Liontamer

I'll be honest. As first blush, it seems too liberal, which could be more of a byproduct of slowing it down and simplifying the melodies, but it's not readily apparent to me as of yet. But I asked for a breakdown, and Chris compared some of the part writing, which is included in the above submission comments. I still don't have a first A-to-B grasp of what's here. but I'll ask.

At long last, I present the track I mentioned a while back at MAGFest when we were discussing the Tim Follin project. Remix Title: "Dolphin with a Shotgun" Remixer: Mazedude Game: Plok - http://ocremix.org/game/298/plok-snes Original Track: "Shotgun" Description: A remix of the "Shotgun" theme from Plok. Original theme by Tim Follin. The idea here was to take one of the goofiest tracks from the Plok score, and arrange it to sound as though it was from the soundtrack to Ecco: Defender of the Future, which was also composed by Tim Follin. An odd experiment, but fun, and I'd been wanting do an "underwater" style remix for a while. I know that for many, a remix that goes to a completely different genre, feel, and sound from the original can be weird. But, it can also be a great chance to show the power of arrangement. Such is what I did here, by taking a goofy, silly Plok track and re-working it to sound like the aquatic, ethereal feeling of the Ecco score. If you listen carefully, closely, and pay attention to the string, choir, keys, and leads in my remix, and compare them to what the tuba plays in the original Plok track, you'll hear the same melodies. There's also a brassy counter melody, the brassy chords, little xylophone bits, and more from the original that all correlate to the material in the remix. Granted, I spiced things up a bit with the arpeggios in the background and some added harmonies, but the actual notes heard all should match the original. Incidentally I've made it easy to compare that two one after the other on my site - http://www.mazedudemusic.com." That detailed enough do ya think? Let me know if you need anything else. If you're interested, there's also the opposite concept - an Ecco track in the goofy style of Plok - on http://mazedudemusic.com. Look for "Flipper Costume." All the best, Mazedude EDIT (2/24): Got a breakdown from Chris: ORIGINAL - 0:00 - 0:08 - tuba theme REMIX - 1:22 - 1:57 - synth lead ORIGINAL - 0:15 - 22 - tuba and xylophone REMIX - 1:58 - 2:32 - synth lead and accomp. REMIX - 0:46 - 1:20 - soft strings and choir ORIGINAL - 0:08 - 0:15 - tuba secondary melody REMIX - 2:33 - 2:50 - bells melody, w/ some decoration ORIGINAL - oompah oompah chords REMIX - soft, ethereal string and choir chords; easier to hear at beginning Hope that helps! If it's still too abstract, don't worry about posting it, just move on to my more popular "Torvus Chips" Metroid Prime 2 remix from HoH 101% Run. Mazedude PS - To really hear the main theme smoothly in the remix you'll need to play it at like, 400% speed.

I think you missed one, but all 3 are in the torrents. http://ocremix.org/remix/OCR00924/ is in 1-1000. http://ocremix.org/remix/OCR01202/ is in 1001-2000. http://ocremix.org/remix/OCR01493/ is in 1001-2000. There are 3 torrent sets, so make sure you have all 3. If you get all 3, they download to 3 different folders.

Save it for blogs. http://ocremix.org/forums/showthread.php?t=2360

Finished Season 1. Fucking. Awesome. You have to watch this show. You've got to watch.

Yeah, I'm in the "too much reverb" camp, to the point where it adversely affected the arrangement and just needlessly made it sound lossy. That said, on the seesaw of the arrangement quality vs. the production quality, I'll live with it given the strength of the arrangement. Let's go. Welcome aboard, Joe, keep 'em coming! YES

Just briefly co-signing on these NOs. The stuff from 2:12 until the end went more in the right direction as far as personalizing the arrangement, but everything before then was too straightforward of a cover, which is why we couldn't pass it. The snare drum pattern was kind of plodding too, but this was performed and executed well overall, even if the arrangement wasn't as personalized and interpretive as others. Definitely no need to be discouraged about this one, Leandro; if you want to update this one, that's great, but otherwise we're looking forward to your next great contribution.

Still loving this one.

Wut? No. High quality MPthrizzle. No, I'll definitely take WAVs. Encoding a WAV and posting an MP3 version to vote on only takes a moment. I'm cool with 'em.

Mega necro bump to plug MP3tag. View > customize columns > Add a column named "Album Art" and fill in Value, Field and Sort by with "%_covers%". Hit OK, and you're set. You'll see how many pieces of album art are embedded. Usually, it's just 1. If there's no album art, the column is blank, then you can sort that column.

