Liontamer

Awesome. I'm definitely listening right now. Great so far!

That was 6 years ago. As far as staff goes, there's been none of that, and I've never seen that on the boards or in IRC. Where are you getting that from?

Regardless of whether or not VGMix3 was coming tomorrow or later, norg just elaborated that VGMix2's code had a lot of vulnerabilities that were exploited. They're not going to keep using that code when they don't have the people they need to patch it up and make it stable & safe to use.

Sounds nice so far. It's definitely going to turn out well.

He was rebanned (along with Shnabubula and LongeBane) for identity theft from obtaining Dragon Army forum account passwords and logging into OCR & VGMix accounts. He made fake trolling posts over here (for the lulz), while he abused (and basically broke) VGMix's Jamroom system to the point where they turned off some user features and disabled new accounts to protect themselves.

Absolutely, it's about close-mindedness. Dave stresses we're not the be-all-end-all approach to VGM arrangement; interpretation is our way--one way--of tributing the music. So to see others crap on this album for being cover-ish seems pointless, when that was the intent of the artists. They wanted to play it fairly straight and then throw in some embellishments to sweeten the deal, and this is how they pay tribute. There's nothing wrong with this approach at all. Hell, I want that Gambit cover on my project! I oughta holler at them. OCR is really large within the VGM arrangement community, and obviously I think that's great. But who knows how the general public feels in the cover vs. interpretive debate. In terms of what would appeal more to the general public, conservative approaches may be more popular, but then again interpretive stuff wins a lot of people over as long as the source tune is paramount. I'd actually love to know more about what casual fans prefer. Mustin (Joe Cam too, if he's reading), you ever holler at Colin Sanders? One of his bands, Over the Map, had a great cover/conservative version of some Mother 3 tracks. It was too close to the style of their source track from the Mother 3i arrange album, so we had to reject it, but the song itself was pretty cool. They reminded me of The OneUps a little. Tell him I sent you his way if you message him. Well, that's certainly a compelling reason for you yourself not to be interested; I can't take that away from you. But in a vacuum, which is how a lot of casual fans will encounter this album if they promote it right, the variety is there and this is a nice spread of several top games. Sure, if they had a more eclectic tracklist, it might grab your attention, but the fact of the matter is that they're trying to sell this and Super Mario World and Sonic the Hedgehog sell more than Elevator Action and Journey to Silius. Don't hate that player, hate the game.

We've been through this before on the forums. There's nothing wrong with OCR's purpose and mission of interpretive arrangements. The only reason some people feel it should broaden its scope is because it's the most visible/downloaded community of fan musicians, which creates some sort of obligation to spotlight any appealing arrangements. That would be a bad reason to abandon its mission. OCR's popularity is strong because it just features interpretive arrangements and not covers/conservative arrangements.

I was planning to post myself but was too busy adding the album to VGMdb: http://vgmdb.net/album/10191 I'm not trying to be holier than thou, but I just hope everything is licensed. Nothing really justifies stealing the album, but if it was licensed, I could see a handful of people deciding to plunk down the cash to do the right thing and formally support it. Nonetheless, lack of licensing hasn't stopped a lot of people from releasing pay albums, and most companies (if not all) and composers haven't felt compelled to take legal action over something that doesn't cut into their bottom line. (It may even help it, due to conjuring up good feelings about their companies, games and music, but that's mere speculation.) I thought the samples sounded pretty good. Pez, you're smoking something good if this is inhuman-sounding. This didn't have to be the second coming; these were some fine covers. I also don't see what's inherently wrong about doing covers, and I'm the biggest proponent of interpretive game arrangements besides djp. They're not just playing the stuff like robots, they had to learn the parts and perform everything cohesively. Besides, there's definitely some good soloing/new part-writing in the Super Mario World piece to add some more personal flair to the arrangement, so I'm sure that's the case for most of these. Jeez.

Haven't commented yet, so I'll just quickly note that this is niiiiiice. Amber from Nerve.com also agrees. You were able to withstand her vocal-hate!

Here you go, bro: http://vgmdb.net/album/10184

Man those are some super rough vocals. I don't know if the others are being too nice or just don't wanna call it straight up, but the vocals are almost never in key with the music. They really mess this up and prevent the tracks from clicking. As instrumentals, the concept is pretty damn cool. A couple of things (e.g. trying to create a brass-like sound in "Saving the World Barechested") sounded weird, but the overall execution of the instrumentals was pretty solid. But the vocal execution drags it way down. Not to be mean, but you clearly can't tell how off your vocals sound. Regardless: http://vgmdb.net/album/10182

C'mon stragglers! Don't be a hater!

