Liontamer

Then the mistake was on SNESmusic's side where we got the file from, so it ain't our fault. They've fixed it since then, so we'll get as fix up soon, so shaddapz! EDIT: All good!

The only issue is Dave is lazy. That's the only issue.

PEW PEW! http://ocremix.org/forums/showthread.php?t=33361

Friday, March 11 to Sunday, March 13 Boston Convention & Exhibition Center, Boston, MA http://www.paxsite.com/paxeast/ East Coast, let's ride! OCR joins the 2nd annual PAX East at its new, bigger venue in Boston for our 4th PAX panel! PANEL! OC ReMix: Making Sweet, Sweet Love to Video Game Music Since 1999 Naga Theatre Friday, March 11th, 6PM Panelists Include: djpretzel, Liontamer, DarkeSword, DragonAvenger, Level 99, OA Representing OC ReMix: djpretzel DarkeSword DragonAvenger Level 99 Liontamer OA

Where ya been? http://ocremix.org/forums/showthread.php?t=10920 It should look dated.

I do have concerns about people lining up several solo projects or several collaboration projects. For collaboration projects, both the leader and the participants need enough time and skill to make a quality enough album. Unless you and nearly everyone else on your projects can get mixes passed on OCR very regularly, the likelihood you're gonna have two FF albums done without lengthy revisions is low. And we're definitely not going to constantly micromanage projects that you yourself should be leading in order to get it to a point where we can release it. You got your feet wet with Teen Agent, and there were some good tracks on there, mostly by you. But you haven't demonstrated the track record to create a project where it's very clear that the overall product is already quality enough and that we don't need to assist you with it over several months, especially with the FF1 WIPs I reviewed early on. So if you think you're gonna be able to fire off several more projects that aren't consistent enough yet and that we'll spend large amounts of energy nursing 'em into OCR projects, it's not gonna happen. If the albums are quality enough, we'll be glad to release them and pimp 'em for you. If they're not, we won't, but we be glad to post tracks from them if participants submit them. For solo projects, we just don't want or need several solo albums. The general premise is for collaborative community albums, not just any and all solo albums that are submitted, even good ones. We don't necessarily want 4, 5, 6 albums from one person or led by one person. We've gladly accepted solo albums (from Joshua Morse and anosou) at our discretion, but our main focus is on community projects with diverse lineups, diverse premises and diverse creators. Any submitted album, community or solo, we accept at our discretion just like ReMixes. In other words, just because you plan to make it definitely doesn't mean we plan to release it.

Jillian Aversa Performs on God of War: Ghost of Sparta, Game Music Laboratory Concert Tour and Touhou Zerokyo Kitan Arrange Album! January 28, 2011 Contact: press@ocremix.org FAIRFAX, VA - Vocalist, songwriter, OC ReMixer and judge Jillian Aversa (a.k.a. "pixietricks") today announced her role in three major video game-related musical projects: God of War: Ghost of Sparta (PSP), the Touhou Zerokyo Kitan ~ Sophisticated Insanity arrange album by Secret of Mana and Seiken Densetsu 3 composer Hiroki Kikuta, and Game Music Laboratory, a concert tour in cities across Japan this February. Ghost of Sparta, the fifth entry into the God of War series and its second handheld iteration, has met with widespread critical acclaim. Working with one of the series' composers, Mike Reagan, Jillian lent her voice to "Aroania Mountains," performing in a mixed operatic and 'demonic' style for the titular level's music. She explains, "My voice was intended to represent the character of Erinys, daughter of Thanatos, the God of Death. She's very evil, so Mike asked me to layer the singing part with hissing and spooky whispers. If you listen to the cue in-game or on the soundtrack, you'll hear those sounds sizzling underneath!" ( .) Following the release of Ghost of Sparta comes the announcement of a non-video game, but very much video game music-related project: Touhou Zerokyo Kitan ~ Sophisticated Insanity, the work of legendary composer Hiroki Kikuta. A tribute to a variety of games from the well-known Touhou Project series, the album features Jillian's originals lyrics and vocal performances on three iterations of the song "Never Ending Night." CD pre-orders are currently available at www.zerokyo.com, with further distribution details to be announced. "I've always been a huge fan of Mr. Kikuta's music, so you can imagine how excited I was to work with him on this project," Jillian says. "I was asked to write lyrics for the song, based on the game Imperishable Night. Kikuta-san then created the arrangement and vocal parts for me to record." ( .) Jillian will be performing "Never Ending Night" - along with pieces from Chocobo Racing and the recent Shining Hearts soundtrack - as a featured vocalist in the Japanese concert series Game Music Laboratory this February. The event is designed to showcase composers and performers in the video game music scene, including Mr. Kikuta, Kota Hoshino (Armored Core series), Yu Shimoda (Mega Man 9 & 10), Kenji Ito (Romancing SaGa series), Hiroaki Yura (Eminence Symphony Orchestra director & first chair violin), and many more. Performances are scheduled for February 6th in Tokyo, February 8th in Osaka (panel roundtable), and in Sapporo, Hokkaido on the 13th. "I can't tell you how excited I am to be given this opportunity," she beams. "It's an experience that I will always treasure." Jillian's previous vocal credits include Civilization IV: Beyond the Sword, Christopher Tin's debut album Calling All Dawns, and over a dozen video game remixes. She has also released two original albums and is currently working on a third with husband and fellow OC ReMixer, zircon (Andrew Aversa). 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. ### Links Jillian Aversa - http://www.jillianaversa.com God of War: Ghost of Sparta Official Soundtrack on iTunes - http://itunes.apple.com/us/album/god-war-ghost-sparta-original/id399103247 Composer Mike Reagan - http://www.mikereaganmusic.com Touhou Zerokyo Kitan ~ Sophisticated Insanity - http://www.zerokyo.com/works/touhouzerokyokitan.html Composer Hiroki Kikuta - http://hirokikikuta.com Game Music Laboratory - http://gmlb.net

