Liontamer   Judges ⚖️

Nice opening. A LITTLE stilted with the left hand to start, but this still sounded nice. Really awesome delay/ambiance on the piano helped fill out the soundscape nicely and mitigate the timing issues. I could see how one could say it went overboard, but it came across like a purposeful choice to me; either way, I wasn't bothered and don't feel like important details got lost in the mix. There were noticeable imperfections in the timing throughout that I wish had been smoothed out. But it was all small things that didn't drag this down enough in the big picture, IMO. Solid arrangement with production choices that helped undercut some noticeable negatives with the timing. Not the strongest YES on account of the timing issues, but it gets more right than it does wrong by a wide enough margin to me to go with it, flaws and all. YES

Seemed to open OK. The mixing was a little muddy, and some of the synth squeaks came across as abrasive. The piano at :39 sounded pretty similar to :41 of the original's, which was a deduction as far as the arrangement standards, IMO. I think enough else is done in terms of varying the lead and interpreting the theme to get away with it, but it did almost come off as sampling due to how close the two pianos sounded. The added warmth to the piano in Damon's take was an improvement on the more mechanical sound of the source. More synths added around :55 to add some new writing ideas in the background. The core beat is pretty bare, but there's enough going on around it to compensate, even if it still feels a bit empty to me despite the number of things going on. Switchup at 1:27 with some cool Sonic SFX cameos and some light dub-wub elements. The mixing's still too piercing, but the changeup to the piano-centric stuff sounded pretty nice. Didn't like the way the note changes worked for the synth lead from 2:16-2:31, but it's not a big deal in the big picture, even though the timing sounded too stiff. 3:07 felt a bit like a cut and paste of :39's section, but the overall level of interpretation was solid. The one thing killing me is the mixing and those piercing higher frequencies. They get on my nerves, but with the volume taken down a bit, it doesn't have that same negative effect, so it might just be something that sticks out at full volume. Not ideal and those issues pull it down to borderline, but I believe the arrangement carries it. 8 years later, and this sounds nothing like that first sub. It even has dubstep elements that weren't mainstream back in 2004. I'm glad you didn't listen to me and kept it in the back of your mind for all that time, only to create something a lot stronger after a lot of musical growth. It really makes it worth the wait. YES (borderline)

That's a good point! If we can find them, we'll reach out and see if they're still interested.

Looks like most of those are resubmissions; any resubmissions can be immediately added back to the panel to vote on again so that they don't have to wait for us to catch up to when they resubmitted it. We'll be back to voting more often soon.

There's potentially some foot-in-mouth action here, but I haven't heard that trailer, only the soundtrack (which is sweet). Why not ask Jake about the process and if there were any major differences vs. the April game preview? He's not a sheepish guy. Part of the layout of the music has to do with the '80s homage, so if you're not down with that approach in the first place, you're not gonna be feeling the music. But no one's asked any of the April posters how they feel now that the final OST is out, so see if they still feel the same way now. The soundtrack sounded good to me, or I wouldn't have plugged it so many times. Almost reminds me of the Street Fighter III: Online Edition criticism for Simon Viklund's arranged soundtrack.

http://ocremix.org/forums/showthread.php?p=859012&postcount=85

All the pledges cover shipping to ANYWHERE in the world. Antarctica? Covered. Yes, really.

Never posted here (I'm surprised), but the arrangement here is excellent, with genteel yet solemn instrumentation. This one's vastly underrated. Even back in the day, the variety and creativity within the community was strong, with djp leading the way. The genre diversity's grown since 2002, but the focus on creativity has been there since the beginning.

Update (2012-09-25): We're BACK! (New Announcement!)

That's cool, no worries. I had scanned the FLACs with AudioTester before the release, and everything turned out fine, so it was definitely surprising to initially hear that issue. I also scanned my copy of the FLACs with FileVerifier++ (thanks for making me aware of programs like these) before I replied, and didn't see any issue, so I just had to double check with you about if maybe it just was a corrupt DL.

Excellent, chill arrangement, one of the coolest, moodiest pieces amongst the oldest mixes. Definitely a fan.

http://www.huffingtonpost.com/2012/09/17/mcrib-2012-debut-dates_n_1889744.html SECOND HALF OF DECEMBER!!!! McRib is BACK! McRIB!