Glad you support Tim Follin. Dirge for the Follin could always use even more tracks so we can release it! 12/31/08 or die!!!

I believe signups at VGMix are disabled right now, unfortunately.

This isn't by djpretzel, it's by Instant Remedy!

Finally! Glad to have this up, the intimate production style grew on me. And unless Kevin Stephens and Patrick had a falling out, we can be party to one of Kevin's ReMix reviews that's actually non-douchey! YES!

Yeah, they're a dime a dozen. djp should just go get one, chop chop!

Hello again Judges, another sub here from your pal and buddy PrototypeRaptor aka Jonathan Paulsen. I was browsing through random games the other day and I came across an old favorite: Phoenix Wright: Ace Attorney. I was baffled at the lack of remixes of what is an extraordinary (well, to me) sound track. So, I decided to do one of the Objection! theme. I've been listening to a lot of massive attack (House's intro theme, for those that don't know) and other various down tempo artists and it is definitely reflected in this remix. Think of it as an (overly) dramatic courtroom scene: phoenix slowly standing up in his chair, eyes closed, as all heads in the room turn to him and then, movie style, his eyes fly open and he slams his hands down: OBJECTION! Perhaps the defense flies back from their chairs slow-mo from the impact of his hands, I dunno. Director's choice. *ahem* anyway, sorry for rambling... here's the link. Thanks for your time, PrototypeRaptor source: http://www.vgmusic.com/music/console/nintendo/ds/PWAA_Objection_v2.mid remix: ----------------------------------------------------------------- I enjoyed Magical Trick Society's take on this one. Gyakuten Saiban Yomigaeru Gyakuten Original Soundtrack - (06) "Ryuichi Naruhodo ~ Objection! 2001" Opened up with some spooky textures. Not feeling the style of the arrangement at :22; the pacing was plodding, potentially due to the beats being so basic. As soon as things picked up at 1:10, the rigidity of the piano sequencing hurt this when it was more exposed. But the main culprit was the soundfield being cluttered. It was already an issue at 1:10, but the addition of more parts at 1:33 exacerbated it. The bowed strings from 1:33-2:18 also sounded unrealistic; the attacks seemed too late compared to the beats. Same issues from 3:23-4:08. The arrangement was definitely creative. The core beats weren't necessarily the dealbreaker, but during the verses they were plodding and sapped energy out of the piece. There was no cohesiveness between the beats and the other sounds, IMO. I'd love another point of view on what was lacking there, but I felt it was a substantial issue. Beyond that, refining the sequencing and better separating the parts needs to be done, and would help the execution a great deal regardless. NO

"I'mma crush you, son. I'mma crush you." Bien.

# Download Mix # Remixer Name: The Cynic Project # Full Name: Alex Smith # cynicmusic@gmail.com # http://cynicmusic.com # Fourm UserID: 16311 # Sonic the Hedgehog 3 (Sega Genesis) # Theme from Ice Cap Zone # About the mix: I worked on this trance mix of Ice Cap Zone for a few months before submitting....since the standards for an Ice Cap submission are so high! This version has a longish intro and repetitive arrangement for the dance floor. I also made a radio friendly mix but instead opted to submit this longer version. Thanks for listening! Alex Smith The Cynic Project http://cynicmusic.com --------------------------------------------------------------- http://project2612.org/download.php?id=61 - IceCap Zone 1 Pretty beefy original trance stuff to open it up. Didn't get to the IceCap Zone theme until 1:47 of a 5:26-long mix. While wholly original sections are cool and a great way to add your own stuff to the arrangement, interpretive usage of the source tune has to be the most dominant aspect of the arrangement. Once the IceCap melody kicked in at 1:47, the sound design was a bit generic for the genre, but certainly produced nicely. The sound balance was pretty good, and things were sounding strong. Aight, so the melody came in at 2:13. Aside from a slight key change, it was basically verbatim with the original until 2:40; even the countermelody. So already, that just screams this is a NO. You can't do such a prolonged buildup that ultimately had nothing to do with arranging the source, then finally launch into source usage that's not even interpretively presented. The stuff from 2:40-2:53 was a cooler lead-in, but led back into the verse, which was again close to the source. More verbatim melody stuff from 3:07-3:34. A new countermelody crept in at 3:20, which was a good touch. More original writing until 4:01 went back to the source intro. 4:27 went for a simplified take on the melody until 4:41-4:56, followed by the outro for the last 30 seconds. As The Lady reminded me, the fact that you took this approach coupled with the sub letter clues me in that you believe this is interpretive enough. You've got nothing to worry about on the production side; you're definitely making good music here, but I gotta clarify that you really need more melodic interpretation when the source tune is in play. It's not enough to merely adapt it for trance and sandwich that between wholly original writing. Don't be discouraged though; once you get more interpretive with the arrangement to compliment the skillful production and roll with the complete package, you'll be good to go. NO

