Liontamer

But you can unsticky our HEARTS! Peeps, THANK YOU for all your help, y'all are awesome. We got some badass stuff waiting to (hopefully) be unlocked this year!

Awwwww... Nice work, Jordan & Ashleigh! And more Hamauzu OC ReMixes are a GREAT thing!

Pops/encoding glitches: :01, :04, :31 (very light), :35, :37, :41-:42 (distortion), :46, :49 (possibly), 4:19, 4:32 (minor bass distortion?) The sleigh bell timing was briefly off at 4:18, followed by what sounded like an encoding glitch at 4:19. Not a huge deal, just worth pointing out. Would love to get an encoding free of those issues, as well as at a higher bitrate, but if it's not possible, I'm OK enough with this, warts and all. "Drifting away" motif or not, there were definitely some wonky balance issues here, already covered in more depth by the others. Not a huge deal to me, though there were parts where the source melody got swamped/obscured more than necessary. That said, I was OK with the production overall, and it didn't both me as much as some others. Arrangement-wise, this did a great job of following the original's structure, but personalizing the instrumentation and performance, as well as weaving it some smooth original material. Compositionally, the drops and swells all worked nicely, and I appreciated the dynamic range here. The imagery of drifting was, for the most part, conveyed nicely in the production, and one could argue that nearly everything besides the more obvious glitch noises had purpose to it. Let's try to get a cleaned up encoding, but otherwise, I was digging it and you brought it enough on the arrangement & production levels. Good deal, Jordan, welcome aboard! YES

One girl's VERY interpretive dance to Yoshi's Island & Insert Rupee's new OC ReMix! She's possessed by 16 bits! You rock, Fwifl! MIX: http://ocremix.org/remix/OCR02239/

Happy firing!

At 3:32, noooooooooooooooooooo. Bah, sour note, I keel! But halc summed it up well: you're thinking it's just going to be a straightforward piano cover to start, but the additional elements of interpretation flow in as time goes by and it all develops nicely. Not that I actually expected an uniterpretive cover from Doug, but it was nice to get taken on that ride. Solid work, and nice to hear you on the keys again, Doug! Come back out east when you can. YES

There was a sour note at 1:34 that should have been auto-tuned and ended up breaking the immersion of the listen. Lesser case of this at 2:00, not with a bad note, but not the smoothest vocal modulation there. 2:22's note also could have been tweaked or rebalanced; maybe a different voice among the chorused vocals should have been upfront in that moment. Not a huge deal. That said, this was otherwise really well put together. The piano sequencing could have sounded more natural, but it was solid enough, and had just enough delay and body to help rather than hinder the soundscape. The woodwind sequencing was also not blowaway, but capable/solid. The drums introduced at 1:39 were positioned & produced very nicely. The vocals in particular were mostly on point and produced very well, really doing a great job of filling up the soundscape despite the minimalist texture on the other instrumentation, and preventing the inorganic-ness of the samples from being too exposed. This was a great example of how to do it right, making a few instruments create a full presence. Ideal collab. The whole's greater than the sum of the parts. Nice synergy here, bros. YES

I'm fine with the panning. It's kind of like Marc Star's Super Metroid "Dirty Sam" that had a pretty loud, pulsating sound panned pretty hard left. Ideally, it would be more centered, but it still wasn't a dealbreaker. The arrangement was fine overall, IMO. I agree that once the vocals came in, the source felt pushed back a bit too much, but the patterns were always there during the verses, and used interpretively in adapting the theme to this style. The long intro wasn't a bother at all, especially when the intro's based on the source. It could have been an issue if the overall arrangement was underdeveloped, but that wasn't a problem. There were some flat notes with Marcus's vocals that were unfortunate (e.g. 1:33 "skies", 2:23), but overall the performance was capable enough. The vocals were too dry though, and it would have been great to muddy them a bit for a more legitimate throwback sound that, in turn, wouldn't expose the vocals as much. I liked the Doors style here, though I felt the bass work sounded too rigid, which was a bigger issue than usual given how sparse the soundscape was. 2:35's section was definitely a bigger example of the timing being too tight re: the lead. That said, this was otherwise clicking solidly, even if various tweaks would really put it over the top. VERY glad to hear more from Marcus submitted to OCR, he's a creative beast. YES

Delightful. Very groovy, with the source in play for most of the track. The arrangement felt like something of Mattias's with the halc 9-bit spices added in, with the groove really feeling like a signature of Mattias's. Excellent work! YES

That's awesome too! I bought something a lot smaller (some new earbuds & a comic book) through the aStore yesterday, and every bit counts!

Original Decision: http://ocremix.org/forums/showthread.php?t=33178 Source: http://www.youtube.com/watch?v=ZfH9QAGi0sk I'm just gonna channel my inner Wingless and say "Easy. Breezy. Beautiful. Cover Girl." YES

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.