Emphasis added, of course. So what we're looking to do is decide whether the used for this submission is substantive enough to be used as a source tune. Though the vote is currently at 6Y/4N, implying that at least the YES's think it IS substantial enough to be a source tune, that might not necessarily be the case upon some further reflection.We have mixes of other jingle themes on the site, including one from and . I'll try to find some others later.If I'm not misrepresenting Dave, Dave wants to know if the panel feels the Seiken Densetsu 3 piece is much less substantive than other source tunes we've allowed, or if we've just made mistakes allowing mixes of more or all of these short jingles. I feel I explained my POV in my vote on the sub, but there seemed to be enough to work with musically, despite being basic, to form a viable arrangement out of it. Palpable basically agreed with my breakdown on how the source was used, but also felt the arrangement itself was nonetheless off the rails, but I disagreed there. EDIT: And yes, I shouldn't have forgotten what Shariq alluded to below: if you have 0 problem with the eligibility of the SD3 source, and only had a problem with the arrangement, definitely point that out. It seems from the submission voting (correct me if I'm wrong) that no one thinks it's not an ineligible theme to arrange as far as the substance, but that the arrangement is too liberal and "modified the source material beyond recognition" according to the current standards.

That's not how it works. Perceived strength of vote doesn't factor into how we treat the end result of the vote count. You can't argue that because 2 out of the six YESs aren't strong, and 3 of the four NOs were hell NOs, that that somehow equals an overall NO vote. The vote ended up 6Y/4N so far, which isn't a NO. We don't even have Vig's vote yet. The standards issues to look at are 1) if the source is too simplistic to be acceptable source material and/or 2) if the arrangement is beyond recognition compared to a simplistic source. So it's time for djp to chime in, but this isn't closed yet.

Not sure if this is an actual issue or not, but if you torrent the FLACs again, this is still the result? Just need to ensure the problem definitely wasn't a corrupted download. Also, what program's being used here to perform the checks?

This is normally where I co-sign with Palp, and he's totally right on the issues he pointed out. But I'm just not as bothered by the production issues to go NO. The mixing was cramped and shouldn't have been this crowded from :31-1:19. It seemed like other parts were competing in the same frequency range as the guitar, but the overall soundscape was full without being too muddy. The drum writing was OK, though some brief sections here and there felt like vanilla timekeeping; you have areas here and there where the drums were too plain, but the tone was OK and the execution got by. The brass sample quality was on the lower end, which was unfortunate, because it ended up being pretty integral to the piece. That said, while it was noticeably fake, it was mixed in a way that didn't allow that to ruin the piece. The guitar performance sounded strong & expressive though, including original sections like 1:05-1:18 where the energy was ratcheted up. When instruments dropped out and the synth part from 2:11-2:18 was briefly more prominent, the sound was pure 80's cheese, in a good way. This definitely could use some mixing tweaks to sound less compressed, and I'd LOVE to here them, BUT the strong arrangement and solid performances carry this over the line for me. Nice job, Liam, this is bringing it. YES

Not sure that kind of drastic change is even possible. (You see what I did there?)

Minor issues aside, I'm not doing a full vote, but this was an easy YES, and a great job by this trio. Just wanted to post a loose source usage breakdown for the listeners for posterity, since it's a pretty involved arrangement with LOTS of overlap: Mega Man 6 usage: :00-:12 Plant Man :12-:32 Plant Man background :34-:52 Wily Machine with Plant Man background 2:35-2:50 Plant Man 2:53-3:10 Wily Machine with Plant Man background 3:10-3:37 Plant Man background 3:18-3:27 Wily Machine with Plant Man background 4:24-4:32 Plant Man 4:41.5-4:54 Wily Machine Mega Man 9: :12-:32 Hornet Man :22-:30 Splash Woman background :52-1:27 Hornet Man 1:29-1:47 Hornet Man 1:47-1:56 Splash Woman 2:01-2:34 Splash Woman 2:43-2:50 Hornet Man background 3:28-3:32 Splash Woman 3:58-4:02 Splash Woman piano background 4:15-4:24 Splash Woman 4:33-4:39 Hornet Man 4:50-5:09 Splash Woman

This right here.

This is sweeeeeet. Glad it made it.

http://ocremix.org/forums/showthread.php?t=38274 That should get you started!

1 mix, not necessarily 1 source. But keep the sources just to those specific games, of course.

Thanks for the prod on this. I mailed Damon just now from the judges' box to see what's going on with it. Let's check if he actually has something to show now, but I pointed out if they're nothing yet, we can deal with it once he sends something new.

