Liontamer

Opened up pretty close to the intro for a while. Weird production choices. I liked the effects on the intro, but when the bowed strings came in at :24, the strings were too far in the back, and it seemed like a whole slew of frequencies was missing from the soundscape, and all I was hearing were highs that were bordering on grating. Wasn't really feeling how the vocal stuff starting at :26 was produced. There was some delay on it, but it still was very dry and wasn't positioned properly in the soundscape. Yeah, something's totally off with the production. Once the vocals came in at 1:03, it was obvious. Lots of issues with the recording (e.g. obvious pop at 1:22), there's apparently no real low-end, and lots of areas need to be de-essed. Weird, akward key change at 1:53. The bass abruptly dropping out at 1:54 also was very careless/sloppy. Honestly, there was a surprising lack of attention to detail. Tambourine seemed to be lightly clipping as well, at last until 2:05. I respect you playing several parts in live, but this needed some quantizing; the timing was too loose to the point of being completely unacceptable for your skill level. 2:19-2:43 was an egregious example where the piano ended up behind, there was some sort of glitch at 2:23 where the vocal timing got throw way off by some sort of hiccup in the instrumental. But even before-hand, the piano was lagging behind and didn't sound right as a result, both here and again at 3:10. Gotta say though, very creative usage of the arranged Veldt chorus as the piano backing, first at 2:19. Totally changed the feel and mood of that theme and caught me off guard in a good way. Again, the transitions into and out of that theme didn't flow at all, but, in a vacuum, I really appreciated the unique spin you gave "Wild West." The key change at 2:44 moving back into Gau's theme wasn't smooth at all. These transitions really needed work. It could just be bias from the sections not really piecing together well, but the arrangement felt overlong and you could have cut easily 3:10's & 3:35's sections since it was just clunky and repetitive at that point. 4:22 brought back the la-la's of the intro, going for the parabolic structure as the track wound down. Very drawn out ending, again, much like the intro. The attempt's ambitious, Mike, but there's a lack of attention paid to details in the production, timing, and transitions that killed this dead. You heard from 3 nice judges, but, despite going NO, they were all way too nice and weren't critical enough with a bunch of glaring, dealbreaking issues. It's not that the ideas are crappy, but the execution was so rough that this wasn't anywhere near a pass as is, and several other judges who are more blunt would tell you the same thing. This would really need a lot of work (not a little) on tightening up on the timing, more sensible mixing/balance among the parts, and better thought out transitions between the two themes that actually flow together. The vocals themselves weren't horrible, but working the intonation issues that were also brought up would also be a plus, though that would be last on my list compared to everything else that stuck out. Don't be discouraged though. It's definitely awesome to see you back in the game and hopefully continue taking your work to the next level. I know you don't like resubmissions if you feel like you're compromising your original vision for the song, so definitely do not do that on this one if you work on it further. This was a risky arrangement that didn't pay off in the execution, but you can (and should) learn from this one. NO

Don't forget Support OCR Month! But seriously, win that cheddar and pay off some student loans! Fingers crossed FTW for you, Luke! Get it, get it!

http://www.google.com/search?sourceid=chrome&ie=UTF-8&q=Cowon+J3+flac+problems Seeing some other issues come up with this player & FLACs, but I'll see if I can find a common thread. The e with the acute on top (é) could be one issue, but doesn't explain everything.

Praise the Lord, djp finally added an instruction on it.

OCR jumped the shark after http://ocremix.org/remix/OCR00001/ I don't listen anymore.

Original Decision Link Contact Information Blackhole Erik McClure http://www.blackspherestudios.com 41173 Submission Information Kirby 64: The Crystal Shards 0² (Zero Two) - Jun Ishikawa (Resubmission) After several weeks of debate, I have decided to give this another shot. To quote my original submission, "I've heard several remixes of this famous boss battle song floating around on youtube, but one remix in particular caught my ear. It was called "Revenge of Zero Two" by fairuzonss, and it completely diverged from the original song, creating its own unique interpretation. Inspired by this, I tried to combine elements of both the remixes and the original song." In response to the judge critiques, I fixed the string timing, and to answer a common question, the strings are not supposed to sound particularly authentic, since I feel that is part of the charm of both the original and fairuzonss' remix. I humanized the second and third piano sections, and made a lot of subtle adjustments throughout the mix. The bass on the huge drum was cut down considerably to try and avoid muddying the mix, and the dynamics were very slightly adjusted. In short, lots of small changes, hopefully fixing several minor issues, but nothing drastic, since the judges didn't seem to think any major changes were necessary. Original Judge Decision Thread: http://ocremix.org/forums/showthread.php?t=32854 -- Sincerely, Erik McClure Source: "fairuzonss" Arrangement (not actually by fairuzonss; stolen, with true title & credit unknown):