-Contact Info- ReMixer name: Txai Real name: Txai Junqueira Viegas Email address: t_x_a_i@hotmail.com Userid (number, not name) on our forums: 10937 -ReMix Info- ReMix Title: Alteration of the Waterline Name of game remixed: Super Mario 64 Name of individual song remixed: Dire, Dire Docks (underwater cave) Comments: I've been working in this song for two years. Originally I had several different ideas for it: other transitions, endings... somehow I think it was the main reason it took me so long to finish. My job is done. Now it's up to you guys to decide. URL: -Txai -------------------------------------------------------------- Why is this encoded at 112kbps CBR? Use LAME VBR at least. http://www.zophar.net/download_file/12246 - 09 "Dire, Dire Docks" I liked the use of retro sounds to intro this. The texture at :28 was barebones & flimsy and the beats gradually added in didn't do much to change that. The brief slowdown from 1:05-1:09 had almost no purpose. Some of the sequencing needed work in terms of realism, mostly the strings. Some of the electrosynth stuff like at 4:16 & 4:32 sounded ugly; poor choices for the lead there. There were so many issues here, but I'm just going to summarize. The arrangement in the foreground was at least interesting and you tried to vary and develop that stuff. The end result was too scattershot though, and the textures were lacked any depth whatsoever. Many of the samples were poor, and you could drive a truck through the empty space here. You've at least somewhat got the right idea in terms of melodic arrangement. Somewhat. But you gotta keep learning, bro. You've got a long way to go. NO

Remix submissions Remixer name : fuzznec Real Name : Martin Belley Email : mbelley@oricom.ca Website : www.fuzznec.com User ID : 6345 Remix Info : Game : The immortal (Sega Genesis) Part of the game remixed : Combat music Name of the remix : Sliced in Half Link : Thanx! FUZZNEC --------------------------------------------------------------- Good to hear from FuZZneK again, albeit with a slightly altered handle. Can't say I'm feeling this source at all, so let's see where it went. http://project2612.org/download.php?id=563 - "I Forbid You to Come Any Closer" Hopefully the musician Js can offer better, more focused critique than I can on this one. I wasn't feeling the instrumentation choices at all. The beats brought in at :13 felt pretty empty. Dunno what you'd call the synth at :25, maybe a ghettoized electric guitar sample, I dunno. All of the sounds, patterns and effects sounded very vanilla and didn't have much synergy. The soundscape was way too cluttered at 1:07, with the source melody that arrived struggling to be heard over the other elements. Instead of retreading that section nearly wholesale at 2:56, you could have come up with some other subtle variations to keep things fresh. 2:22 finally had something at least a little interesting with some effects, but the techniques/production still felt average; there was no hook. Nothing's "terribly" done here, but the arrangement still wasn't cohesive, catchy, or well-developed. The end result was too bland. The composition needs more dynamic contrast and development, and the sound design & production needs to be more sophisticated. NO

Now that I've finally encountered it, I'm surprised no one's ever tried that name for a submission before - LT Link to mp3: Contact information: Remixer name: Analogsound Real name: Ignacio Molina Email: djsaekone@comcast.net Website(s): www.djsaekone.com www.myspace.com/search4sound User ID#: 24652 Submission information: Sounds like Progressive/Trance. The game being remixed is Megaman 3. The song is from the title screen. I call this remix "Submission Standards and Instructions". I think the original composer was Yasuaki Fujita ? I was inspired to make this after my friend reminded me about this website and after listening to other remixes on the site. --------------------------------------------------------------- Ha! I'll admit I laughed at the mix name. http://www.zophar.net/download_file/9115 - Track 1 ("Title") Interesting opening with some cool effects. Pretty lengthy original buildup, but this was a 5:22-long piece. The theme finally showed up at 1:24, simplified and with rhythmic alterations. Really disliked the synth that faded in at 1:54, it was such a generic (and ugly) sound. Too bad it stuck around as the lead. By 2:39, the track was dragging badly, having not gone more than a few measures into the actual source tune. It's a valid arrangement approach, but that didn't automatically make it an interesting, well-executed one. Beyond the halfway mark, there wasn't much substance when it came to the treatment of the source tune. 3:16 finally got there, before a changeup at 3:39. That didn't last long though, since the beats quickly returned at 3:54. Besides using a more pleasing, less abrasive lead, you've really gotta develop the theme more than this and get the meat of the arrangement more quickly; that's the short of it. NO

