards as written. That said, on 3:15, you're right, and I'm glad you caught that. The chorus sounds too simplified on first blush, but the note pattern from 3:14-3:18 is actually derived from the first 4 notes in the source chorus (:40-:42 of "Green Hill"). Though it comes off very liberally handled, it goes on for about half of that 3:15-3:41 section, so that definitely puts it over the top. I thought the execution was on point, and I don't get the production crits holding it back, so I'm glad djp pointed out some subtle source usage I missed. Let's go! YES

Kidding in the writeup aside, this is the way to bring it! We're always open to this kind of music, so if you ever change your mind, we're here. Send it over!

Botchamania reference!

The soundscape lacked high-end clarity, and I felt that the overall levels were too loud (though I could live with them). That said, there were clear moments where the lack of clarity hurt the writing, for example the closing section of 5:56-6:37, the piano writing seems to be muddying with the trance synths, and then the rain SFX at 6:10. It's not horrible, but some further EQ of the parts to reduce the mud and get this brighter would make the textures sound much better, IMO. The voice samples (:41 & 1:48) were too loud and sounded very stapled on top of the soundscape; they're OK, but I'd pull them back some. The music portion was 6:42-long, so I needed at least 201 seconds of overt usage of the "Secure Place" theme to pass this on arrangement: :21.5-:28, :34.5-:41, 1:01.5-1:05, 1:14-1:18, 1:21.5-1:32, 1:34.75-1:39, 1:41.5-2:00, 3:03.5-3:34, 3:36.5-3:55, 3:56.5-4:01.5, 4:03-4:15, 4:16.5-4:19, 4:36.5-4:38.75, 4:43.25-4:46.25 = 128.5 seconds or just under 32% The source tune also has some supporting string writing that could be adapted here, but I couldn't ID it anywhere in here. If I'm right that what I hear is all of what's there from the source, then this needs a LOT more RE2 theme usage in here to have a chance at passing. Either use the 'Secure Place" melody or backing string writing more, or consider integrating another RE2 theme in here, just so that the arrangement of the actual video game music stays dominant within the track, per the standards here. In any case, Vig had some crits about the way the piece was structured, and a lack of intensity. I wasn't bothered by any of that and thought everything turned out fine on that level. It's not as if his advice was invalid, but it shouldn't be anything holding this piece from passing. I could pass it without production tweaks, but I'd always want a version with better mixing, if that makes sense. Do consider Vig's production critiques, as well as reducing the volume of the voice clips a touch and seeing if the soundscape can gain a bit more clarity. Y'all have had to tweak some tracks like Sonic 3 "Breaking the Ice" and Corpse Party "Heavenly Horrors," so hopefully this is just another one of those cases where some time away from the track along with the critiques help you better realize this great work here. That said (and please correct me if I'm wrong), you need more RE2 source tune usage in here, no matter how good the track ends up sounding production-wise. Awesome work so far, you guys. You guys always bring the creativity, and I'd absolutely want to see this posted in some form. NO (resubmit)

Interesting fade-in opening. The vox sounded like mud paired with the guitars. The leads from :41-:54 were way too loud. Dayum, by :41 it was apparent that the mixing was just cluttered and indistinct. Hopefully, Vig or someone else can clarify what exactly went wrong here and offer specifics on adjusting things. Really disliked the sequenced lead at 1:08; the timing was extremely stiff and just sounds like sloppy execution. That issue's even more pronounced from 1:34-2:01. If you can't smooth out that synth line, then just have it double the guitar and make sure it's never the louder of the two. Also, the transition to "Metal Man" at 1:34 was nonexistant. It was like an awkward key change. You need an actual transition there. It worked better at 2:01 though; that was a smoother fit. 2:17-3:28 sounded like mush, continuing for the long haul. The attacks for the Boomer Kuwanger theme at 3:29, again, sounded really stiff and quantized; it was less of an issue when the guitar layered with it at 3:36, but it's still unfortunate. The track cut out before the vox finished fading; watch those details. Although it's not my personal cup of tea, the arrangement generally is OK. But humanize the timing of those synths and, more importantly, clean up the soundscape. It's a decent base, Antanas, but needs mixing polish. NO (resubmit)