Liontamer

Rather than something in the overall OCR plagiarism thread, this needs its own thread until the arrangement is ID'ed. http://www.youtube.com/watch?v=z13XFlZDhKg It's an arrangement of from Kirby 64Would anyone know where this Kirby 64 arrangement is from? Could be from a doujin album, arrange event or just someone's solo work? It's not by Fairuzons/fairuzonss, who was suspected by KyleJCrb and verified by Dhsu to have stolen & plagiarized multiple arrangements from http://vgmdb.net/album/4876 on his Newgrounds account, which has since been terminated along with his YouTube accounts. Based on the dates of the verified stolen material plagiarized by Fairuzons/fairuzonss, the stolen Kirby 64 is possibly from 2007 or earlier, and definitely no later than May 2009, but it's tough to know for sure. Thanks for anyone who can help!

It's a difficult theme to initially wrap one's head around, but it's brief, so that helped. Honestly though, variations of the themes are used in massive chunks of the arrangement as the leads, so I'm not sure how "not enough source usage" is coming up. It shouldn't be. The arrangement was 5:48-long, so it needed at least 174 seconds of overt source usage for me to pass it on that level: :33.75-1:06, 1:17.5-1:40, 1:52.75-2:50, 2:52-3:04, 3:36.5-4:07, 4:31.5-5:05.5, 5:10-5:17 - 195.5 seconds or 56.18% My timestamping was actually conservative, I just picked out the most recognizable parts of the theme, but I'm pretty sure I wasn't giving some of the usage the proper credit, even if it was just for brief times. Don't really care too much once it's clearly over the line for dominant usage. Jeff could give a more thorough breakdown if we had to ask, but I don't think it's even necessary as far as being able to tell that the source tune is frequently in play. Definitely ask for it if you need it though, I've been there. The higher strings noticeably strained for realism, so that's always going to stick out, but they were used well enough overall. Loved the woodwind lead at 1:17. The variations here were pretty impressive, arrangement-wise. You got a ton of mileage out of it, but the instrumental and dynamic variations kept the arrangement substantive the whole way through. For me, this was a pretty comfortable call on all levels. Loving the cinematic approach. Definitely would love to hear something like this performed live, as this would fit right in with a classical music repertoire. YES

OC ReMix & halc Present Pilotwings: Take Flight April 25, 2012 Contact: press@ocremix.org FAIRFAX, VA--OverClocked ReMix today released its 34th arrangement album, Pilotwings: Take Flight. This album was made as a tribute to Nintendo's Pilotwings game series and its original music by Soyo Oka (Pilotwings), Dan Hess (Pilotwings 64) and Asuka Ito (Pilotwings Resort). It features seven tracks arranged by Indianapolis-based composer and arranger Drew "halc" Wheeler in his signature "9-bit" style combining nostalgic chiptune instrumentation with modern electronic sounds and production techniques. Take Flight is available for free download at http://flight.ocremix.org. This album was produced to help promote video game music, was made by a fan, for fans, and is not affiliated with or endorsed by Nintendo; all original compositions are copyright their respective owners. Take Flight also features halc collaborating with fellow Indianapolis-based OCR veteran Benjamin Briggs as the duo Insert Rupee. Friends since high school, Wheeler and Briggs teamed up twice to arrange pieces from the later installements in the Pilotwings series, Pilotwings 64 and the most recent entry, Pilotwings Resort for the Nintendo 3DS. The album's concluding track, "Depth Perception," is OC ReMix's first arrangement representing the Nintendo 3DS console. halc has been a contributor to OC ReMix since 2008, serving as a submissions judge since April 2011 and creating over 30 game music arrangements, including several from the Legend of Zelda, Sonic the Hedgehog, Kirby, Pokémon, Final Fantasy and Mario franchises. 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. About halc Drew Wheeler (halc) is an indie chiptune/electronic composer and arranger currently sited in Indianapolis, Indiana. He is also a submissions judge on OverClocked ReMix (ocremix.org). In addition to his remix work, halc also produces original chiptune and electronic music in a wide variety of styles, including jazzy 9-bit, glitch, dub, dubstep, and electro. halc has released five original albums to date: Pixel Perfect EP in January 2011; Pixel Perfect LP in May 2011; Trending Topic EP in November 2011; Zero-G in January 2012; and most recently, Zero-G²: Supernova in March 2012. All of his albums are freely available at http://halc.bandcamp.com. Get 'em. Now. ### Download it: http://flight.ocremix.org Torrent: http://bt.ocremix.org/torrents/Pilotwings_series_-_Take_Flight.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=39776