Original Decision: http://www.ocremix.org/forums/showthread.php?t=14308 metaphist aka Paul Ford pauleford@gmail.com Forum ID #8822 Little Nemo: The Dream Master Ending Theme Sorry for the wait, guys. I was excited that the complaints on the first sub were minimal, and I actually did most of the edits that same month. But I didn't want to rush it, so I let it sit while coming back to it periodically to make sure I liked it. Other obligations got the better of me, and before I knew it, a few months had already gone by. After letting this sit for months, I finally realized I should probably just submit it before I get sidetracked again! I don't have the same time I used to for music... I think the major issue from before had to do with fleshing out the main sections a little more. I approached that by adding a layer of piano chords in the two main sections. Some had a problem with the slow section in the middle being a bit too long, but there was really no way to shorten it without losing the feel. So this is it. Maybe this getting excepted would motivate me to finish up my many other idle tracks! ----------------------------------------------------------------- http://www.zophar.net/download_file/9083 - Track 19 Funny, this was too quiet before, but now it seemed on the loud side with this version. The beats from :41 ended up a bit too loud, IMO. The pad from 1:48-2:06 & 2:35-3:19 was too loud as well and muddied up the soundscape. I'd say tweak that. Now I'm not saying you can't ever repeat things, as there was a good deal of substance/variation in the arrangement. But 3:23 felt like too much of a cut-and-paste from :42's section and really weakened the finish IMO. Didn't sound like there was anything different until the move to the resolution at 4:00. Even something subtle like a change in the supporting writing or rhythms/beat patterns would have made the ending feel fresh instead of drawn out. Nice stuff at 4:09 for the very end. I could see this passing at this rate, and I still like it, but I think this should be tweaked one more time for the win with those minor volume issues and refining the final section. NO (refine/resubmit)

The artist has already talked to djp about the dual name request and realizes we don't do it, so disregard that stuff - LT http://www.e-concerto.net/scrapzonegoa.mp3 Contact Information * Your ReMixer name - Goa Vortex (AKA Electric Concerto) * Your real name - Jeffery Blaisdell * Your email address - goavortex@gmail.com * Your website - http://www.myspace.com/goavortex * Your userid - 14517 Submission Information * Name of game(s) arranged - Sonic the Hedgehog (Genesis) * Name of individual song(s) arranged - Scrap Brain Zone * Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Hello, pleasure to submit another ReMix. As you can see, I'm submitting this under Goa Vortex instead of Electric Concerto. The reasoning behind this is so that I can keep my genres separate, Electric Concerto being Euro Trance and Goa Vortex being, well, Goa Trance. That said, I wanted to work on and expand on my Goa skills so I decided to remix a classic, Scrap Brain Zone, in which I could incorporate those skills and hopefully learn from. I hope you enjoy! PS. I have the bandwidth, go ahead and leave the link if you can. -------------------------------------------------------------- http://project2612.org/download.php?id=36 - "Scrap Brain Zone" The way the melody's arranged at :27 isn't earbreak, but it still doesn't sound very melodious and comes off as changing the melody for the sake of not having it be verbatim; it just doesn't work at all. 1:21-2:03 and 2:17-2:44 handled the source's verse, and things were a bit more cohesive there, though much of the benefit was from keeping the melody verbatim. The arrangement of the bridge was cool as a transition section from 2:44-2:58, but IMO overstayed the welcome from 2:58-3:11; I would have changed up the direction of the track at 2:58. Interesting break at 3:27, serving as the first piece of the puzzle for 3:43's fuller section going back to the source verse. 4:06 brought back the groove. The countermelody sounded kind of off to me when paired with the melody from 5:14-5:55, but I'd appreciate another opinion there. Not the notes, but how syrupy it sounded didn't fit the mood. Had to give this one a number of listens so I could get accustomed to the track and give it an even-handed call. There was nothing absurdly wrong here; I'm generally liking what's in place even though the track could stand to be trimmed here and there. The processing and effects employed were a bit on the generic/bland side and could sound more unique. But if anything, I'd say make the parts based on the chorus more melodic, and make the parts based on the verse more interpretive and this would be in much better shape. You don't have to overhaul the structure, but I think it'd be worth it to see what you could do to refine this, Jeffrey. NO (resubmit)