Liontamer

This source tune certainly wasn't one of them. Once you've heard 30 seconds, you've heard it all. That said, Mitch, you have the right idea going for an expansionist approach, going for adding a lot of different musical ideas here and there to help evolve the piece. That said, you should do more to actually vary the repetitive source melody as well, not just the soundscape. The piano sequencing at :57 was very unrealistic, BTW. Anyway, this IS a good start though, bro. See if there are more ideas you can bring to the source tune besides the things surrounding it and resubmit to see how much you can improve it. NO (resubmit)

There was some call-and-answer stuff that I couldn't hear in the left channel, so maybe something's brokededs. I'll check into that, but otherwise it's awesome. Nice job with OCR's new biggest super collab EVER. Suck it down? YES

Totally not my speed, but very well done! Indeed, the source is all over this (:05-1:10, 1:34-2:40.25, 2:52-3:28 on just a cursory listen; way over). Brutal. Almost everyone will hate this. And I love that. YES

Gotta agree with OA. Definitely a very cool source tune choice that I'm glad you put on my radar. I thought the arrangement felt a little static as far as the overall soundscape. There were different sounds being employed here and there, but the production and sound palette got old as the track went on. The machine gun drumming swell at 3:56 sounded like it clipped/distorted at the finish, but it wasn't a huge deal. That said, I'm feeling what I'm hearing overall, DarkSim, and this was a solid expansive take on the original. Very glad to see yet another new game get some love! Hope to hear more great stuff from you. YES

The source breakdown of the melodic stuff that I could make out was :00-:56.5, 1:24-1:26, 1:50.5-2:03, 2:04-2:23.5 or 88.5 seconds of a 2:58-long arrangement or 49.71%. There were a lot of original sections with a loose stylistic connection to the source that I love but don't count, and I was waiting for some of the source's backing patterns to show up in the original sections, but aside from some similarities it didn't happen. One reason could be that the patterns were really difficult to make out due to crowding. That said, I'm willing to give it a pass because of the Game Boy Tetris-style backing pattern from 1:37-1:49. Absolutely loved the track, Don. Whenever we get a ReMix that flips the original game on its head, I love it! YES

The opening piano sequencing doesn't sound terrible, but it should be more realistic. The electronic elements were pretty loud yet very lossy sounding as they took over at :20. As soon as things started getting kind of muffly and distorted at :28, I knew I was in for some trouble. At :41, the synth lead and everything around it sounded so lossy and lacking high-end clarity. At 1:08, we hit the main section with a very tepid lead and some generic saws. At 1:22, the sound were changed up with the saw as lead and the bubbly synth behind. Really generic vanilla sounds. There was also no solid-sounding percussion or anything filling out the background to anchor & drive the track, so the texture felt so empty despite the volume being loud. At 2:03, the sounds were still a bit generic, but at least you had a nice pad that filled out the background properly, and the gated synths did combne well with the piano (which still was too exposed unfortunately). The transition to "Dearly Beloved" at 2:30 didn't flow with the arrangement ideas before it, and neither did the return of Roxas's theme at 4:20. A rather awkward combination of themes for this music style. I couldn't disagree with OA more, the integration and flow wasn't there. It was just an ABA structure, and not a smooth one. Following the return of Roxas's theme at 4:20, the structure was basically a copy of the opening, only the deconstruction of elements rather than the build. You're definitely better than the average first time submitter, but there's no conhesiveness with the writing and the production was weak. Until you learn how to properly structure an arrangement and build a soundscape, you're at a ceiling as far as the music you're making. You've got a ways to go, Christian. Hit our ReMixing forum and get to asking questions. Keep at it. NO

The quotes the beginning were too quiet. Will had that meh snare drum he generally uses, but it's was only half-bad this time. Not a terrible fit as it has been in some past stuff. The rest of his stuff was gold. His influence on this definitely had a very cheesy feel. Pretty manic take on these themes, a lot of people will be feeling this, but it won't be for everyone. I thought the sequenced piano stuff from 2:07-2:19 was a brief but big low point as far as the execution. Way too fake and unrealistic sounding. Y'all shouldn't have let that slide, given how talented you guys are. That's all I gotta say. Good work, Pokemanz! YES

