Liontamer

Suuuuuuuuuuuuuper chillaxed. The dynamics are subtle, but I've always enjoyed the mood of this one.

I've always avoided those because they end up feeling dated in a few years, or even less than 1 year, but that's just my personal opinion.

http://soundcloud.com/ambient-tribe/forest-temple-ambient-tribe - Also sampled "Prayer" with 0 credit. Soundcloud has copyright infringement notification steps, but it has to be done directly by the artists since they are the copyright holders of the arrangements themselves.

Looks like the guy you were neck and neck with was just scamming his way to all those votes. I put his tactics on blast on the Toyota FB page, so hopefully they see it. I'm not mad at him, but it obviously was against the spirit of the contest.

Already covered.

That's all wrong and speculative. You're even allowed to use automated systems in a way that doesn't exceed what a human can do, and aren't used to otherwise violate other aspects of the Terms of Service. As far as who we send friend invites to, it's people who have commented on several years' worth OC ReMix videos not uploaded by us, VGM fans, and gamers, not random people. Some people don't care enough about OC ReMixes or game music, don't know us by name, or are extremely private about friend invites, even though they've liked OCR or VGM fan videos, so that's bound to happen. For example, with 25YEARLEGEND out, we're sending friend invites to Zelda music fans, because they're more likely to give the album a chance. I'd like to think that makes sense. That said, friend invites had nothing to do with the suspension, and we only send bulletins about music and community news. We only send private messages to individual users, and don't do video sharing. What we were told by people who were able to look a little more into it was that our account got suspended after a "false positive" report about our video content. That also explains why a couple of days after the account was restored, we had a single video taken down for the exact same spam/scam/deceptive commercial content reasoning ( ). We immediately appealed that and had it restored in a couple of days as well.My hunch (and it's only a hunch) is that someone on YouTube reported a ton of our videos at once and the sum total of that led to an immediate suspension by way of their automated system. Again, that's a guess, but that all I can infer based on the later video takedown right after the suspension. The Twitter campaign idea we got from @Problogger's own channel takedown also helped a lot in showing that we had a fanbase that could vouch for the videos being music and nothing spammy, scammy or commercially deceptive. We aren't advertising "making money from working at home," or anything remotely like that. There are also at least 3 people at Google who are OCR fans who helped us immensely with addressing the improper takedown, and making sure our appeals didn't fall on deaf ears at YouTube. THANK YOU, Googlers (AND MAGFest for the additional help)!

In-game dialogue and spoken material isn't musical, so really what's limited is sampling original game music, and thus extensively direct sampling music that you yourself didn't write and create. Dialogue sampling is fine. (Just keep it mind that it doesn't count as arrangement of source music.) djp extensively sampled in-game dialogue for his most recent mix from Crush: http://ocremix.org/remix/OCR02211/

Heavy sampling of the original game music, whether it be the instrumental or vocal lines, is discouraged. We look at it on a case by case basis, but the standards have been tightened since the days of http://ocremix.org/remix/OCR00191/. I'm just one judge, but IMO if an arrangement leans on direct sampling as a crutch to provide connections to the source material, it's an easy NO. IMO, if you direct sample original game music, 1) it can't be for a long period of time, and 2) if you removed the sampling entirely, the arrangement still would have incorporated the source material more than enough to pass.

I'm listening to the revised version, FYI, yet all of this (emphasis added on the dealbreaker) is still right. I'm OK with the source usage, and the arrangement has potential. Small detail, but that little snap added to the core beat from :45-1:42 ends up too downplayed after more elements comes in, which is one reason why the beat ended up sounding too vanilla and flimsy. Vig is right that the dynamics work fine for the genre. The volume and the energy is implied by the composition, but the sound design was too bland and the soundscape was still too messy. For example, at 4:14, the EQ is screwed up so the source melody sounds like it's being swallowed by the padding instead of just being in the background. Clearly, it's meant to be a background player, since that melody purposefully fades in and out. But when it's loud, it's not supposed to be cluttered with the pads. You just have frequencies running into each other and it's muddying up the soundscape and making the parts difficult to distinguish. I don't have any big gripe if it passes, but this deserves (yet) another pass on the production to tweak some things, so everything properly sounds full and separated. NO (borderline)

What's the deadline, since the other person's up by 127?

Great concept, and perfectly fine synth brass for the time. Pancake Chef did a nice job lending different rhythms and energy to the arrangement. It's short and sweet, but I was always a fan of this one.

You're now up from 201 to 230; we'll do what we can to close the gap, Dillon, good luck!

