Liontamer

I'm not a Pokemanz fan, but the soundtracks have hooks. Because Vig's too blinded by "eww, Pokemanz" hate to make a fair vote, I'll just say YES, you're deaf, dumb AND an old fart beyond your years in order to close this out.

MAG was awesome, per the usual. Both The Lady & I had a great time, and there's definitely too much to go over. But we had a great time and both signed Jon St. John's iPad on the shuttle to the airport. The guy's a beast, and he's a great ambassador for MAG. As he said, he's all about creating buzz and getting more and more people to check out the event, and it's his favorite of the year. I might have more thoughts later, but thanks for the memories!

It's repetitive, but not as minimalist as you think. The percussion and beep form something anyone could be able to work with. That music is a lot more defined than something from, say, flOw. You'd likely have to pair this with something else from 1942 to have a concept that could extend pasta few minutes, but it sounds viable. As always, it's a case by case basis.

Hey, I brought it up for that 1-2 punch of POKEMANZ FEVER, but The Damned thinks the co-promotional angle sucks because HE'LL be too busy playing B/W that day and reckons everyone else will be too. I disagree, and think that with the trailer out a week before, we'll get more pimpage of it, BUT we're both somewhat right, and it's not life or death. Just for the record, if there was no Pokemanz game out soon, it would still drop around March given what finished in front of it. Anyone wanna make a Pokemanz B/W bonus mix in the next month or so? Game's already out in Japan, so the soundtrack is out there.

Tuesday, March 1st. I have decreed it! Also, the music can't go out without me finalizing it, so there's that. I'll nag peeps if there are details I need to put the music package together, but I'mma get to work on it after we put out some more material waiting in the wings.

He means the icons on the right side of one's posts (alongside the various friend codes). We'll need to add that Tweeter thing and YouTube.

Hahaha! I'll hit up Steph. They used an old description as a placeholder and didn't put in what I sent.

I'm thinking March 6th on this.

Because of this submission, the discussion was already done 6 years ago with Ari leading it among the judges. The consensus (i.e. everyone but Binnie ) was that Tetris is our one and only game with a non-VGM, traditional, or public domain source tune exception. I actually sided with Binnie in being against the Tetris exception as well, but I also could live with it as long as the specific exception was added to the standards. It's been enumerated by name in the standards for 6 years, it's not as if it just crept in somewhere. I dunno how Dave explained things to Kyle, and not saying I agree with the following points, but there are unique circumstances with Tetris's music which caused it to be very strongly co-opted as a game theme in the greater public consciousness, otherwise this exception wouldn't have been made: 1) unlike 99% of video games, the Game Boy version sold more than 30 million copies, 2) the song has no identifiable composer, creating less of a sense of ownership, 3) this perception of the music in the public was established well before the creation of OCR. But honestly, any talk of being "unfair" only makes it more likely that the Tetris mixes would be removed rather than any further exceptions being made for Super Dodge Ball or Mortal Kombat or DDR or Star Wars, etc. Anyway, just playing devil's advocate and explaining what went into the lone exception for Tetris. I may not have covered everything, but Dave may want to elaborate or clarify. As far as Jordan's track, even if there were no revisions made and it stayed as is (which there's nothing wrong with), nothing prevents it from being a great addition to Around the World, even if it wasn't posted as an individual OC ReMix.

Retweeted & pimped by Nicalis, FTW! Nice work! http://twitter.com/nicalis/status/20656209812000768 Luckily Jeffrey's on Twitter, so he's going to bat for you, Ryan! Get on that Tweeter thing sometime!

Nope, for reason, you had your setting changed in your profile. I changed it back to the regular way (oldest first) for you.

Hahaha! Awesome. Don't let truth stand in the way of your rant. I don't know who uses what. The DAW used has nothing to do with what makes it on the site. We try to treat them equally, but arrangement's also more important that production when it comes down to it. We don't regret the high bar; just because we're a hobbyist community doesn't mean we don't encourage people to actually get good at making music. The laundry list of ReMixers who have grumbled about the bar being unfair when they were constantly rejected, but stuck around and improved, will tell you that a high bar has had a positive impact on their work as DIY musicians.