The main cymbals (first used from :11-:33 & :46-1:07) sounded like white noise, they were so loud and sizzling. That stuff should be pulled back. The other production criticism mentioned by the Js are valid, I'm pretty sure, but they didn't bother me. Other than that, this was pretty strong stuff. I agree with OA that some sections could have been condensed and that the shortness of the source was part of the reason for that. Nontheless, the arrangement really evolved nicely and the dynamic range that followed after the opening 90 seconds was a pleasant surprise. Nice job, Andrew, a lot of people are gonna be loving this. MetalvaniaX, this is one guy to watch! YES

http://www.youtube.com/watch?v=ffppQY6EviE - "Passing Breeze" http://www.youtube.com/watch?v=4M2b2sPSlN8 - Stage 4 (Shinobi [arcade]) http://www.youtube.com/watch?v=XKioo26jA_4 - "Magical Sound Shower" The fadeout of the druming/chanting SFX was a little too sudden at :29. Just a small detail. For the purposes of source usage, the intro doesn't count as part of the song, so I'm considering the track 8:15 long, not that the arrangement ended up being in question. I'm almost convinced the other gems on the OutRun soundtrack will never get covered (I pray for something new on VROOM). That said, "Passing Breeze" is my clear favorite on the soundtrack, so I understand why it gets this love. This is an example of doing a good job holding to the structure of the source and giving it your own personalization, and it works nicely. Nice soloing over the bassline progression at 2:31 & 3:32, though the bass was a bit quiet to hear. The brass & piano samples weren't the most realistic, but everything still sounded fairly realistically sequenced and humanized. The bass soloing in that section was solid as well. Oh man, when Dave posts this, he's gonna start smiling as soon as the bass hits that Shinobi cameo at 5:00. I was grinning like a cat, that is some classic Sega stuffs! Awesome! Oooh, "Magical Sound Shower" cameo at 5:37, followed by some very liberal arrangement of "Passing Breeze" on top of the MSS progression. Man, even that lae in the game, just more and more twists and turns, completely justifying the length of the track. Just more and more ear candy to enjoy. Again, even though the instrumentation wasn't the real thing, and lacked some sonic depth as a result, the overall execution was strong and enjoyable to listen to. On the negative side, the key change at 7:18 was sloppy sounding and not as smooth as it should have been, and the melody at 7:35 felt like the notes were a bit off as well. 7:41 proceeded to get the song refocused and in proper key for the finish. The fadeout was admittedly a copout, and that's speaking as someone who doesn't inherently have a problem with fadeouts. That said, a minor thing in the big picture. Nice work, Juan! Whenever time permits, we'd love for you to submit something again! YES

Pretty much in line with OA, nice work. The build was slow, just like the source, but the backing 8-note pattern that's the foundation of the source was in play the whole time, and the further expansion and melodic references were solid. Good stuff, Ty! We definitely don't get enough subs from you. Great work, and it's wonderful to hear another side of your music! YES

131 seconds of source usage was needed for 50% source usage and my pass on arrangement. I heard the theme in play from: :33-1:05 (:16 of the source) 1:05-1:17 (:56 from Morrowind) 1:21-1:37 (:43 of the source) 2:42-2:57 (horn at :42 of the source) 3:13.5-3:42 (:16 of the source) 3:47-4:00 (:56 from Morrowind) So I had 116.5 seconds or 44.47% source usage. As far as the arrangement goes, I thought the opening backing was a bit cliche, that kind of Last of the Mohicans style string writing & rhythms. That said, I personally liked it, I've just that style enough times before. The melodic usage was conservative, but I thought the writing was personalized well enough, considering that the genre was basically the same. The original writing from 1:37-2:42 was good and fir like a glove with the arranged parts. Very strong use of the samples here for a pretty realistic sound. Overall, a pretty strong product. There just needs to be more "Reign of the Septims" in play so that the focus of the arrangement is primarily on the source material. Indeed, if there's something else we're missing, let us know, but the responsibility goes to the artist to be very explicit with what material is being arranged, which wasn't the case this time or Morrowind would have been pointed out in the sub letter. That said, I'm essentially going to close this out. Great work so far, Scott. If you're willing to revisit this, you could add some more Oblivion into the backing parts of the large original section to push the source usage over the top. But either way, this is very well put together music and you know what you're doing, so I hope we hear more from you! NO (resubmit)