Gonna have to revote on whether you're willing to have this posted as-is, since the track can't be touched up: As I said in my vote, I was leaning conditional, but can live with the track as is, so I'm affirming that YES.

Thine beats, they are phat.

Just noting I've only heard the version updated on 4/11. The string sequencing opening this up sounded pretty poor; very exposed mechanical timing. The way the theme was modified during the verses ended up sounding atonal; it's not clicking with the rest of the track at all. The string sequencing and notes during the verses were core to the arrangement, but it's jacked, so I already have to go NO since you need to address that. The changeup at 1:02 was much stronger, writing-wise. Very cool tweak of the Schala theme melody. I did agree with the mixing criticisms. Even with this new version, it's only serviceable. I could potentially pass it with that kind of average mixing if everything else were on point with the arrangement. That said, this was a 320kbps sub (too high) but the track still sounded like it could have been 128kbps, maybe 160. There's a lot of good rhythmic alterations and ear candy with rock parts, the mallet percussion and the other instrumentation that is cool when you notice it, but isn't really mixed clearly. The strings need more body and less robotic timing during the verses, and they (along with the mallet percussion) need to cut through more during your chorus. The mallet percussion at 1:45 was getting crowded out. Anyway, the arrangement itself was strong, we just need the strings on point (or that instrument changed entirely) and the mixing cleaned up further. Keep working on it, you'll get your groove back. NO (resubmit)

Yeah and just to clarify, when we were speaking with our Capcom contact, they didn't realize the OC ReMixers-only restriction would be frowned on by the legal department later on either, otherwise we wouldn't have put that in place. Thomas is from the ghetto, and thus suspicious of "The Man." I don't think any conspiracy level stuff is behind the wording, so I doubt Capcom's gonna sell/profit off of the arrangements if you submit they. BUT they could based on that agreement, so if you're afraid they would and you don't want to open yourself up to the possibility of them doing that, then don't submit, that's understandable.

Just including a source breakdown for the curious. It turns out the game with the most representation among the sources was New Super Mario Bros. SMW - :05-07 (2 seconds) SSBM - :13-1:06, 1:29-1:42 (66 seconds) SMB1 - 1:06-1:19, 1:19-1:29, 4:06-4:15 (32 seconds) SMB3 [& SMB1 together] - 1:06-1:19 (13 seconds) SMB2 - 1:42-2:40 (58 seconds) NEW SMB - 2:40-4:06 (86 seconds)

Some of the synth work in the opening sounded pretty vanilla. The guitar performance was a bit on the stiff and lifeless side to start, but it sounded somewhat stronger for the final section (2:46-3:11), even if the overall energy and expressiveness could have been bumped up. The chugs opening things up sounded OK, but there's just a mechanical feel to the guitar performance as well as the sequenced elements. Not feeling the synths from 1:07-1:19 or 2:22-2:47; bland, generic synths with very stiff sequencing, they just sounded devoid of any feeling. The interplay between the guitar and synth from 2:22-2:47 just sounded odd; It was a great concept, but neither element really took the foreground, and the synth wasn't melodious. I sound pretty negative, but the overall arrangement concept is strong, let's be clear. However, the execution's not there yet. I disagree with the YESes; even if you acknowledge it's flawed, I don't think the execution is cohesive enough or expressiveness enough yet to do justice to this arrangement concept. I think you need to see what you can do to tweak the mixing, , Dustin, and also consider re-recording the guitar and cut loose in order to breath more life into this piece. What's here is OK, but it's, hypothetically, along the lines of a 8th-10th place DoD effort. It doesn't have the polish and energy that the top entries in a typical month have. Do what you can to make this more consistent and polished. NO (resubmit)