Original Decision: http://ocremix.org/forums/showthread.php?t=31115 Remixer name: Guifrog Real name: Guilherme Arcoverde Website: www.myspace.com/guifrog Country: Brazil ------------- GAME ARRANGED: World Cup Italia '90 (Master System). SONGS ARRANGED: 1) Main Theme. Source links: (), or ( ).2) Elimination League/Winning BGM. Source links: ( ), or(). 3) Final Tournament/Losing BGM. Source links: ( ), or(). P.s.: Try youtube or download sources later if MediaFire's down. REMIX NAME: The Dreamchaser. REMIX LINK: ------------- Ribbit! Been awhile, heh? Been slacking, really. When I submitted "The Dreamseeker", I was worried that OcRemix's staff wouldn't approve something that was based on such an obscure source. Or, if it was accepted, it would probably be worth donwloading because of the remix itself, not the game. So, it was rejected due to being too liberal and having weak samples, which means I actually _can_ resub it! Now, I think "chaser" fits more to it than "seeker". He's not trying to decide which dreams he'll pursue, he's actually going for it. I guess you can see how excited he is, after he starts running on the road screaming "OH GOSH I'VE JUST ENTERED! I'M DOING IT!", like there's no way to come back. And boy, isn't the adventure the most fun thing? There's always something new to find out. But there's a time when you see that not everything's beautiful. Y'know, crash, KABOOM, cough-cough. Ugly things don't respect anyone's journey, and they intend to avoid us running away from reality. Tho, we don't seem to know how to handle 'em as they come, and we may fall beautifully. Give up. You see, that's what you get for forcing blindness. Everything appears to be ugly. Nah. There's good and bad. That was a bad. We're looking for good. So what? Smart/strong people go cautiously this time. Start to walk slower, learning through the ugly, enjoying the beautiful, until they finally get to the WONDERFUL \@/ I think that's a vague and simple summary on how life is. Kids see the good and run; teens start to see the bad, fall and cry; but the moment to open the eyes to both is not set. We're always finding new things, which means, life's a lot more complicated. Just as The Dreamchaser might be seen differently to each one. ALRIGHT, NOW TO BREAKDOWN. Many tweaks to instruments, echo things, humanization, focus on sources, a few new melodies: Act 1: Beautiful. 0:00-0:28 => Source 1, first part. 0:41-1:06 => Source 1, first part, happy version. 1:07-1:34 => Source 1, second part, happy version. 1:35-1:48 => Transition, original writing. 1:49-2:28 => Source 2, complete. 2:29-2:41 => Source 1, first part. 2:42-3:09 => Original writing. Act 2: Ugly. 3:10-3:23 => Source 1, first part, obscure version. 3:24-3:35 => Source 1, second part, obscure version. 3:36-3:48 => Source 2, first part, obscure. 3:49-4:00 => Oboe transition, original writing. 4:01-4:39 => Source 3, complete, harp. 4:40-5:03 => Original writing, trying to make a fair pitch transition. Act 3: Beautiful and Ugly (Standing Up). 5:04-5:21 => Source 3, first part, harp/guitar. 5:22-5:29 => Lil' added thing. 5:30-6:10 => Source 3, complete, harp/oboe. Act 4: Wonderful. (Achievement) 6:12-6:47 => Source 3, incomplete second part, happy version. 6:48-6:51 => Transition, original writing. 6:52-7:05 => Source 1, second part, supermegahappy version. 7:06-7:16 => Original writing. The great ending. It was REALLY fun! Now, I've been wondering, maybe the whole journey was the wanderer's dream. XD

Original Decision: http://ocremix.org/forums/showthread.php?t=32261 First RESUB: http://ocremix.org/forums/showthread.php?t=33633 Contact info Artistname: Lashmush Real name: Rasmus Sorber User ID: 27698 Submission info Game: The Legend of Zelda: Link's Awakening Track: "Shadow Battles" Comment Umm... so third times the charm? :c Well, taking the new pointers into consideration I've done the best I can with this track. The drums are basically at professional studiolevel now based on comparisons made with Testament, Vader and various other highly wellmixed metalbands out there. Concerning the guitars, I redid some of the mixing to further clarify it but considering its all sequenced with Zircon's "Shreddage" VST and Guitar Rig 4, I don't really know what else to do than the results you have now. The mix as a whole is in my opinion on par with most modern day heavier death genres from major labels but ofcourse with my own mix-identity in there. What im saying is just that I can either subtract from the mixing on the benchmark side or on my own tastes, neither of which I'd enjoy very much. :3 Btw, this is the fifth version of the track (you guys have the three latest as the first two were during my learning phase for shreddage and GR4 as well as the new Renoise stuff). Can it be non-soulcrushing tiemz nao? Thanks for the feedback so far, it's helped me improve immensely!