Who's got my homey, Vault Boy?

Yip. We'll get to the older stuff down the line. The holdup is generally my fault, as I have to upload everything. Jose makes videos for the project when he has free time, which is limited. So we'll eventually get to everything. Eventually.

...about having 0 Sega Pico OC ReMixes. :'-( http://twitter.com/SEGA/status/30569074446565376 Say what? They can't do that to us! There's gotta be something we can do: http://en.wikipedia.org/wiki/Sega_Pico#List_of_Sega_Pico_software http://www.youtube.com/results?search_query=%22Sega+Pico%22 Someone make a passable Pico mix and we'll fast track it. Bonus points for a mix from either Ecco Jr. and the Great Ocean Treasure Hunt! OR Pocket Monsters Advanced Generation: Hiragana Katakana Kakechatta! (or anything) WHO WILL STEP UP AND DEFEND THE COMMUNITY'S HONOR?!?

Groove bias!

Fuck yeah! In before belated! , Kyle!

Generally speaking, you need to be credited. Whether than involves a formal credit or at least credit in the comments area of a file takes into account the level of contribution. But if you do something substantive, in almost all cases you're going to be credited. We haven't had a case where EVERYONE on 1 track requests not to be credited, or wanted to Alan Smithee their stuff.

Opening sounded pretty basic, with the lead guitar sounding way too squeaky and flimsy. The lead tone didn't work well with the other instrumentation. The snare writing was too plain; placing it so far upfront just served to call attention to that. The other percussion work sounded quiet and marginalized despite being well-written. The mixing & balance among the parts seemed very off. What happened to the melody from 3:13-3:36? Even if just for "variation," why bury it all of a sudden? I liked the areas that weren't just cover-ish, such as the original writing over the chord progression, but there were a lot of cover-ish verses of the source that really needed something more to better personalize the arrangement and employ more creative variation. NOTHING here is poor, but the interpretation level of the arrangement being underwhelming, the performance not being as tight as it should have been, and the mixing being off all combined to drag this down to a NO. It's a decent listen, but this needs a little bit of polish everywhere.

The strength of the arrangement lies in the original being so good, no offense intended to Justin. I just love "Training Montage," and much of the part-writing was ported over from the original. Right off the bat, the track was muddy. It wasn't enough to NO it right there, but it was indeed messy and should have been cleaned up. As far as execution, the orchestration definitely could have used the added clarity. I definitely wasn't feeling the string articulations for the 2:20-2:43 section. Again, the loudness did cover it a up a bit, but the articulations weren't natural-sounding enough and were behind the beat. I get what the others are saying about this lacking something. Right now the arrangement sounded a bit straightforward, but the mud only partially covered up that there was not much going besides a relatively straightforward (but sufficiently personalized) cover. The track really did come off as surprisingly minimalist. Clean the mixing up a bit, tighten some screws and see what other personalization you can throw into the mix for the main verses to make it more interpretive and this would be golden. Nothing to be discouraged about here, this is a solid base. NO (resubmit)