- "SMB1 Overworld BGM"Sections like :22-:59 had the same progression as the source tune, but everyone should know how I feel about that by now; just using a source tune's progression is a nice touch, but that doesn't count as actually using the source tune (otherwise we could accept original tracks where someone just followed the chord progression of a piece of game music). So I wanted to just double check how much the Overworld theme was actually in play: Since this was 3:08-long, I needed 94 seconds' worth of explicit source usage to at least qualify it on using the source material: :00-:22, :59-1:17.25, 1:45-2:21, 2:39.5-2:57.5 = 104.25 seconds or 55.45% Anyway, the source usage was over the line, as far as the source tune being used during more than half of the arrangement, but the source tune arrangement wasn't developed enough for this to work as a standalone piece at all. There were a couple instances of the chorus being used in a stylized way, but it was pretty much taking the 7-note opening to the tune, giving it some minor variations and repeating it over and over again. Well, the email header mentioned this was an instrumental, and you weren't kidding. The actual instances of VGM arrangement here are too repetitive. It's not a bad beat at all; it's mixed well and sounds pretty solid. But there's not enough substance or development here for this to pass as a standalone track. That's not always the case with rap instrumentals, but that's absolutely the case with this one. What's there with the instrumental right now sounds sweet, but doesn't develop the themes as much as repeat the same ideas over and over. You'd definitely need add lyrics to this to flesh it out and add that missing piece of the puzzle. Ideally, those lyrics would ALSO use either the Overworld or other Mario themes a bit, so that you're offering some other VGM arrangement ideas in there. Cool start, now put some words to it to take it to the next level. NO (resubmit)

Your ReMixer name: TUNE Your real name: Tunde Junior Your email address: tune@theycallmeTUNE.com Your website: http://theycallmeTUNE.com Your userid (number, not name) on our forums: 48891 Submission Information Name of game(s) arranged: Super Mario All-Stars Name of arrangement: SMB1 Overworld Name of individual song(s) arranged: Overworld (Main Theme) Composed by: Soyo "DJ Alice" Oka and Koji Kondo Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I used to produce video game remixes on OCRemix under the alias "lilsonic". Then I went the hip-hop/ pop route and disappeared from my roots as a VG Music Remixer. I'm trying to slowly come back and see if I can incorporate what i've learned in the industry into OC Remix. This should be fun. What better way to start than to remix the music of the first video game I ever played back when I was 5 years old. Time to have some fun! - TUNE

- "Swimming BGM"A bit torn here, or at least annoyed. As far as expansiveness and the overall premise of the arrangement, I'm all over it. This was clearly a creative approach, and a lot of people would enjoy it. BUT... by 2 1/2 minutes, I felt like the techniques that kicked in at :40 had already been overused. I'd heard the essentially the same beat patterns, the same stuttering technique of the death sound, the same gated-type stuttering of the melodic arrangement, the same countermelodic stuttering pattern. Brief break at 1:32, then more of the same at 1:39. At least by 2:31, we finally had the source in a minor key with a different-sounding lead, though everything surrounding it was pretty much repeating. Over the 3 1/2 minutes, the overall groove just felt way too static and repetitive. That's not to say there aren't subtle dynamic changes and dropoffs within the arrangement; it's obvious those are all over the arrangement as well. Ultimately though, those beats and techniques became too repetitive. This needs some stronger attention to dynamics. Some of the dropoffs of the beats were encouraging, but some tempo changes, more rhythmic variations on the arranged theme, and more variation of the core beats at the foundation of the track would really help this not drag on. The core creatively and treatment of the theme is great, Tyler, but this groove and the overall ideas are just too much on cruise control once you've established them. IMO, the overall repetition isn't justifying the length of the track. I'm sure you can spice this up some without sacrificing the overall vision you've had for this piece. I can see this potentially getting some YESes, I just don't think this is as fully developed as it could and should be. NO (resubmit)