Definitely an improvement, and I'm not trying to make the perfect the enemy of the good, but the textures & balance still don't click enough with this one yet. I think Brandon can get it going with one more pass. The texture of the harder drums & electric guitar with perky mallet percussion as the lead just didn't make any sense (:44-1:03). However, when the mallet perc wasn't the lead from 1:46-1:58 and worked in the background to support the dual guitar layers, the texture (while still strange) wasn't off-putting because the instruments were at more complementary levels. Keep it more like that, and it works. The slow machine gun drums were too loud and obscured the electric guitar & bowed strings (1:26-1:47). In particular, the bowed strings on melody were so crowded out that the details of the arranged melody, while creative & well-written, might as well have not been there due to being too difficult to hear. REALLY awkward guitar timing from 2:41-3:02, with noticeable timing flubs at 2:52 and 2:55 that were behind the beat. The drums are beefier, though I felt like there were some sections where the background still felt a bit sparse (e.g. 3:15-3:37). Not a huge issue though, unlike the previous version. From 3:37-3:47, a lot of parts seemed to bleed/mud together (backing guitar, vox and bowed string), and that also seemed to make the drums sound louder than everything else, which didn't make sense. Brief, but take another look at that. Very cool finish at 3:48 with just the bowed strings. Very sweet execution. Good stuff, just give it another pass for the win. Hopefully another J with a good ear can either co-sign or further isolate on what I touched on. I'm still a NO, but I'd love to hear the balance & EQ further tightened up.

Noooooooooooooooooooooooope. That's all Roger (Rekcahdam)! He nailed it.

OC ReMix Presents 25YEARLEGEND: A Legend of Zelda Indie Game Composer Tribute! November 22, 2011 Contact: press@ocremix.org FAIRFAX, VA--OverClocked ReMix today released its 29th arrangement album, 25YEARLEGEND: A Legend of Zelda Indie Game Composer Tribute. This album, directed by indie game developer and composer Roger "Rekcahdam" Hicks, features 20 indie composers producing 18 arrangements from Nintendo's entire Legend of Zelda series. Among these composers are Laura Shigihara (Plants vs. Zombies), C418 (Minecraft), Disasterpeace (Fez), and the list goes on! The album's release also features artwork by game artists Paul Veer (Celestial Mechanica) and Lisa Coffman. 25YEARLEGEND is available for free download at http://zelda25.ocremix.org. This album was produced to help promote the music and 25th anniversary of The Legend of Zelda, was made by fans, for fans, and is not affiliated with or endorsed by Nintendo; all original compositions are copyright their respective owners. "Working with fellow indie composers for this tribute album has been a dream come true," said album director Roger Hicks, whose efforts have resulted in a collaboration of epic proportions among several independent video game composers. "Each composer, at some point in time, has been influenced by the music of Legend of Zelda. It is an honor to have completed such an amazing album with composers who share the same excitement that I still have about the Zelda series." "While 25YEARLEGEND didn't originate within the OC ReMix community, both the arrangements themselves & the overall spirit of the album echo everything that we're about, and I'm extremely proud to be publishing it," said OC ReMix founder David "djpretzel" Lloyd. "That so many artists on the roster have already established themselves as ReMixers here on OCR only reenforces the synergy and crossover that can & SHOULD happen between the VGM fan community and game composers, indie & otherwise." Following the 2010 release of Threshold of a Dream, 25YEARLEGEND is OC ReMix's second Legend of Zelda album, and the first dedicated to the entire series. "25YEARLEGEND is an album that fans of both the series and indie games won't want to miss," said Hicks. "And we hope it makes the 25th anniversary of The Legend of Zelda that much more enjoyable for everyone!" 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. ### Preview it: Download it: http://zelda25.ocremix.org Torrent: http://bt.ocremix.org/torrents/25YEARLEGEND_-_A_Legend_of_Zelda_Indie_Game_Composer_Tribute.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=37701

25YEARLEGEND: A Legend of Zelda Indie Game Composer Tribute 25YEARLEGEND was started as a small indie session, but quickly grew into a massive project with the help of all the indie artists involved. Each featured composer has worked on a notable project in the indie game community while being influenced by the music of Zelda some time in their lives. Hopefully this project will make the 25th anniversary of Zelda that much more enjoyable! - Roger Hicks (Rekcahdam) Preview it: Download it: http://zelda25.ocremix.org Torrent: http://bt.ocremix.org/torrents/25YEARLEGEND_-_A_Legend_of_Zelda_Indie_Game_Composer_Tribute.torrent

Nah, every popular channel links back to some sort of page in their videos. It must have been all the scams and commercially deceptive content we had, like the free music. It's been appealed, and I'll be following up on this.

Hahaha, we're getting too old for this shit. "Sounds like it's from an old game, looking to be remixed" is a new one.

Try running the MP3s through MP3val: http://mp3val.sourceforge.net/download.shtml. Run those files through that and see if that helps at all. It's "Download MP3val 0.1.8 binaries for Windows (frontend version 0.1.1 included) (64 Kb)"

No, but a hoedown wouldn't work. - Collabs are welcome too, so feel free to take a stab at it.

I'm listening to the revised version, just noting. The backing piano sequencing for the first section & 3:04 was so mechanical, I can't think of any circumstance where this would be OK as is. When that finally went away in favor of the rock section, I finally understood the upside of this arrangement. The snare at 3:34 was extremely flimsy. I'd also need a source usage breakdown, so I'll have to come back to that. But the piano sequencing ALONE kills this dead. Do everything the others NOs said to get your parts working together more effectively and sounding more humanized & consistent. I hope to be able to add more substantial thoughts later, but this is an obvious NO-go, unfortunately. It has some promise though.