The sample were pretty good, though it was still too obvious everything was sequenced. Refining your articulations is always something to work on, and that's definitely what you need to take your stuff to the next level. The strings at 4:36 really strained for realism, to the point of being legitimately a weak moment. That said, the arrangement, structure and pacing were strong. Definitely enjoying this one, Ryan! Much like you, I'd love to hear this performed live. YES

"My Child" satisfied the arrangement criteria since the source tune was overly used at least 50% of the time. Whatever else is there isn't particularly important. That said, using a theme backwards, and needing to reverse a song just to hear the connection isn't overt usage of a source tune.

I dug the more ethereal production of the vocals in the original version of this arrangement. However, the blatant AutoTune stuff sounded more awkward on the dry vocals of this version. "Dreamer" at 3:15, for example, just sounded bad. That said, I'm still OK with this overall. Good arrangement, and nice work from Stevo with the expansion via lyrics. YES

Thanks a lot for the breakdown on the arrangement, Guilherme, which was definitely needed to appreciate the usage of the the second part of the source melody (:19 of that) in the background of several sections of the arrangement. Everything checked out there, and even my stingy self came up with 106.75 seconds of source usage for a 174 second arrangement. Most of the instrumentation wasn't realistic, but the sequencing was fairly OK unlike what we hear from so many other people using the same sounds. The violin was definitely stronger-sounding and more realistic compared to the piano and guitar. The bandoneón and percussion definitely lifted this up though. While the instrumentation had some big weaknesses, the execution was solid enough, and the arrangement was very creative. I think this is solid enough otherwise, where the sounds should be a bit more polished, but the execution with those samples, as well as the arrangement quality, tilt it to YES. There was some light but noticable distortion at :28, :37 and from :41-:42, 1:33-1:34, 1:42-1:44, and more. The sound balance also could have been tweaked, so the leads didn't seem so overbearing in the soundscape. You have to fix the light distortion issues before we can post this. But do fix it so we can post it. YES (conditional)

Seemed awfully quiet to start, but the levels rose enough that it's wasn't just bad mastering. Interesting soundscape and effects. After a lengthy build, :59 finally started getting more active. As the volume picked up, the e-piano articulations became more exposed. It's not a great sound to have upfront when it comes to realism. It's a bit of an beginner-ish sound to use, but in fairness it's used fairly well. Awkward stuff melodically at 1:52. Didn't seem like there was much direction to the piece. Dynamically, it was certainly interesting, though I didn't feel like the source was playing a big part in the track until the melody finally came in at 3:05. Good rain SFX, BTW, for a subtle sonic touch. The source usage from 3:05-4:42 was pretty conservative though, and really needed a higher level of interpretation or personalization in the arrangement. 4:10 picked things with some woodwinds. The articulations should have been better, but were serviceable. The dropoff of the nature SFX at 4:42 in basically 1 second was too abrupt. I heard a fuckton of very light clicks and pops from 4:44-5:12; it's a shame they're in there, but I could live with it. From a production and structure perspective, I was actually with the YES's. It's ambient/spa stuff, and the structure seemed fine to me. That said, this didn't satisfy the source usage aspect of the arrangement at all. The source usage is supposed to be dominant. For me, I need my minimum 50% source usage, and thus need 171 seconds of overt source usage for this 5:42-long track Taking everything CHz said at his word, the source usage would be :27.75-:38, 1:36-2:04.5, 3:05-4:42 & 5:12.75-5:24, which was about 147 seconds or 42.98% source usage. I enjoy the track in a vacuum, but in other words, this needs more areas of the Golden Sun source tune used at some point in the arrangement. If you can do that, you'd stand a much better chance of passing, other criticisms notwithstanding. Good stuff so far, Matthew. Even if you have no desires to modify this arrangement, since that simply may have been what you were going for, I look forward to hearing more submissions from you. NO (resubmit)

The opening sounds seemed pretty cool. The melody at :26 had some embellishments, though it was disappointingly close to the original in both the melody and overall tone. Coupled with the pad-like countermelodic writing also sounding pretty straightforward, it really looked like there needed to be more melodic interpretation. The strings at 1:00 could have been exposed worse, but at the same time, they definitely did NOT sound great. Refining the articulations a bit would be helpful. Production-wise, the part-writing, particularly during the verses, was a bit too basic and simplistic. The other Js criticizing the drum writing were correct. That said, despite a bit of a persistent muddiness to the overall soundscape, the instrumentation generally sounded good and you had a full texture. I definitely don't want to come off as too negative on this song, because this is better than maybe 85% of any NOs. While the potential is there, the part-writing needed to be a bit more progressive and varied, and the melodic interpretation also needed to go beyond what was there, especiall with instrumentation that had a pretty similar sound to the original. Once you're able to fully realize the potential of this piece and get a bit more sophisticated with the writing and interpretive with the arrangement, you already had the production and sound balance in a pretty solid state. Even if you don't keep at it on this mix, Trevor, I'm eagerly looking forward to future stuff from you and hope you continue to learn. The potential is definitely there. NO (resubmit)

