Liontamer
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Posts posted by Liontamer
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Ok! Thank you very much for the feedback, i will send my remix of the Asgore's theme of Undertale instead
Contact information:Remixer name: Gabriel Busarello
Remixer real name: Gabriel Dell'Agnolo BusarelloEmail:Website (Facebook page): https://www.facebook.com/BusarelloGabriel Submission information:Name of the game: UndertaleName of arrangement: The Spooky KingName of individual song arranged: Asgore's themeComposer: Toby FoxLink to the original soundtrack: https://www.youtube.com/watch?v=zKLxc2NsNcg Comments: This is an orchestral version of the Asgore's theme, with the intention to change the mood of the music for something more "halloween style", spooky, etc.Remix:Sincerely, Gabriel Busarello. -
Cool vibe with fun sound design choices; I initially thought some additional elements earlier on wouldn't have been a bad idea, but the texture's actually filled in very nicely once you pay attention to and appreciate each individual part. Super clean stuff.
Later you have the nice rhythmic change at 1:45, which was a nice idea to keep things moving, and you filled in the textures even more to altogether bring more intensity ahead of the crescendo-ing beats at 2:06. The arrangement certainly stands on its own, yet since it's from a Mickey Mouse game and I've heard the source, it somehow still feels kind of quaint.
LOVE that another Master System game is getting some coverage; awesome choice, Eino!
YES
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On 2/27/2017 at 5:24 PM, vertigo83 said:
Are the older albums like this capable of being ported to SoundCloud? I'd like to listen to them while at work, and via my phone is the only real option I have to stream or shuffle? Would be handy if the entire OC library was hosted on SoundCloud or a similar site. I was a much more active listener while in college and would like to catch up on what I missed, but alas, always at work. Thoughts?
Eventually, yes!
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Love the opening with the lush sounds and water SFX; very cool feel to start. The beat comes in at :37 and it's surprisingly tame, one of those tracks where the beats have no meat and sound like a plastic bucket's being hit. Meanwhile, all of the other instrumentation and sound design is so strong, so the beats are an unfortunate quality disparity.
Nice drop at 1:43, though this is full of amazing ear candy. By 2:04, I was also tired of the beats, so I'm genuinely glad they dropped out for something else by 2:13 (followed by the first usage of "Infinite Blue" at 2:19). Ah man, beats back at 2:29.
Another great dropoff at 2:42. Don't let my focus on a weaker element take away from the fact that this arrangement kicks all sorts of ass. Look at those last creative arrangement ideas at 3:15 before referencing the verse at 3:28.
Wow, awesome, Dean. Amazing energy and dynamics throughout. The beats needed more body & heft, but that doesn't take away from this being a super-fun thrill ride!
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The track was 2:24-long, so I needed to make out the theme for at least 72 seconds. Since this is a gimmick arrangement, I just wanted to check that the source tune was in play enough. I found what I needed!:02.5-:10.5, :13-1:09, 1:30.5-1:35.5, 1:49-2:04.75 = 82.75 seconds or 57.46% overt source usage
Also, 1:44-1:47 = Honnnnnnnnnnnnnnnnnnnnnnnnk
One weird goose honk amidst an otherwise sound concept and performance.
I...
SEY YES
P.S. Honnnnnnnnnnnnnnnnnnnnnnnnk!
LT Edit (7/11): Sorry, guys, I'm listening again, and the sax control is indeed too unsteady. I was too nice, which I'll never be again!
I'd love for you to try this again, if you're willing to re-record it.
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A bunch of goofs goofin'.
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The source tune feels like Ghosts'n Goblins with beats; I dig it.
Track was on the crowded side for me. It's not muddy in terms of parts stepping over one another; the different parts actually seem fairly clean, but something about how they all form this texture makes the track seem cluttered and less sharp than it should. Maybe the grimier/crunchier sounds that start around :04 could have been saved for the repeat of the verse & chorus at :31 or later at 1:18, which could have made the middle seem like a subtle escalation of the energy instead of a retread.
From 2:29-on, I would have liked to have heard something new with the textures and writing ideas to make for a stronger close, especially after the dropoff section at 2:00; right now, ideas (albeit creative ideas) are cut-and-pasted with the same sounds and intensity (e.g. verses at :03, 1:18 & 2:43); instead of feeling like a satisfying bookend, the lack of variation in places made the finish repetitive and disappointing. That said, maybe other Js won't mind the structure as much as I did. It's still a solid arrangement by Ernesto with driving energy!
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I may have misinterpreted what I saw on Discord, but I thought I saw Ben saying something about how he wasn't sure about submitting this piece. There wasn't anything about this that threw me for a loop as far as our arrangement standards, nothing that would give me pause to pass this.