http://twitter.com/ocremix/status/63633225909682176 http://twitter.com/yuzokoshiro/status/64757812433129472 WINA = WINNER! Nice work, man! Quite the debut!

Initially, the arrangement was really straightforward for the banjo, but the second half really rescued it from being too cover-ish, and included some good expansionist ideas as well as tons of other song cameos. Sometimes, the timing got loose to the point of distraction (e.g. 1:24-1:26, 1:35-1:40, 2:34-2:42). That said, I actually was less bothered by it the closer I listened to it, as the bothersome sections didn't last as long as I would have thought. It would suck if this couldn't be posted, as I AGREE with the Js asking for the fixes, BUT this was getting a lot more right than it was getting wrong, enough so that the scales tipped in favor of me going with it. No hate if it doesn't make it. The timing bothers me too, it just didn't bother me as much as it did the NOs. If it doesn't make it, Daniel, don't be discouraged. It's pretty obvious we all love the concept and know you have skills, there are just performance/timing issues that should be ironed out for a more cohesive track. That said, I think it's solid enough, and I'm down. Either way, I hope we hear a lot more music from you, as this is something you don't hear every day! YES

Man, what a lengthy build. :43's section was part of that build, but sounded VERY empty as if more should have been going on. Man, some fugly, dry sounds at :58. Just muddy and distorted sounding. Ah man, the source melody finally came in at 1:12 and the samples were so rigidly sequenced and exposed, and the arrangement was too straightforward. 1:47's stuff at least sounded more new agey with that Blade Runner-ish lead. But overall, just a lot of poorly mixed, unpolished, messy sounds that are typical of the developing artists in the European scene (no hate). It's not mixed well at all and the dry instrumentation and very mechanical timing isn't that pleasing to listen to. I hate to sound to like an asshole, Chris, but this is just taxing to listen to. However, don't be discouraged, but please aggressively use the Game ReMixes feedback & Music Production forums here for advice to start improving your works. NO

Man, I know I'm going back to some older subs here that he voted on a while ago, but Vinnie's POVs are on fire. No hate on anyone else, but among our group, he's my MVP. I can't help but agree with his insight all the way yet again. Everyone needs to get ears like his and join Team Brown Heat with us! Yeah, right off the bat, the piano timing was too mechanical, and the soundscape was pretty murky. I was waiting for things to possibly get cleaner to show off some sort of purposeful contrast with the intro, but it never came. The pad at 1:32 was too loud and upfront and was covering up the piano & winds. The dilemma I'm seeing is that if the mixing were cleaned up some, the rigidness of the piano would be further exposed. Well, I'm glad it's your problem and not mine. But seriously, Vinnie broke the production issues down the best. The arrangement is already solid, so aside from breaking up the monotony of the left-hand writing, the rest of the work needed is on the production front. Take another pass at the production, Josh, and use the Game ReMixes feedback & Music Production forums here for advice if you have to. Please don't be discouraged. We'd love a Uforia mix here and you've got a great base here. This is a great arrangement that just needs to have its potential fully realized with stronger production work. Hope to hear this piece again on the panel. Resubmit it and we'll get to re-evaluating it much quicker, since we can have it bypass the usual waiting time. NO