Link: CONTACT INFO Remixer: Tspeiro Name: Tyler Speiran e-mail: website: http://www.youtube.com/user/tspeiro User ID: 49080 SUBMISSION INFO Game Arranged: Super Mario Bros Name of Arrangement: Squids N' Fish Name of Song: Underwater Theme

Just gonna keep it brief. Arrangement-wise, I like it. Cool mood, cool time signature changes. The main issue is that the track feels too dry and thin. The soundscape just comes off too sparse most of the time despite the volume, one example being the organ parts. Not really a fan of the snare tone either, it didn't quite work. Everything sounds too clean. This was pretty close, and it could very well pass as is. However, there's something about the relative spareness of the soundscape that prevented the instrumentation from fully clicking and sounding cohesive. Hopefully, we can get further insight into the potential issue. It's OK, but could use another pass to polish this up. NO (resumbit)

Brandon Strader www.bstrader.net 3123 Game: Super Mario 64 Source: Metallic Mario - http://www.youtube.com/watch?v=hlF1t9jns6I Composer: Koji Kondo Remixname: Prog Mario Super Mario 64 Album Project Song Notes: I bet you were expecting metal... that's too obvious! I called this Prog Mario but it's inspired more by funk. I got the chance to do this song super late in the SM64 project timeline, unfortunately John Revoredo was moving away and couldn't find his session files for me to help out so I ended up taking the claim with his blessing. I am happy and thankful that it worked out and I was able to do the song for the album. I wanted a live feel, like if a band were sitting in a room jamming this. Lots of sweet wah pedal, even on the bass guitar. It amplifies the funk. The parts are pretty similar to the source but stretched to fit in 7/8 and eventually 6/4 time signatures. Had to add a couple synth solos so it wouldn't be boring and some 'harmonies' to the source lead in the chorus.

Nice work!

Well, that's said tongue in cheek, but I'd do it. That would be a legitimately sweet idea, since it would obviously boost awareness and get people primed to seed the torrents once they were out, a la Maverick Rising. We'd just be accused by a handful of people of hating the fans and holding the music hostage.

Incorrecto! http://en.wikipedia.org/wiki/Classical_music

Yeah, the opening's going to sound competant, because it's just verbatim with the source tune. After a few seconds of what's basically a MIDI rip, then the source's foundation alone is basically copied, including much of the supporting writing. So much of the structure is merely ripped from the source tune, it's disappointing. When you tried to get interpretive with the melody at :21, the notes resolve decently, but they're just weird variations that don't really flow. From 2:07-on, you're just writing this solo-ing style stuff with the lead synth that noodles for a bit before resolving with a verbatim piece of the theme. I dunno, maybe one day you'll get that whole approach to click, but this isn't that day. There's so much in the arrangement where the structure and instrumentation aren't meaningfully different from the source, and those are basically the only parts that were melodious. On top of the other structure and production crits, this just isn't cohesive enough. As per previous subs, I know you have problems as far as an ear for melodious writing, and I don't mean that as a knock. But even if you wholesale copy some aspects of the source tune as a framework, you still need to present more substantial personalization of the sounds into something more unique, and then build from there with other interpretive ideas for the source tune itself. NO

Vig hates Pokemon music, but we don't ACTUALLY judge submissions based on whether we like the source or not (Vig included). We'll comment on sources fairly regularly, but it doesn't affect votes.