I get that this is supposed to have a distant sound, but it ultimately sounded very lossy rather than ethereal, like I was handed the 96kbps version. As soon as the strings came in at :25, the bassline was marginalized; the bass writing was subtle yet good, but it still needs to cut through and give your track that bottom along with the beats. Don't undermine your own writing ideas with poor mixing. Also, the timing of the string sequencing from :25-:38 sounded too stiff when it was handling the melody briefly. The changeup of the original piano pattern into something new from 1:04-1:29 was very welcome. The interplay of your original writing with the source chorus from 1:29-1:55 actually worked pretty well. Piano sequencing handling the Lava Reef was super mechanical and exposed at 1:56. The fade at 2:57 seemed pretty sudden (logarithmic?) and with no resolution, so it just sounds like you ran out of steam, when there could have been a deconstruction or some new ideas to wrap things up. Fadeouts aren't inherently bad, but if a track like that was going to fade, it would have taken longer and been executed more smoothly. The arrangement approach is actually pretty solid. The pattern that starts off the track feels a little repetitive by the end, BUT I was feeling it overall. If you can clean up the mixing some, and refine the piano and string articulations, this would better realize the potential of the arrangement, and have a much better shot at passing. Good concept, but it needs production TLC. NO (resubmit)

Contact Information: ReMixer: Kc1336 Real name: Case Portman User ID: 49824 Submission Information: Game: Sonic & Knuckles Arrangement Name: Tranquil Reef Original Song name: Lava Reef Source: Comments: The Lava Reef track from this game has always hit a soft spot in me. When first listening to the track I instantly fell in love with it and, to this day, is still one of my favourite tracks pulled from any Sonic the Hedgehog soundtrack. The inspiration of this remix/arrangement came from a pianist named Isaac Shepard, which at the time I was trying to develop a sound inspired by his beautiful piano playing. After many hours of playing tracks I'd previously learned from video games in the style of his, I accidentally stumbled across a few chords and a melody that sounded very familiar, Lava Reef! From then to now, here is the finished product.

Pretty stock trance opening with some very scant references to the source. Practically nothing from the source until 1:49. Nothing wrong with that approach as long as most of the arrangement uses the source tune, which it comes close to doing (but doesn't because of the long open & close and the gap of original material from 3:24-3:51). You're going to need to incorporate some more Zelda in the intro or outro, though drastically cutting those down would also ensure more than 50% of the arrangement refers to the source tune. The arrangement ended up being a somewhat by-the-numbers club trance adaptation. Doing anything else melodically with it would have been welcome. Mixing-wise, when the source melody was in play, it didn't standout in the foreground, instead competing among the other synths and muddy effects going on from 2:10-3:07. 2:40-3:07 was the most poorly mixed area, with a lot of parts occupying the same frequency range, and thus stepping over each other. The plucked strings from 3:07-3:19 were extremely fake, but couched well enough behing other parts to not expose them too much and contribute a good sound to things. 3:24 had some decent original writing ideas, before going back to the source at 3:51. I liked the original writing added in from 4:04-4:18. The big thumping beat is cool in principle, but got tired over the long haul. Most of the time, it's either THUMP THUMP THUMP THUMP at one volume or nothing at all. The others beats are quiet enough that they don't really contribute much. Creatively employ some variation with the intensity of layered, supporting beats or at least something to spice it up. After the wind-down at 4:52, the song really needed to have ended ay 5:19, and the wind-down took way too long. I get the purpose of it, and I'm fine with it within reason for a standalone track. FFmusic Dj employed the same kind of build and finish, though his were shorter and more substantive than this. IMO, the melodic arrangement needs to be more creative and less plain, you need to re-EQ some of the middle sections for clarity, and you have to cut down the intro and outro before this would have a shot. It's not a horrible track or anything, but it lacks mixing polish and the arrangement is too basic, even though it's going in the right direction. NO

Name: JT Real Name: Jeff Barnes E-mail: Website: http://soundcloud.com/user4393066 Forum User ID: 48201 Name of Game: Zelda Ocarina Of Time Name of Arrangement: JT Club Mix Name of Song: Lost In The Woods Source for the track and remix was my brain. Remix was inspired by loved ones, friends, and my general love for music.

Good energy, great use of the NES sounds. Short and sweet, it's a straightforward treatment of the melody, but a super-personalized and well-produced spin on it. Awesomeness. YES

There's nothing more sex style than Flexstyle! ...said no one! Seriously though, glad to see this one join the club. Funky original and a powerful take on it.