The beats and sequenced electric guitar at 1:42 both had a stilted sound to them. Drums at 2:10 didn't fit; they're mixed in a way where you don't get any body to the snare hits, mostly just the snap; it's odd, but another judge likely can explain why all that doesn't click. It's serviceable enough, and I do like you branching out with your instrumentation, but I'd love some sort of improvement there, as it's the weakest link.
Back to the ethereal soundscape afterward though, and it was smooth sailing from there. The lead and source counterelody at 3:13 were nice alongside the original writing, followed by the piano and shimmering percussion at 3:46, all great sound design stuff. What an amazing trailoff for the finish. Cool!
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We've attempted to touch base twice but have never heard back, so let's just keep voting as is, please.
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I'm super biased because I love the source tune so much, so I just wanna hear it like this.
I'm liking the opening sound design, and the delay effects to give the first section a differnt feels, then fun phasing stuff at :45. The sequencing can feel stilted but there's charm and intention in the overall sound. At 1:06, we get a basic core DnB beat pattern; Roch, I think there's way to spice this up provided you talk to the right people, but we need to take the plodding training wheels off of this beat-writing, because it's a weak link. Good variations of the leads to keep the theme treatment fresh throughout!
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The track opened up very similar to the original track, but it's near-7 minutes, so there's lots of runway to play with in terms of getting more interpretive, and it was evident it did that not too far along. Not the best samples in terms of realism, but llots of fun instrumentation changes, additive supporting writing, and fun embellishments and soloing elements here and there throughout to give this a distinct character from the original. Making this last without dragging out would be a challenge, but it's asked and answered by T.O.!
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The source usage is basically the whole track, referencing some sustained lines from the original until :53 and going on from there with the actual melody afterward. The source tune itself has some unpleasant dissonance/clashing that's carried over here, so I guess I can't ding it that bad, but I'll have to live with it.
This sounded flooded in the zone, so to speak, where the soundscape was getting muddy until 1:42, but it wasn't anything dealbreaking. Around 1:55, the lack of percussion or something driving this forward made the piece feel like it was dragging, and the rigid timing on everything didn't help things not feel plodding. The driving beat finally was brought in at 2:36. Weird effects on the lead at 3:02 that were messing with my ears in a very unpleasant way; the relative volume of the leads didn't make sense and seemed to be pushed way under the underwater-sounding countermelody. More piercing sounds at 3:52.
Arrangement-wise, this does get it done in terms of transforming the theme. Even if the mixing isn't ideal as is, I'd rather post this than not, and would be glad to see if Tyler could give this another mixing pass.
YES
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I’ll say that this could evolve more, so I could see someone else feeling that the track was ultimately too repetitive or at least droning. That said, I dug it. It’s indeed a great source tune, and Peter’s treatment was very lush with subtle textural changes, and a crystalline sound that demands your attention. It’s a great piece to veg out to.
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Cohesive combination of the themes. I’ve heard it with so many arrangements in the community, but when the sound is so lush, you almost think “Dayum, this is almost too good for such a simple composition”, but that underscores how catchy VGM can be and how much it deserves the glow-up.
Loved the rhythmic change at 1:16 the most, which provided a nice feeling of movement here. Peter’s stuff is rubber stamp good to me.
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Fun journey! Strong sound design, nice vocal moments. Matt always delivers, and it’s a genuinely meaningful milestone to have our first father-daughter collaboration too!
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Cool! Some of the initial original writing was too noodly, but no big deal. Good variations of the sounds and textures to provide the distinction compared to the source. Clean sound, with fun use of the sample club vocals and in-game voices as well. Was initially worried it might not feel interpretive enough, but I’ve also heard enough of your work now to feel confident that it wasn’t going to be a problem, so I’m glad that was the case. I enjoyed!
YES
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What did you think? Post your opinion of this ReMix.
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What did you think? Post your opinion of this ReMix.