Weird build for the intro. It seemed like things kicked in at :27, but the soundscape was still very murky. Some interesting Metroid-style synth at :39 that sounded like original writing on top of the Brinstar theme before moving more into a cover of the theme. Agreed with Palp on that sine lead not sounding as smooth as what you hear in the Prime soundtrack, but it was solid enough. The snare was flat and the pattern was plodding. Palp was right all the way; you and Will take a look at 3:53's section where the mixing sounded somewhat cleaner, then figure out what additional parts were causing all the murkiness when in play. The big things that stuck out were 1) the soundscape being really murky, murky enough where it seemed like too many details in the writing were being washed over, and 2) the vox sounding pretty fake during its more exposed moments, usually the faster note changes. It sounded serviceable enough when holding some of the longer notes, it just sucked at the more rapid note changes. Like OA mentioned, the attack was a bit too slow. Arrangement-wise, the two themes came together fairly cohesively, though some of the Brinstar usage felt a bit too straightforward and cover-ish. That said, the sum total of what was there was OK. So I liked the arrangement overall, but fix up (in this order), the mixing, drums and vox, and then give this another go. I could see someone going conditional on this, but the way all the issues come together really drags the arrangement and doesn't come close to realize the potential. The bland drum writing really dragged this down, and the soundscape was just too indistinct. The soundscape could be attributed to the story/imagery behind the pieces, but IMO it still didn't work and just sounded like a lot of details were being lost in the haze. No need to be discouraged, this is shaping up OK, so I recommend y'all give these issues another pass and see how much y'all can polish this up. As long as the production is cleaned up somewhat and the drums aren't so plodding, this could have a great chance of passing. NO (resubmit)

I agreed with Vinnie the most on the production, and I'm not getting why OA called the production "clean," when it definitely was not. Opening piano sounded stiff and fake, but was serviceable since it was obscured by the synths and string pad that came in shortly afterward, and then sounded like it have a bit more delay on it to give the notes more body. String pad wasn't great either, but again, used reasonably well enough. The mixing was too murky and indistinct until all that padding dropped out at :38. Again, not brutal, but on the low end of serviceable. After :38, things cleared up nicely for the introduction of the melody. I could see some people put of by the melody being so busy, but different strokes for different folks. The high-end for 1:28-1:58's section was blistering, ouch. All of that really needs to be EQed to take some sizzle off the highs. Poor separation for 2:25-2:54's section. The lead synths were very grating, yet had no clarity, just like 1:28-1:58; not sure how you were able to do that, but Achievement Unlocked. The extended ending sequence from 2:55 until the close was solid, and I was really digging it. The very end was a weird finish that I wasn't feeling all the way, but it wasn't a big deal. The arrangement was pretty solid overall and an easy YES. The production, on the other hand, really needs another pass before this is posted. It doesn't have to be perfect, Jamison, but for a 192kbps file, the off-kilter mixing makes it sound like it's 64kbps. Take another shot at the production and clean that sumbitch up. YES (conditional on mixing) EDIT (5/24): To close this out, I'll go ahead and change my vote to NO, per DS's recommendation and encourage the production touch-ups mentioned in the previously conditional YES. You're hitting that critical period where your arrangement chops are there, but the production chops aren't. It's not quite apples to apples, but WillRock, OA and Level 99 were consistently in this boat back in the day, so don't be discouraged and keep at it; you'll get there.

Has to be unbiased. Deep down, you should be able to tell if that's the case. Prot used to recuse himself on Star Salzman's subs, but I've never had a conflict of interest or a problem voting on anything myself.

If you do one for Sony's PSN debacle, I nominate Flexstyle's "Before Everything Happened" to close it. http://ocremix.org/remix/OCR01996/ Sony-published game for the PS2, and the title is where Sony wish they could be.

Still working on it. It involves 2,000+ mixes being retagged, though I continue to make progress. I don't have an ETA, but I'll see what kind of progress I can make in the next few weeks.

The recent YouTube plagiarist closed his account, so that's 1 win. I hit up Dj Bjra about a new Newgrounds contact, so we'll see what he says and try to resolves some of these grosser cases of multiple stolen tracks.

Not feeling the exposed, unrealistic string pad from :15-:30, but it was pulled back a bit once the leads & rhythm arrived at :30. Props on the added development, expansion and personalization in the arrangement as well, Klaus, this was a very substantial upgrade, IMO. Now we're good to go. People should definitely be digging this. YES

Apparently it was poop! Commence, drama! http://www.originalsoundversion.com/mega-man-the-robot-museum-review/

The bitrate really should be higher, so I'll ask about it, but this was a nice personalized take here, much like Justus Johnston's Touhou Youyoumu: Perfect Cherry Blossom 'Icy Peaks.' Normally would have closed this up at 4Y/1N, but just wanted to check on it and see if any issues were worth looking at. I wish the lead sounded more smoothly performed, but that was just personal taste. The execution here was solid. Good deal here, Jonah, pretty expressive. YES

Currently, no. We're working on something more robust than just genres that will eventually be integrated into the actual database. For now though, there's http://ocremix.org/forums/tags.php Prior to that work, we absolutely refused to classify genres, because most people wanted us to tag the mixes with 1 genre in every file, which is impossible given how many mixes are multiple genres. With a tagging system, we can have as many descriptors as we need and include instruments and moods as well, all without touching the files themselves or changing the Genre tags in the MP3s from Game.