IMO, that's not a NO (resubmit), that sounds more like a YES (conditional) that you could live with as a YES if forced. Whether or not an improved version can be made shouldn't factor into the core YES vs. NO vote at all, otherwise one could also factor in what reason the artist has for not revising it. Should you stay NO if someone just decides OCR blows and they don't want to revise it but go YES if their project file simply got corrupted? Let's not go there. Besides, distilling your vote, it comes off as... That didn't really scream NO to me as your conclusion, so you either want to flip your vote to YES or further articulate the sum total of what's holding this back as a NO. ----------------------------------------------------------------------------- The oboe lead at :47 was definitely too quiet, but if it were louder, the sequencing/timing flaws would have been more exposed. It was audible enough, but it needs to be louder to really work as the lead, IMO. Same with the organ at 1:51, that's too quiet as well. By better mixing the leads upfront, there could have been some nice lead tradeoffs, like the oboe & organ being the lead at :47 and 1:51 and the guitars really emoting loudly at 2:50. Everything's mixed in a compressed way where's nothing's truly dominant. I could live with it as is, but would love to hear this all tweaked and fixed. I could see how 3:32's section dragged out, but the length didn't bother me. The muddiness of it was a little annoying, but that was on purpose along with the lo-fi noises, so no beef here. The final section being so long really makes you pay attention to the way the gears changed. I thought it was a deliberate, risky move that worked nonetheless. The arrangement was creative, and although the dynamics were harmed by the awkward mixing, the execution was strong enough to get by. I'd prefer this was tweaked, if we can get this looked at further, but a "no mas" from Mike would mean I go YES. YES (conditional)

I relistened given Emu's crits, all very valid crits, but I'm fine with what was there. The drums were definitely the weakest point for me, even though the production on them was a bit better than some of Brandon's NO-level stuff. They weren't as exposed here. There's some production/clarity issues; good suggestions on handling the beeping. The overall strength of the interpretation and reasonable cohesiveness of the performances were good enough, on the seesaw of good vs. bad, to meaningfully outweigh the bad. It could be improved in a number of ways, and I imagine if Brandon continues to improve, he'll look back in 3 to 4 years and be able to distinguish what needs improvement, but what's here was solid enough, IMO.

The piano timing was too mechanical and plucky, making it sound extremely unrealistic, and the sound itself needs more body. You don't have much instrumentation going on, so the piano needs to sound rich and carry much of the soundscape. What's here for the moment is too flimsy. When OA says, "Vocal performance was pretty good," that's wrong and that's too generous. I'm not coming down on him (or you, Jude), but critically, most on the panel wouldn't agree with that. The lyrics matching the melody at every point needlessly exposes the shortcomings of your singing voice; the pitch and projection aren't great, and the syllables needing to match the melody restrict the flow, so there's no power or fluidity behind the singing. There's also no need to practically double the woodwind lead at 2:24 with your vocal timing. You shouldn't have stuck so closely to the melody at the expense of flow, but 2:24 was a perfect place to break out of that. Minor point, but you need a better pop shield, because your plosives are popping (e.g. "presence" at :40). Star Salzman once used something like a bubblegum wrapper wrapped over his cheap mic, if I remember correctly, so you don't need to break the bank. I'm glad there's a bit of delay on the vocals so they're not entirely unprocessed, but they're still pretty barren and exposed in this soundscape. The plucked strings at :48 and woodwind at 1:36 were both very rigidly timed as well. The plucked strings sounded a bit better because of the resonance, but the sequencing being so perfectly timed still stood out. Like the piano, the tone of those instruments was also very thin and sparse. Arrangement-wise, this had some interpretation, but most of the writing during the verses held too closely to the original, both the melody and the countermelody. Take some more creative, interpretive liberties with the source material. Dynamically, this song had basically 1 tempo and 1 gear, so the dynamic curve was mostly flat. 1:35's instrumental only section wasn't much of a dropoff and 2:32's return of the vocals was essentially a structural cut-and-paste from the first section. Even in a song that basically stays in 1 gear, you need more distinct contrast somewhere so that there's direction and progression in the composition. This track can't be salvaged at your current skill level, so I'm not sure why the other judges said "resubmit." Resubmits should be suggested when there's a decent chance the artist could improve something to a passable level. I'm not trying to demoralize you, I'm just trying to be honest and realistic. Your ideas have some creativity and merit, but the execution's nowhere near the level you need to pass, so we want to try and help you get there down the line. That said, it would be worth your time to get deeper feedback and production advice from the Music Composition & Production forums and the Post Your Game ReMixes! forum in our Workshop area. You can learn about inexpensive and free, legal ways to beef up your sample quality and achieve more realistic, fleshed out sounds. I hope you keep at it, and if you want to work with this mix further to see how much you can improve it, that's a worthy goal, but you still have a lot to learn on the fundamentals of putting it all together. NO

Pulling that back also helped downplay some of the mechanical timing flaws, as is was too perfect. At 2:35, the trumpets should have stayed at their original volume, since it was the lead and not competing with anything else major, but that's a minor thing. What's much more important is that the trumpet isn't trampling on the guitar any longer. Thanks for the fix! YES