First off, have to note: http://ocremix.org/info/Submission_Standards_and_Instructions The Beethoven's 5th Symphony material seemed used sparingly from what I can tell offhand, but integrating non-VGM music is generally frowned on for here, since the focus is supposed to be on VGM arrangement, not outside music arrangement. But I wanted to formally evaluate this since it wouldn't be fair to just call this a standards violation and not comment on the substance. I believe the Bandcamp stream only does 128kbps, so it's not a great way to hear how the mixing turned out. That said, the biggest weak link in this piece was the drums brought in around :10. They need some snap to 'em. The tone felt hollow and didn't click with the rest of orchestration at all, made worse given how busy the writing was for that part. Areas like 1:35-1:45 & 2:42-2:50 where the drums were very exposed just illustrated how that sound really didn't fit, IMO. Harping on drums is my thing on the panel, but we'll see if anyone else co-signs on how it sounded here. The melody also felt somewhat obscured by the drums (e.g. 2:00-2:13), but that wasn't a big of a deal. There was a booming, quasi machine-gun effect with the velocities that didn't sound good. Otherwise, I enjoyed the arrangement itself and thought it was laid out fairly well. We'd need a breakdown of the Beethoven usage to see if it was excessive (I'll come back to at least point out what I heard). That said, if there's too much of it, take it out or scale it back. Really, just reworking the drums could get this to where it needs to be, because I enjoyed the creativity and interpretation of this orchestral approach otherwise. NO (resubmit)

Your ReMixer name: Walt Ribeiro Your real name: Walt Ribeiro Your email address: walt@fororchestra.com Your website: http://fororchestra.com Your userid (number, not name) on our forums, found by viewing your forum profile: http://ocremix.org/forums/member.php?u=49059 Name of game(s) arranged: Street Fighter Name of arrangement: Street Fighter's 5th: Guile vs Beethoven Name of individual song(s) arranged: Guile's Theme and Beethoven's 5th Symphony ( )Additional information about game including composer, system, etc. (if it has not yet been added to the site): Walt Ribeiro - 15" Macbook Pro, 128 SSD, DP7, Sibelius 7 Link to the original soundtrack (if it is not one of the sound archives already available on the site) Composers: Isao Abe, Shun Nishigaki, Yoko Shimomura http://ocremix.org/game/472/super-street-fighter-ii-turbo-arc Your own comments about the mix, for example the inspiration behind it, how it was made, etc. http://fororchestra.com/post/23540234211/thoughts-on-guiles-sf-theme-this-friday Thoughts On Guile’s SF Theme This Friday I arranged two stylistic versions of Street Fighter Guile’s Theme For Orchestra: speed metal and hard rock. Both are so intense, that I couldn’t decide between the 2, and my indecisiveness almost caused me to scrap the song all together. This blog has definitely grown over the past few months, and the pressure to raise the bar each week is making me more productive, more excited, and more cautious with every future release for you all. Since day 1 I’ve only want the best, and the result this week is an arrangement that nearly kisses the 5 minute mark. Remember playing Street Fighter II all week long? Chun Li, Vega, Blanka, Zangief, Ken, Ryu - it felt like it was only yesterday. And then of course there was the movie, which was so bad it was good. This song is a shot in the arm from many of our childhoods. It’s patriotic, it’s bone-crushing… And if you’re not careful it’ll turn you into a family man - like a sir. EDIT (9/5): Got an arrangement breakdown from Walt - LT For the Beethoven's 5th breakdown, I'll try my best to map it out. Below are 7 sections: The top line is for my Street Fighter Orchestra (SF). The timestamps refer to this audio http://bit.ly/KRs8Po The bottom line is for Beethoven's 5th ( and shows where I got it from. The timestamps refer to this video http://bit.ly/1a80Xz SF 0:00 - 0:05 B 0:00 - 0:05 SF 1:08 - 1:23 B 5:54 - 6:15 SF 1:28 - 1:33 B 6:23 - 6:27 SF 1:56 - 2:00 B 0:00 - 0:05 SF 2:48 - 3:07 B 0:24 - 0:32 SF 3:08 - 4:17 = That's all just an original section / solo I wrote. SF 4:41 - 4:44 B 0:00 - 0:05 (just as my song started, it ends) ---------------------------------------------------------------------------------- - "Guile Stage" - "Beethoven's 5th Symphony"