A little rough in terms of the mixing. The sound was definitely very clean, don't get me wrong, but some supporting instrumentation that used the source definitely got buried during the verses. That said, this was a great example of rocking out a source in a pretty conservative way structurally but completely personalizing the arrangement and making it yours with new part writing and expressive performances, and cool bends and grace notes with the main melody to add some flavor. Strong stuff. The piano at 2:58 will throw some people off, but it was an interesting touch just to make sure you're still paying attention. Awesome first sub, Anders! Keep 'em coming! YES

This needed 92 seconds of source usage for 50% source usage and my pass on arrangement. The initial breakdown I had was :23-:44, 46-:59, 1:01-1:06, 1:09-1:24, 2:10-2:14, 2:17-2:20, 2:25-2:28, 2:32-2:56 for 88 seconds. Then I heard the opening pad again (:00-:22) and realized it's a stylistic take on the random whistling in the background that's heard from :00-:10 & 1:03-1:14 of the source. That was actually a pretty smart, creative usage of a concept from the source, not even counting the rest of the arrangement. It's also brought back during the breakdown from 1:24-1:54. The most direct connection there was 1:32-1:39's similarity to the whistling of 1:07-1:10 of the source. Having that was enough for me to weigh that with the 88 seconds of more overt source usage and consider the arrangement a pass. I agree with the piano stiffness being an issue, but it wasn't problematic enough to derail this. The arrangement was sexy, smoove and very creative. Total win and another great track from Joe Cam's project that he should have officially released since the complete material was album length. YES

Hold your horses, it'll be back. (I've been sticking up for it's return too.)

As Wes pointed out, the URL is the album for all the individual ReMixes, so I don't get why iTunes wouldn't sort them with that as 1 album. Elaborate? Practically speaking, what's the benefit/functionality of doing this? I mean, doing that for every track wouldn't take me more than a few minutes, but can anyone explain what that actually does? Would be helpful for http://ocremix.org/forums/showthread.php?t=20433

Eww. Couldn't disagree more. The intro was relaxed and chill. This song is low-key, I don't know what the hell you were expecting from the intro. Sounds to me like you just don't get it. [/shakes fist]

You must caption that McRib CPU!

Will claimed there was some Sonic 3 "Angel Island Zone" in there. He can clarify what if anything he used from it, i.e. "I had a brainfart, and based on that you should never trust what I say again" OR "I used it as backing at X:YZ."

"FUCKBOOYAH!" to YouTube haters with little-to-no musical standards that whined about OCR for daring to reject the original version of Will's mix: Unlike a lot of people with no ear for music and no objectivity, we don't just puff up egos with praise when the music needs work, we help them become better musicians through legitimate criticism. This version of "Above the Sky" definitely took things to a higher level of refinement and quality once Will was encouraged to tweak it, and that kind of improvement serves the artist not just for this track, but for future tracks.

Coolio. Yeah, let's go for it. Sorry I missed Ben's PM on doing something official for Essence of Lime. He wrote me a PM last December basically asking if it's be cool to do it, but then basically backed out of it in the same paragraph in a self-deprecating way saying he wasn't sure it was good enough compared to the standards here, because he was involved in some many of the tracks. He never followed up and I was in the middle of busy season (end of the year is the busiest time of year at all non-profits), so I never had a chance to talk him out of being a self-deprecating doofus. Let's not make that mistake twice!