The piano already sounded mechanically sequenced to start. Not bad, but refining the articulations would make this sound so much stronger. The texture was pretty minimalist, so when the organic-themed instrumentation didn't sound natural enough, it stuck out like a sore thumb. I was glad the arrangement shifted to the warping synth lead at 1:09, because before that the piano lead was too similar to the original in writing and tone. The piano could use some sort of modification to the color/sound of the piano to not sound so close to the original. It's not a requirement or a big deal given the strength of what came later, but it's one suggestion. The backing string work at 1:50 was OK, but if it had been more full-bodied, I think the tension implied in the writing would have been pulled off more effectively. The steady beat anchoring the track got a bit old by the time the track was hitting the end of the build up at 2:35. I know you were going for a more subtle dynamic curve where things gradually built up, and I liked the beat stutters in the second half. But in generall, the beat a bit too long and could use further variation. That doesn't imply that they need to start getting crazy, but altering the timing a little bit with some subtle variations could make all the different there without disturbing the mellow feel there. Right now, I'm feeling the mood and expansive interpretation of the original, but with relatively few parts in place here, the strings and piano need to be fully on point production-wise to get things sounding their best. I would have passed this as is 6 years ago, and I love it, but it needs just a little TLC on that level to pass, IMO. If just the strings and piano had the quality nudged up a bit, I'd YES it; they're central to the piece. Miguel, this is a great base, it doesn't need an overhaul of any sort, just some additional tweaks to get everything sounding great and make the arrangement feel a bit more fully developed. Definitely stay on this one and get yourself repped on the front page, you can do it. NO (refine/resubmit)

Hahaha! Awesome! Agreed with the criticism that the bassline providing more of the Deflektor tune usage should have been bumped up. That said, it wasn't a huge deal. The main snare pattern also could have used a little more creativity, but the rim hits during the arcade SFX and some of the drum fills at least spiced things up. The mixing could have tweaked to have a cleaner, better separated sound, but it wasn't a big deal. Too bad the ending cuts out, but since it was right after the Nintendo pause sound, it didn't feel totally wrong. In any case, solid performances, fun lyrics, great energy and much needed C64 love around here. We definitely need more of this gold, and I hope Zero Division submits more stuff, that's for sure. YES

Cool rock intro, though the crystalline sounds were sequenced a bit rigidly. The electric guitar at 1:05 was real? Sounded like a pretty mechanical synth. The slowed section at 2:14 was a welcome change. At 3:40, the fakey strings definitely stuck out. Immediately afterward, the lack of realism was better hidden in the background as a supporting part to a much richer texture. At 4:01 when even more elements came in, the soundscape became pretty murky. I did like the concept of the guitar shredding a bit. Awful (complete lack of a) transition at 4:43. Sorry, but there needs to be some sort of connection/flow between the two sections to not make this changeup so jarring. The Doctor Light theme cameo from 5:26-5:41, was OK as well, but again, little thought to the transitions before or after it. Arrangement-wise, once the theme truly kicked in at 1:05, it was pretty conservative, but the sounds built around it did personalize the sound, followed by a second iteration with a (tiny) bit more personalization. Arrangement-wise, this was definitely a beefed up version, but it still came off to me like it needed further interpretation. During the verses, much of the part-writing was exactly the same as the original, so there wasn't enough differentiation to make me feel like the arrangement was an easy pass. I also agreed with the other judges that this was too long and a lot of cut-and-paste sections should just be eliminated, because they don't say anything new. The use of the sound effects wasn't cohesive either. This was a decent base, but the production's not there, and more importantly the arrangement wasn't quite interpretive enough and didn't justify the length. Definitely worth polishing up and resubmitting, Frederic. Keep working on improving though. This is better than most rejections, but it lacks a lot of polish. Just don't be discouraged and keep using the forum resources here to learn more. NO (resub)

Feelin' it. My only issue is that the liberal e-piano take on the melody that backed up some of the more wholly-original sections got marginalized, almost to the point of being inaudible. But what I could hear was more than enough combined with the overt source usage to be comfortably above the bar for the arrangement. I thought Stephen's vocals were a bit too upfront, but again, not a huge deal. His chorused vocals are awesome, particularly the choruses; it's a staple of his music, so anyone reading should definitely check out all of his originals. I'll also point out though that he has an incredible knack for penning lyrics about ladies. Smooth stuff from 2 OCR all-stars. YES

Right from the beginning, I was enjoying the soundscape. You definitely got some good mileage out of the source, Travis. Great personalization of it, employing a lot of smart, sophisticated variations. I thought the soundscape was a bit murky, but the parts were still pretty distinguishable and everything sounded on point. Not much to add to it other than great job, and I'm definitely looking forward to hearing more. Definitely on my radar now. YES

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.