The balance is still iffy, and I thought the percussion was still treble-heavy and overpowering, which SHOULD be addressed. That said, I can live with it; it's not as imbalanced as the previous version. There's also some pretty obvious crackling/distortion from 3:14-3:28 that really should not have been there, but most people won't notice it and it wasn't a dealbreaker. The opening piano seemed altered a bit, but I didn't have a big problem with it anyway and don't think anyone else should have made a big deal about it. The tweaks definitely raised this a bit. It's not where it should be to address all the issues, but it hit enough of them to change my vote. Nice work, Peter. Thanks for taking another shot at this! YES

Just to clarify, medleys are always fine at OCR, the structure and flow of the arrangement just has to be cohesive. This opened up pretty intense, though the melody was VERY buried at :12. And as the song went on, it stayed buried. Not much interpretation of the Stage 1 theme, and nothing I haven't really heard from past rock arrangements of this theme. Not a great transition at 1:21 to Stage 6. Yeah, the melody's still buried at 1:25 for the build up, but at least 1:35 we could finally hear the lead writing more upfront. Pretty bland take on the melody briefly from 2:01-2:08, it just sounded flat. Not really hearing much interpretation of Stage 6 along with the mixing unfortunately being too indistinct. The way the drumming was mixed so loud ended up competing for space too much. Midee & prozax covered Stage 6 and Boss in a straightforward but much more personalized and expressive way in "Tactile Freefall." http://ocremix.org/remix/OCR01192/ This take is duplicating the conservative melodic treatment without the production or performance chops those guys have. I'm not saying they're the standard, but when this arrangement has enough similarities, it invites the comparison. It's just not up to that level, and the other one dropped here 7 years ago. Had no big issue with the full stop transition to the Boss theme at 3:07, as it was followed by a the fade-in immediately afterward. Not great, and I could understand why people would be bothered by it. This section was thankfully slowed down a bit to present a bit more of a personalized feel. At 4:10, we got into some harder stuff with a decent dropoff and re-building towards heavier stuff with Stage 3 at 4:30. Again though, the melody was fighting to be heard until 4:42 because of the machine gun-style drums. From 4:43 on though, the balance was much better, including when the drums came back at 4:54, so the finish felt a lot stronger than everything from the first 4 minutes. The soloing at 5:18 was solid enough, and helped this one close out pretty strong and with more expressiveness than everything that came earlier. Why wasn't there more of that creativity and personalization for the treatment of the other three themes? I like Year 200X, I've watched them perform at MAGFest, I know what they can do, and I've seen them improve year by year. That said, the last 3 minutes were stronger, more interesting and more substantially personalized and interpretive than the first 3, and much of the track had balancing that Vinnie did the best job of elaborating on. No hate, but it would really take a lot of mixing tweaks to get this sounding stronger, and I'm not feeling the level of interpretation as much as the others are, otherwise it would be a much tougher call for me. This isn't poor, but I agree with him all the way that the sum total of the issues dragged this down to NO. Sorry, guys.

Opening piano sequencing wasn't great at all. Too plinky. The chugging at :31 buried the piano and brass usage of the source. 1:04 shifted over into some more chugging. The guitars definitely lacked some bite, some energy there. Mallet percussion at 2:20 got steamrolled over, though it wasn't a central player. Interesting dynamic shift at 2:41 before building into the geetar-focused at 2:52. The lead really needed more power, more wailing to convey the energy inherent in the writing, but the overall performance so far was serviceable, albeit far from perfect. The 3:50 solo section was OK. Again, there were messiness issues with the production where the supporting sounds weren't as distinct as they should have been, but again, the overall arrangement and interpretation made up for it. The ending was sudden and weak, but... /shrug. Didn't have any qualms on the source usage. I compared both themes and it didn't seem to dance on the line, so I didn't feel the need to do the full breakdown. Overall, lots of small production flaws that hurt the listening experience and undercut a lot of the writing decisions and details Brandon made. This should have sounded a lot more polished. That said, the arrangement was there, and the overall performance and production, while neither were amazing, were solid put together enough to get a pass. I can totally understand why Justin went NO on production, and I'm really surprised only he and Vinnie rightly brought those issues up, because they were pretty obvious to me. In any case, no one component was great, but nothing dragged this down enough to NO for me though. I'm more a weak YES. Not borderline, but not far above that, no hate.