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Link to submission:
MP3:
WAV:Remixer Name: Veni MortemReal Name: Venicia JenifreyaEmail:Website: https://venimortem.carrd.co/ User ID: 38540Name of Games Arranged: Mega Man X Series (Primarily X5, but including X-X7)Name of Arrangement: Zero AlternativesName of Songs Arranged:"X vs Zero" (Mega Man X5)"Zero" (Mega Man X)"Zero" (Mega Man X2)"Zero" (Mega Man X3)"Opening Stage Zero (Sky Lagoon)" (Mega Man X4)"Opening Stage Zero" (Mega Man X5)"Awake Road Again (Highway Stage / Zero's Theme)" (Mega Man X7)"Demo (Zero's Speaks, Variable X)" (Mega Man X)"X vs Zero" (Marvel vs. Capcom: Infinite Version)You can find a YouTube upload here, which is fully timestamped, including visual cues, to follow along with each part of the medley!Comments: This was a huge project for me, having worked on it off and on for a few years. This was requested by my good friend and long time Patreon supporter Zorky, who is a huge fan of Zero. Initially he asked me to cover X vs Zero from X5, but as I started working with it, my ideas for it continued to grow. I first noticed that the rhythm of the strings section in the first segment of X vs Zero past the intro, had a similar rhythm to Zero's theme from Mega Man X, so I started by recreating the Zero theme melody with the same violins I was using, and beat the BPM with a hammer until it sounded right haha. Once I had that in, I just kept finding little ways to fit the other themes in here and there, wrapping them all around the tempo and rhythms of X vs Zero, to finally result in a sort of celebration of the character, and the series as a whole!X vs Zero is one of those tracks that just always stuck with me, and I've always considered it one of the greatest action compositions in gaming. As a music composer/producer myself, it just spoke to all of my composition sensibilities and was one of the few instances where a track made me think "Wow, I so wish I had made that one!" hahaha. So when the opportunity came to arrange it, I just had to give it my all and show my love for everything involved!Closing: If there are any issues with the files or any of the information, please let me know and I'll correct it as soon as possible! This is my first submission to OC Remix after many many years of listening, so I hope I got everything right!
Thank you all so much for everything you do!
Timestamped video of submission with source breakdown: -
Remixer name: The Coop
Real name: M.T. Yankovich
E-mail address:
Website: N/A
UserID: 4510
Game arranged: Thunder Force V
Arrangement name: "Guardian Unknown"
Song arranged: "The Justice Ray Part 2"
Song composers: Hyakutaro Tsukumo, Tek Tek, Tomomi Otani
Game system: SEGA Saturn
Thunder Force V OST: https://www.youtube.com/watch?v=0yPWibjhBWo
Comments: Greetings folks. Yeah, it's been many, many years since I submitted something, but I figured I'd throw caution to the wind and... here I am. This is a piano-arrangement of the song "The Justice Ray Part 2" from the Tecno Soft game, Thunder Force V on the SEGA Saturn (it's on the PS1 as well, but I grew up with the Saturn version, so...). Besides the drastic change in terms of musical instruments used and tempo, I also did a little shuffling to the original song's structure, moving some sections of it around to fit with the more somber-at-times tone of my arrangement. I still tried to capture the energy of the original tune at times as well, giving the song a chance to swell, fall back, and whatnot.
It this remix was inspired a loooog time ago, when I was trying to do an orchestral remix of the same TFV song. That remix was basically finished, but it fizzled out in the end. A little while later, I tried to do a piano-solo version, but that too fizzled out after it got pretty far along. That piano-solo remix sat dormant for about 13 years, and I eventually found it and decided it was time to get it done. I sat down, reworked what I'd written, and finally finished it. The song title is inspired by the glitchy speech that comes up as the game warns you of the approaching final boss, and the on-screen text that reads, "Area Guard Name: Unknown."
I've attached a 192kb/s MP3 of the remix to this email, and here's a link to the same file on my Dropbox account. I've had this account for years, so it's not going anywhere (I hope)...
Thanks for taking the time to listen to it, and... well, here's hoping!
-TC -
Greetings!
It's been a long time since I've submitted a new track.I hope you like it
Requested info below.
CONTACT:Remixer name: OverShieldReal name: Dean KontosEmail address: overshieldmusic@gmail.comWebsite: I don't have one, but here is my YouTube and Soundcloud:
https://www.youtube.com/@overshield9729 User ID: 33724SUBMISSION:Game Arranged: F-ZeroName of Arrangement: Project Blue
Name of Song Arranged: Big BlueInspiration: The main inspiration for me is always nostalgia.
F-Zero has been one of my most beloved game franchises ever since I was a child.
It has incredible music that always matched the fast paced energy of its racetracks.Big Blue is no doubt one of the best songs within the entire franchise and it has always been high on my list to put my own twist to it.This remix mainly focuses on the classic original theme of Big Blue that we know and love. However, big F-Zero fans may notice some parts of the song taking direct inspiration from some of the lesser known alternate versions of the Big Blue theme within F-Zero GX (e.g. Infinite Blue and Arrange versions).I hope you enjoy it, as I tried to tell a story throughout the different sections of the track (pun not intended).
Thanks for your time.
