Liontamer   Judges ⚖️

The links currently require the trailing slash at the very end. http://ocremix.org/remix/OCR02038/ - WORKS! http://ocremix.org/remix/OCR02038 - 404! I think djp said he'd change/fix this up at some point, so that the lack of slash wouldn't cause a 404. Though I don't know what that involves, it doesn't sound too tough, so nagging might work.

Yeah, I'll just say again, if our ONLY standards were posting music that sounded awesome, and we didn't care about the strength of the connection to the original VGM, this would be approved without hesitation, Joe. But for the first half, there's got to me more overt usage of the "Special Stage" theme rather than (essentially) improvising over a very loose chord progression. Definitely don't be discouraged, and let's hear from you again with a revised take on this theme or another VGM arrangement.

"Late Goodbye" is definitely eligible (and a great song): http://en.wikipedia.org/wiki/Poets_of_the_Fall#Early_years_.282003.E2.80.932004.29 The KoRn track is most likely eligible, but I've yet to see the smoking gun evidence for it.

The answer's already there. Proof your Blind Guardian track was commissioned for Sacred 2.

Well, you said it yourself: Then we hope you, and everyone else, will remain understanding. When there's an actual update, so WE know what the status is, everyone will know.

I didn't say anything new; I basically just said everyone's been speculating, and I haven't seen anything accurate yet, so folks should just wait for things to play out. When there's more to report either way, the community will know.

I'll check on that this weekend! Sorry if I lost track of it!

I'm always down if I have free time to do an interview about the history of the site or how it's come along in the past 12 years. I don't make GOOD music, but I've terribly sang on top of some VGM before! http://olremix.org/remixes/99

The piano timing was pretty stiff, along with the woodwind sequencing. The warbling-style sounds brought in at :23 was a strange fit with the more organic-style instruments. Wasn't a big fan of the drum sound at :23; it just was too loud and crowding out other instruments. The synth line handling the Dr. Wily theme at :47 was a stronger fit. At 1:33, the hand-drumming was interesting, but the mixing was messy, IMO. The piano probably should have been more forward, BUT because the sequencing was so rigid, it would be exposed more; so you're left with a quiet, robotic piano that doesn't fill out the soundscape well and makes the overall timing of everything sound like it doesn't match up. But the main issue I had hearing the drums was that it made the overly rigid timing of the piano and woodwind stand out a lot more since the parts didn't lock together. Same with the airy strings brough in much later around 3:12. Texturally, all of this sounded like an awkward, patchwork kind of setup, and wasn't cohesive enough basically the whole way. The arrangement had merit, but I didn't feel this end result was cohesive enough yet, and it could stand another coat of polish. NO (resubmit)

Since you gave such a detailed breakdown, I timestamped it myself, though it wasn't close: :00.5-:18, :20-:25.5, :28.5-:58, 1:08.5-1:15.5, 1:32.5-2:01.5, 2:04.5-2:10.5, 2:13-2:26, 2:44.75-2:52, 2:53-3:12, 3:25-5:10.5 Not gonna bother adding it up. Anyway, I'm just gonna co-sign with the others who felt we need another pass at the mixing on this. OA and Vig had it right, the vocals are too dry and too far forward, dry being the biggest problem, IMO. I enjoyed the arrangement otherwise and hope we get a tweaked version soon! NO (resubmit) EDIT: Actually, forget it, I think this is fine. I've listened about 15 more times, and while the vocals OR instrumentation could use something to fill this out further, the vocal mixing actually isn't a big deal. The 2:28-3:01 section was the big offender for me, where the guitar work felt too dry with nothing around it to make up for the thin sound, and I was wrongly conflating that issue with the vocals. But that's really the only area bothering me, and the rest of the production sounded reasonable to me, just needed to get used to hearing this and seeing how everything fit together. YES

When we have movement we can let everyone know about, we'll be sure to let everyone know, believe me.

Y'all need to stop speculating on what's going on, including these perceptions of Kickstarter.

Yes, he's always been the only webmaster of the site.

Do you want that for your forum name as well, or are you keeping it as is?

Source Breakdown :00 - "Dr. Wily Stage 1" :25 - "Stage Start" :50 - "Stage Select" 1:08 - "Air Man" (with "Stage Select" backing for the first few seconds) 2:55 - "Bubble Man" 4:13 - "Crash Man" 7:28 - "Dr. Wily Stage 1" The arrangement was relatively conservative, but expansive, and the performance was strong overall. However, there were too many abrupt changes from one source tune to the next (:43, 2:55, 4:12, 7:28), and not enough where everything flowed together seamlessly like 1 cohesive song (:25, 1:08, 5:43). It's suffering from medley-itis, so while it's an enjoyable track, it doesn't sound like one cohesive piece, it sounds like too many source tunes loosely connected together, which is a shame given that separately they were all decently developed. If you could figure out better transitions from theme to theme, I'd say this was an easy pass, but that's the one big drawback as far as our standards. NO (resubmit)

Artist name: SuperFX Dario Montanino http://www.youtube.com/user/SuperFXmusic User ID: DarioMontanino Submission Information Song: Mega Man 2 Remix name : Mega Man 2 Medley Original Composed by Takashi Tateishi

On the production side, the string articulations was pretty solid, and everything was mixed nicely. The soundscape was filled out well, and I liked the background string padding in particular. Not an innovative arrangement, and it can seem overlong and repetitive, but I felt it flowed and evolved fine for a purposefully chill approach. While there were some original writing ideas in the background, it took until around 5:56 to hear any good original foreground writing combined with the source material. That said, despite being straightforward in handling the structure of the source tunes, the mood and instrumentation here helped add the interpretation factor we're looking for. IMO, a solid arrangement here by Damon that gets the job done. YES