Starting out, the guitar sounded pretty rough and exposed, and the balance seems meh; there's a lack of clarity with the parts. Once it picks up at 1:22, the guitar sounds a bit meatier. Not by much, but better. Doubling it at 1:33 wasn't a bad idea. 2:08, what was going on? The soundscape became too cluttered; it didn't sound like it was clipping, but almost sounded compressed or hard limited, it was strange. The string sequencing was enough behind the beat at 2:27 that it stuck out as awkward; not the most realistic articulations either. The strings were also serving as the main melody when in play and shouldn't have been buried behind the rock elements At 3:30, the already cramped soundscape sounded too compressed and cluttered again. For example, when the strings returned at 3:39, you could BARELY hear them. Everything was just smooshed together. 4:01 with the machine-gun style stuff sounded brutally mixed. Arrangement-wise, I'm generally feeling it, because it has some good energy and it's definitely a fleshed-out, personalized take on the source tune. But the production's another thing. As I said in #judges while listening, "still have a minute left, so something else could go wrong." It did. I was definitely feeling the dropoff though at 4:25, but the poorly processed 8-bit sounds and AWFUL exposed snare drum brought in at 4:49 completely ruined that. When the last two thoughts about the finish were "Why'd he have to do that?" and "What a silly way to end it," it just doesn't look optimistic. The soundscape needs to be cleaned up and properly balanced, and the final section needs to be fleshed out. I see how it's going for mimimalism, but the drum shots were too exposed, sounded stapled on top of the soundscape and weren't the right tone/sound to work with the 8-bit stuff. If you can clean all that stuff up to some extent, and fix the timing & articulation issues with the strings, this would be clicking much better. This doesn't need EVERY issue to be fixed to have a chance, but I think this still needs some more polishing to fully realize the potential of the arrangement. Fixing at least some of those issues would help that along. Good luck on this, Michael, I hope we hear more from you whether or not this sub makes it. NO (resubmit)

Dave still hasn't fixed the artist links there yet either. Will nag him some more. Hopefully it's nothing complicated.

Anyone dissing the McRib can suck it! "It" being the delicious BBQ sauce lathered on the even more delicious McRib. Kidd Cabbage is a hero among men for being smart like me and realizing the hallowed greatness that is the McRib! Jon is also considering changing his ReMixer name to Kidd McRibb! DO IT! (OK, don't do it.) McRIB!

For the visual artists here, cool opportunity to win the game. UDON frequently makes art books including top fan art, so it's a good potential opportunity there as well. -------------------------------------------------------------------------------------- http://www.capcom-unity.com/jaycbaby/blog/2010/11/04/marvel_vs_capcom_3_fan-art_contest:_paint_with_greatness! Calling all artists and fans! Capcom is giving you the opportunity to illustrate your own vision of Marvel vs. Capcom 3 to millions of fans! Today, we're officially launching the 2010 Marvel vs Capcom 3 Fan-Art Contest: Paint with Greatness! Come tell everyone a story using nothing but your imagination and art style. How do you intepret Marvel vs Capcom 3, with the greatest cast of celebrated super-heroes, legendary characters, and epic super-villians ever assembled- completely at your disposal? Do you choose to open the floodgates to a colossal free-for-all battle? Or do you focus on a deeper story between a few characters? Do you choose to pit classic blockbuster heroes such as Spider-Man and Ryu against each other? Or do they fight side-by-side against the evil Dr. Doom and Albert Wesker? The scenarios are limited by only your imagination. So draw to represent the community. Illustrate an epic battle. Paint with Greatness. The best four pieces of artwork will be selected to be showcased in the official Marvel vs Capcom 3 campaign. The four artists will also walk away with a copy of Marvel vs Capcom 3 on launch day. One grand-prize winner will be selected to recieve a Marvel vs Capcom Fightstick, along with the game! Requirements for submitting an entry: -Art must be 11” x 17” at 300DPI -Must contain equal number of Marvel and Capcom charactersContain at least 6 total characters and they must be in their standard costumes as depicted at the official Marvel vs Capcom 3 website: marvelvscapcom3.com/us/characters. -Entries must be sent in JPG or PSD format. -Low-res version must not be over 10 MB -Must be your own original work and cannot have been selected as a winner in any other contest -To submit, send a low-res version of your entry to "jgonzo" on Capcom-Unity via private message with the subject MARVEL VS CAPCOM 3 ART CONTEST.” -For Europe residents, please visit the Capcom Europe blog to submit your entry. -Entries accepted until November 22, 2010 11:59pm PST Click here for the entire set of contest rules.

http://www.youtube.com/watch?v=j5SNOAcD3ak (for anyone that somehow hasn't seen this one yet)