Best,
Dean -
Your ReMixer name: Pixel Pirates
Your real name: Tobaunta Torkelsson & Fredrik Vinterstjärna
Your email address:
Your website: pixelpirates.nu
Your userid: 37469Name of game(s) arranged: Castle Crashers
Name of arrangement: Four Brave Heroes
Name of individual song(s) arranged: Four Brave Champions -
Contact Information
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- Your ReMixer name : Rockos
- Your real name : Roch Côté
- Your email address :
- Your website : None
- Your userid (number, not name) on our forums : 44017
Submission Information
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- Name of game(s) arranged : Genshin Impact
- Name of individual song(s) arranged : Port Ormos (Day)
- Name of the remix : I Picked the Wrong Test Subject
- Your own comments about the mix, for example the inspiration behind it, how it was made, etc. :
This one song was made for a kinda surprise to my wife. This came out absolutly of nowhere. She was in love with the music when playing the game and going to Port Ormos area during game daytime. I decided to remix it with my 'Drum and Bass' or what I like to call it 'Rock and Bass' surge. -
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This one has the energy + the groove in it. The source is being played a lot and change from fast pace to slow groovy bassline style with psytrance glitched stuff going on.
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The goal was to have at the same time a good balance of energy and feel good kind of music. I also had to practice a lot for the guitar parts since it is going at a blazing fast 180 BPM. The solo (4:21-4:44+) in itself was cheated in the making in the sense that I didn't play it live but every part were played on my real guitar. Just had to use clever recording and sound placement.
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I went a lot on the glitching effect side. Mostly heard in background pad and sometime on front element. I used the Rift plugin and experimented with a lot of settings and created some automation to go with it. I liked creating the 0:45-1:06 part where there is the main melody glitching and behind is a low passed bass meaning imminent drop. It has this 'It's coming' feeling to it.
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The source in itself play as follow: Intro (0:00-0:44 Remix) plays the main intro melody of the original track (0:10-0:30 OST) and at the same time plays the end (1:31-1:42 OST) of the original in the background. (0:45-1:06 Remix) Is the build-up and plays the original 5 first notes of what I consider the main melody found at (0:50-0:52 OST). After that the part from (1:06-1:48) plays the main melody of the original (0:50-1:31 OST). (1:49-2:53 Remix) Alternate between the intro melody of the soundtrack and the main melody while at the same time playing the the of the OST (0:10-0:30 alternate with 0:50-1:31 + 1:31-1:42 OST). (2:55-3:14 Remix) use the end of the soundtrack (1:31-1:42 OST) as a build-up to lead into another alternate version of intro + main melody. (3:15-3:59 Remix) = (0:10-0:30 alternate with 0:50-1:31 OST). (4:00-4:19 Remix) Is back to main melody with a little small time change where the melody starts. (4:20-4:42 Remix) Is a guitar solo while playing the end of the soundtrack (1:31-1:42 OST) this time as an arpeggio. (4:43-end Remix) This arpeggio is then added with pads that reflect the end of the original OST)
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I felt the need to had timestamp and explaination since this game is not in the OCR database hence the song might not have been heard a lot. So judge might like this read-up as they listen.
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I really hope you like this track full of changes as much as we do.
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Wav:
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Original soundtrack:
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(revision 1/21/2024)
(old version)
ReMixer name: Astral Tales
Real name: Ernesto Bernal
Email address:
Website: astraltales.bandcamp.com
Submission Information
Name of game arranged: Gremlins 2 The New Batch The Videogame
Name of arrangement: Astral Office
Name of individual song arranged: The Office ThemeOwn comments about the mix: I always found that this song had a naughty nature that conveys quite well the personality of the Gremlins. It had that "horror" taste to it, but also some funny characteristics, exactly like the movie. It's a blend that we usually found in the 80s, and it was a bit of a challenge to translate into a remix. I decided to give it a cyberpunk twist (after all, the leader of "the new batch" had a mohawk, right?). When exploring with different sounds, the song asked me for a heavy and nasty rhythm section, so I added some powerful bass lines and heavy rhythms. The chaotic and naughty nature of the Gremlins was approached with a crazy lead that plays the main theme of the song, and finally I added two softer parts to help the tune have some dynamics that helped to give some variety and contrast against the madness of the main sections.I hope you enjoy it!Cheers!
Ernesto Bernal
OCR04467 - *YES* Fire Emblem: Genealogy of the Holy War "Lovers' Quarrel"
in Judges Decisions
Posted
I reached out to Je via email, but it was missed, so I forum PMed him yesterday wth the same comments and was able to then get a hold of him; sharing our convo:
To summarize:
1) 227 agreed that my timestamping was accurate and matched how he described things in his submission comments;
2) 227 is OK with whatever decision we reach and has a clearer understanding of the source usage expectations/guidelines;
3) Unless he changes his mind, since he changed DAWs, revisiting this track is effectively a no-go; and
4) A failure to more quickly resolve the decision -- or at least communicate the issues -- may result in our inability to obtain a revision, which we'll need to address.