In the middle of contacting Brandon about tweaking another mix, he mentioned the possibility of tweaking the production of this one, since it had been a while since he finished it. I sent him the vote so far, and he hit me back quickly with an update, which is also in the first post. So while this is definitely an improvement, :57-1:31 and 2:07-2:42 were still just a tangled mess of noise to me, and 1:49-2:07, while not quite as problematic, still sounded very cluttered with too many elements competing with each other. I know for the World Warrior Remix Royale, the Chun-Li integration was required for the compo format, but the track would just be better without it entirely. It's not integrated without care, but the end result of it just feels like clutter, not synergy. All in all, I wish I could change my vote, but I still think the mixing's preventing me from passing it. That said, Vig's on board, so maybe I'm the grandpa for this one. Good luck with the rest of the vote, Brandon.

Mokram, don't you dare be self-deprecating about this decision, my friend. Collectively, we're really enjoying this track, and that should be apparent from the vote. It just needs some tweaks, and we can re-vote on this quickly. You definitely have what it takes to get this passed. We're all in your corner.

The phase-y voluminous electronicus thingy thing. That thingy. [ The lead first used at :15. ]

Damn, I KNOW, right? You're killing me, Tarc! That intro was hot. Again, it's not that you didn't do ANYTHING to personalize this apart from the original. You did. It's just that there wasn't enough of it. When most of the arrangement is basically at the same tempo, rhythm and mood of the original, you've gotta do more to make it yours than the instrument adaptation and some flourishes. The supporting writing WAS there, but it didn't significantly modify the feel of this piano arrangement compared to the feel of the original. It's a swank cover, it's just too conservative of a treatment for us, overall. With that said, I'm comfortable choosing to go NO.

Emphasis added. On both counts, this is where we're bumping into trouble. This is just too stripped down; it's certainly using the progression, but as Fishy said to me, "the progression could be anything, without the other parts [of the source]." We ALL know what this is alluding to in context, but that's too minimal of a usage of Starman. Even for legal purposes, like if Koji Kondo wanted to sue you ( ), he wouldn't have the grounds to. For all intents and purposes, this is an original song, so we don't need a third vote on it. NO Override You need more than only the chords to connect the arrangement to the original, otherwise, it could be referring to ANYTHING. Perhaps consider adding some elements of "Powerful Mario" from Yoshi's Island/Mario 64 fame, or just see how else you can subtly add the other parts of the core Starman theme. Source usage issues aside, this was a really cool track, and well put together. If you incorporated the Starman theme more overtly into this (and it doesn't have to be as a loud lead, it can be the light piano or another subtle instrument), this could totally pass, Daniel, so don't take the rejection as a reflection of either your skills OR the quality of this piece. Definitely don't hesitate to submit something else, your sound is excellent.

Though I get that this is meant to have a throwback feel of sorts, some of the sounds felt kind of bland and unexpressive, and the mixing wasn't where it needed to be. I'm feeling the concept, and up until 1:12, I was on board. Then we hit the first brief instance of parts competing with each other, and really hit a snag at 2:00. When more elements are added from 1:20-1:31 and 2:00-2:25, the lead was flat in comparison, and the textures seemed busy, unbalanced, and unfocused. I LIKE the supporting writing ideas, but some of those parts need to be EQed so they're not stepping on the lead. Quiet, but clever usage of the source's countermelody (:21 of the source) at 1:40. Interesting transitions from 3/4 to 4/4 and back to 3/4. 3:14's section also just seems muddy with the flat lead and the supporting synths bleeding into each other. I could be articulating the issue about the leads incorrectly, so I'm hoping a J more savy on production can clarify what's going on here. To me, the arrangement's creative, but the mixing and expressiveness of the leads needs to be improved before this is ready. I loved your Castlevania 64 sub, so definitely don't be discouraged here, I think you're doing some good work overall. This one has potential, and the arrangement is in the right direction. NO (resubmit)