Contact Info: ReMixer Name: CrimzonWolf777 Real Name: Damon Barlow Website: http://soundcloud.com/crimzonwolf777 User ID on Forums: 24939 Submission Info: Game: Super Metroid Song Title: Depths of Maridia Songs Used: 'Brinstar - Red Soil Wetland Area', 'Maridia - Rocky Underground Water Area' Comment: So I've been really scared to attempt to submit ANYTHING to OCRemix because I still feel like I'm not good enough. But because someone screamed at me telling me to just do it, here it is. I've remixed alot of game songs, and this one is my 1st submission. What made me put these two songs together was when I was playing Super Metroid and I was humming part of the Maridia area when I was in Brinstar. So I had to do it. I really hope everyone enjoys this song! ( )v

Got it. Did you want to still use SonicThHedgog as your ReMixer name, BTW? I noticed you're using Aires and Air3s a lot, so I wasn't sure if you're trying to move to a new artist name now. Let me know if you need a change for your ReMixer and/or forum name and I can do that if you need.

All of that, yes.

As far as the first 8 minutes, aside from 3:03 the transitions sounded fine to me. Not ZOMG great, but nothing that screamed poor. One could argue 7:12's switch-up in particular with the jingle was abrupt, but it was also fine upon repeated listens, IMO. I didn't hear anything big UNTIL 8:33 that indicated this arrangement wasn't reasonably (and fairly cohesively) structured. There were three very jumpy transitions in quick succession in a little over a minute (8:33, 9:21, 9:46) that didn't flow, and that ultimately makes it a tougher call, but it didn't seem like enough to tip the scales in the big picture. The mixing felt somewhat cluttered most of the way, but the overall production quality seemed OK. The arrangement of the various songs I recognized was certainly personalized, and while there were some jumpy points with no flow late in the game, this felt overall like an extended piece where the focus changed every so often. Most of the theme usages seemed brief, but there were a few extended segments that showed off good development. I'd need to break this down and compare it to the list of songs just to verify the source usage, but I didn't get the sense of it being a dealbreaker merely on account of it being a mega-medley. Will come back to this. EDIT (8/16): I checked out the "loledly" MP3 Nicholas provided that featured all of the sources stitched together just to verify all the source usage, and everything checked out fine. The final section from 9:46-10:32 was a bit of a disappointment, as that was a super close cover, both in structure and mood, but it wasn't a big deal given the overall length of the track. Giving this a few more listens, I still recognize the issue the NOs are taking with the medley structure, but I also still feel the sources were substantially personalized in their performances, and the structure flowed more than adequately enough for the first 8 1/2 minutes. The structure sounded a lot like a rock opera style piece, where there are a lot of twists and turns that nonetheless worked well in the big picture. Again, it's a shame that the final 3 minutes, at least in my opinion, didn't have the reasonable transitions like the first 8 1/2, but at the end of the day, this was cohesive ENOUGH for me to give it a YES. Not the strongest YES given the structure, but it's above the line for me just the same. The performances and production was very strong, and the level of interpretation was solid enough given the expansive treatment each source tune was given.

Did a quick arrangement breakdown, since there were several extended sections that seemingly didn't use the source: A 7:37-long arrangement needs 228.5 seconds of source usage for more than 50% of the track the source material to be dominant. :20-:46.25 (background drum pattern), :47.5-2:10.25, 2:48-4:30.5, 6:35-7:07.75 = 245.25 seconds or 53.67% The arrangement did a passable job going the expansive route, basically keeping the source material intact, but with a different sound and with lots of writing built around it. There were some weaker sections in terms of the execution, but the overall structure and dynamics got the job done, even if I wasn't as enthusiastic as the others. The main issue though was the production. Not sure what supporting instrumentation was going on from 3:14-4:30. The sequencing sounded too stiff (particularly the drums), and everything was competing for space; it could have been pizz strings or a dog barking, I don't know. The soundscape was cluttered, a problem that stood out more during fuller sections like that one. Same with 5:37's section with the faster tempo and crazy drumming. The drumkit being more prominent at 4:42 was pretty suspect, IMO. The rigid timing made it an awkward fit within the rest of the instrumentation. Not a huge deal in the big picture, but there were moments where things didn't lock together as well as they should have. A very underwhelming interplay of the source tune with the original writing at 6:35. Compositionally and conceptually, it's good stuff. However, it just muds together too indistinctly, obscuring BOTH lines. Once the mixing is cleaned up a little and the drums have some more punch, we're good to go, because the arrangement is strong enough, but the mixing was a weak point. It's definitely got merit, and this will probably pass (no problem here), but there's some polish this could use on the sequencing and mixing to sound meaningfully stronger. NO (borderline/refine/resubmit)

I sent an update to djp on this, so if it doesn't get updated soon, you may call him a lazy miscreant.

That's (not) the plan.

Yeah, Deia talked to him too at a con, MAGFest 10 I think, and he thought his comedic mixes didn't fit the site. I think she tried to tell him that's not the case, but hey, gotta let a brother know again! No hate if Brent simply doesn't want to submit anything or doesn't care, as it's his prerogative, and he's always been great on a personal level too. But everyone SHOULD know that as long as an arrangement is substantially interpretive and reasonably well-produced, it's not disqualified or scrutinized extra for being a comedy track.