Return All Robots! (XB360/PC) Released - OC ReMix Publishes Free OST & Remixes! December 23, 2010 Contact: press@ocremix.org FAIRFAX, VA-Return All Robots!, a platformer developed by Philadelphia-based Space Whale Studios for the Xbox 360 game console and PC, was released today through Microsoft's Xbox LIVE Indie Games. OverClocked ReMix has simultaneously released the game's soundtrack for free BitTorrent download at http://ocremix.org/events/returnallrobots/. This marks the third time OverClocked ReMix, a community primarily focused on fan arrangements of video game music, has published an original soundtrack on behalf of a game developer. Return All Robots!'s soundtrack was composed by Space Whale Studios' co-founder and OC ReMix judge Andrew "zircon" Aversa (Monkey Island 2: Special Edition, Super Street Fighter II Turbo HD Remix), including a main theme co-composed by Space Whale Studios' Mike Worth. OC ReMix will continue to publish more free game soundtracks on behalf of interested game developers and publishers in the future, providing convenient hosting and free promotion. Space Whale was formed in 2009 with the sole intent of creating easily playable, retro-inspired games with addicting depth and awesome music. RAR! is the indie studio's debut release, an action-puzzle adventure inspired by classics like Chip's Challenge, Lemmings and Bomberman. Return All Robots!, available now for 240 MSP on the Xbox Indie Games marketplace, features over 45 fiendish levels, in-game stat tracking, mutated turtles, hidden secrets, a lighthearted story, quirky artwork and the 18-song soundtrack composed by Andrew Aversa. In September 2010, the OC ReMix community was invited to take a shot at remixing the original soundtrack. So not only can you download all the source tunes, but many of these remixes as well from artists like WillRock, Nutritious, Mattias Häggström Gerdt, Joshua Morse, Flexstyle, Xenon Odyssey, Radiowar and more! Of course, if you're the type that really takes your soundtrack collecting seriously, Space Whale Studios and zircon have printed a deluxe physical soundtrack available at CD Baby and various digital distributors. The deluxe version features an extended cut of the Training Montage theme as well as the Epic Trailer music and two bonus remixes from chiptune artists George & Jonathan and bibble. Not to mention sweet robo-art. Links Buy the Game (Xbox 360) - http://marketplace.xbox.com/en-US/Product/Return-All-Robots/66acd000-77fe-1000-9115-d8025855073c Buy the Game (Windows) - http://store.cipherprime.com Official Launch Trailer - Album Info - http://ocremix.org/events/returnallrobots/ OST Download (BitTorrent) - http://bt.ocremix.org/torrents/Return_All_Robots_Original_Soundtrack.torrent Space Whale Studios' Homepage - http://spacewhalestudios.com Andrew "zircon" Aversa's Homepage - http://zirconmusic.com 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. ###

In before lock! I mean...happy birthday!

It's stuff like that which explains why we're not big on contests. Dan's was funkalicious.

I agree with Will's blatant subtext indicating we should hate Gecko Yamori! [/fakehate]

I've told Dave several times that when you click the Download tab, there needs to be instructions for the surprising amount of people who have somehow (really?) never heard of right-clicking and saving the files. From our emails and YouTube comments, I get this FAQ at least 5 times a week, to the point where I have a form letter. Imagine how many people we lose who are just too lazy or ignorant to ask. Just from the anecdotal evidence, this is a huge problem that can be mostly solved just by dropping a couple lines of text in that Download area.

I've fixed the files for my personal collection, and at some point within the next year, the hopeful plan is to re-release every past album with updated tags, embedded album art, and all the other bells & whistles. I wish I could say stuff coming's out tomorrow, but it'll be a while. That said, maybe before the end of the year, I'll host a ZIP of just the tracks known for having screwed up encodings so you and others can grab 'em.

Just noting, I loved this. The awesome layered vocals from Marcus were a true highlight. Glad to hear Game Over still rockin' it, this is awesome! YES