Stevo got submissions rejected from here plenty of times before he became as strong as he is now. Same with OA, Rozovian, WillRock, The Orichalcon, Nutritious. Way back when, the previous generation of guys like Danny Baranowsky, zircon, Fishy, halc, DCT, Mattias Häggström Gerdt, analoq, Navi, Big Giant Circles -- who all make diverse, amazing arrangements that seem effortless -- all got rejected a few times or a lot of times when they were less experienced. Aptitude is one component and diligence is the other. Been on staff approaching 8 years, a fan for over 10, and I've heard so many regularly posted mixers start off scrubby and grow into great musicians. Some hated the rejections and sometimes those people hated us. But they all weren't discouraged. Like Stevo was getting at, carve out time to work on your craft, don't just solicit feedback from here, and stay hungry.

Forgot to vote in Shoryuken Round 1 (thought it ended at midnight, not noon), but the right people won all the matchups, so it's OK.

What do you mean? It's not clear what you want to do, but DS is correct that we typically don't delete accounts.

- "Corridors of Time"The snare drum pattern at :50 was plodding and too loud, IMO. The couple of times you did some quick repeated snare shots (:49, 1:22, 2:45), it essentially sounded like you weren't varying the velocities well, kind of a slow machine gun effect. The background during the verses with the drumming was on the sparse side. The DarkeSax at :49 was decent, but still sounded pretty fake with the mechanical attacks/timing; it doesn't sound horrible, it's just noticeable it's fake, and the sample (while serviceable) is still dry and exposed. Mainly, the notes need to not sound as stiffly sequenced. You might be thinking "wait, 'Time Chill...!'" but that came out 8 years ago; that would be scrutinized more today. Interesting original Schala-esque rhythm introduced at 1:21. The piano brought in at 1:56 & 3:03 sounded decent, it's just not quite rich enough of a sound. The chords in particular (2:13) sounded mechanical, thin, and lacked body, while the sequencing of 3:03's section sounded noticeably more rigid. I like the overall arrangement concept, and this is going in the right direction. I think the drums need some further creativity with the core drum pattern and balance, the background during the main verses needs to be better filled out, and the sax and piano need some tweaks to sound stronger. The devil's in the details. NO (resubmit)

(ignore name of file, should be "Lost in Time") Remixer Name: urdailywater Real Name: Aaron Corbitt E-mail: urdailywater@hotmail.com User ID: 33000 Game arranged: Chrono Trigger Name of Arrangement: "Lost in Time" Name of song(s) arranged: Corridor of Time ( )Hey guys, I'm submitting again. This time a song that doesn't get enough attention on OCR in my honest opinion. (/sarcasm) This song was something different for me, and a challenge. Going into it, I had the plan to change up the soundscape drastically throughout the song, which is something I've never done before. It got me into a roadblock down the road in the writing process, but hopefully I've got an arrangement that works now. Inspiriation stuff.. well the first part, I'm not entirely sure where inspiration for that came from. I was just kind of messing around with the harp sample and started adding stuff. 1:23 and onward until the piano section was heavily inspired by the first part of the OP from the anime "Clannad". Then the piano section coming in was inspired by McVaffe's piano breakdown in "Celestial Winds From the East". This was also the first time I ever humanized a piano with both bass and lead parts, and was extremely fun to do. Production wise I think it's some of my best work. The soundscape stays filled out, even while changing up. Arrangement wise - if you don't count the harp thing (because it plays throughout the entire song) I counted up to about 1:21 of completely original material, and the rest I pretty much arranged from head (I didn't listen to the original much while doing this). So I think accurate stopwatching of original material goes along the lines of: 1:23 -1:56: no real connection to the source except the harp. 2:47 -3:44 (end): Just me doing stuff with the whistle/sax/piano. The rest is the source + arrangement stuff. Also the chord progression during those times is pretty much the same, except a little bit more simplified. So yeah, I hope that arrangement isn't really an issue with this one. I personally like it, but I'm not a judge Yup. I think I covered everything. A lot more than I expected to say, but whatever. Enjoy!