Your ReMixer name: Eino Keskitalo Your real name: Eino Keskitalo Your email address: Your website: https://sites.google.com/site/evktalo/ Your userid: 20708 Name of game(s) arranged: Deus Ex (PC/Windows) Name of arrangement: Sadevakio Name of individual song(s) arranged: UNATCO (http://vgmdb.net/album/910) Link to the original soundtrack: Your own comments about the mix, for example the inspiration behind it, how it was made, etc: This piece is a part of the PC ReMix initative (http://ocremix.org/forums/showthread.php?t=38300). Here's another People's Remixing Competition piece from me. I started this one way back in PRC199 which was a very popular round. I've since extended the structure and spent hours and hours tuning the arrangement, mixing and effect automation in Renoise. To get started in the competition, I grabbed Mazedude's Zombie's Ate My Tracker for the sounds - he has the .IT file available on the American Album site. Thanks for that! Many of the samples are actually 8-bit samples from various old school modules, which I took as a challenge to make them sound good. After hours and hours of (very educational) tweaking, twisting and polishing, I'm not sure if I'd do such a challenge again. I like the resulting tracker aesthetic, hope it works to other ears as well. The title "Sadevakio" is Finnish for something like "The Rain Constant", trying to make some sort of a wordplay how it's always raining in cyberpunk settings. Source usage: The main riff from the source is used practically throughout, altered to 3/4 in the intro and outro, and transposed lower in the middle 4/4 part. The melody at 0:23 in the source ( ) is used from 1:40 onwards pretty much to the end (where it's altered to 3/4). Also the figure at 0:31 in the source ( ) is used here and there, usually at an end of a part or some other transition/breakpoint (for example at 00:35, 01:58 and 02:18.. that might be all the cases actually).I couldn't quite make out how the main riff goes in the source, so I used the MIDI provided for the compo. It actually had the riff a fifth lower than it should be. Big thanks to Gario for pointing this out during the competition. I was slow to react to the intel though, and had already extended the melody and written countermelodies.. and correcting the riff messed them up. So, I decided to add a part (the intro) with correct pitch and consider the "wrong" pitch a personalisation of the source, if an unintended one. And now that I listen to the source, I probably heard the 0:31 bit wrong too. Oh well. A thank-you list: All the commenters from PRC199. All the workshop forum commenters. DjMorkam and Pleiade for supportive feedback. Gario for noting the source/MIDI disrepancy + workshop mod review. Rozovian for the workshop mod review. (Gotta love the workshop mod reviews. Extremely useful service.) My fiancée Pirjo for support, critiques and insights once again invaluable to me and for the development of this piece. The Renoise project file if there's anyone with Renoise & interest: And thaat's it. Enjoy! --Eino - better video of source

Short and sweet. You're winning the loudness war. Dude, TURN THIS DOWN. This is too loud AND too cluttered. It was OK enough until :39-1:32 when it got busier. Same problems with 2:07-2:42. When the Chun-Li parts are involved, the soundscape's even more crowded. Seemingly very sloppy integration of the plucked strings at 3:17; you can't hear them well, and the writing of the part had no synergy with the Guile theme. I could hear the Schala part in theory, but it didn't sound like it on account of the other parts stepping all over it and basically distorting what could be heard. Could be the mixing more than the writing. Until the mixing and EQing is fixed, this is always going to sound messy and imbalanced. I'll leave it to the experts to break it down further, but once you take another pass at this, you should hopefully be able to get it where this needs to be. NO (resubmit)

Brandon Strader www.bstrader.net Inmate #3123 Game: Street Fighter 2 Source: Guile's Theme / Chun-Li Theme / Schala's Theme Guile: Chun-Li: Schala: (0:00 to 0:03 only lol)Title: Murkan Supreme Remix: So you've got Guile's theme until 0:57, then it's a crazy mashup of both Guile and Chun-Li (you can hear Chun-Li in the shamisen and koto, later in the synthy shamisen, not to mention the progression) 1:32 is one of the Guile progressions but with the Chun-Li shamisen and koto, also some Schala hidden in there at the end of a shamisen phrase. Same progression from that Schala song too (Who'd a thunk it, Guile and Schala would go together?) 2:07 has Guile in the lead techno synth, it's actually the same exact thing as the intro organ except without the "power chord" type chords, it's just the melody part. Then 2:43 is Guile. 3:17 is actually a heavy version of the main riff from "The Last Schala Mix Ever", which is really cool, but it also has Guile in it, and Chun-Li shamisen stuff. Ah the melodies are all over the place and it goes throughout the song, there's a lot of personalization and original writing I guess but it's all literally caked with source stuff... anyway that's the source breakdown, now onto my tiny, tiny mix notes. Mix Notes; Round 1 entry for the Street Fighter contest thing. Huge thanks to Sixto for re-amping the guitars for me at the last second cause my stuff is all messed up. *_* Didn't really set out with a goal in mind apart from making it rock, happened across a bit of a "techno metal" area with the synths and really liked it, and everything just fell into place very nicely. Ugh I also put Schala in this mix too. Why do I keep doing it?