Liontamer

We might as well be OnlyChords ReMix at this point.

You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog You're A Man Now, Dog

Sure, it's 5 years old, so it's technically not representative of the bar, but even so, the main 3-note pattern of the synth at :25 is taken from the Brinstar melody, and that's present for most of the mix as the foundation. I already signed off on this back when I helped do Lockdown 1250. Liberal, absolutely, but I don't see why you needed to bring it up as something that wouldn't make it now, when there's no issue. Right, but you know just as well as I do that when we signed up for this, we're here to at least do our best to be objective about a subjective art. Obviously, we can't be 100% objective, but we can do our best to be. It's my job to generally put feelings aside, and, when it's dicey, to get detailed and work from there. In terms of overt source use, I'm not trying to be the timestamp robot. But it's very important, in trying to be fair across the board to every single artist, to have an objective cutoff point. When you say 40% usage could potentially be good enough for one genre but NOT good enough for another, that's exactly what's unfair and inconsistent with that kind of standard. And yeah, for this particular mix, we're actually now into a subjective argument on said "objective" cutoff point, i.e. whether those solos over the chords are substantive enough. But I'd rather start from a fixed point and argue around that, instead of a ridiculous and arbitrary free-for-all where 33% use is OK for one guy, 25% for another, 50% for me, 45% for that guy, and 40% for someone else. It's a terrible precedent when the VGM is potentially used for only the minority of the track, there's no clear basis on what's enough, and then it simply boils down to "does judge X like listening to it or not?" That level of subjectivity should not be part of this process if we're to claim and believe we're fair to everyone who submits to this process.

http://www.ocremix.org/info/Frequently_Asked_Questions#How_do_I_get_the_ReMixes.3F

Lollerskates. Nothing wrong with proving the source usage is actually dominant. luv u 2

I don't see anything good about not explaining oneself. Too much "feeling," not enough justification. New judges: It's always better to explain why you're YES or NO, for the benefit of the other judges, the submitting artist and anyone else who may read what you say.

The OneUps Mustin, Anthony Lofton, Jared Dunn, Greg Kennedy, William Reyes, Tim Yarbrough contact@theoneups.com www.theoneups.com Street Fighter II Sagat This is off of our newly released Volume 2 album. I added our arrangement to the Bad Dudes' "Thai Guy" compilation for the heck of it since we were already doing it. If accepted please promote The OneUps Volume 2 by sending people to www.theoneups.com and to www.oneupstudios.com/ous_005.php. Thank you! -m Mustin Manager The OneUps www.TheOneUps.com Contact@TheOneUps.com ------------------------------------------------------------ http://snesmusic.org/v2/download.php?spcNow=sf2 - "Sagat Stage" (sf2-21.spc) Could go either way on this. Sounded pretty cover-ish. The melody and countermelody were pretty straightforward, but there was new part-writing in the background. Though I liked the new stuff added on top, the arrangement dragged for me on the 3rd playthrough of the theme at :52. After the 4th iteration, we hit a good original section at 1:29. Loved the rhythmic change to the Sagat bassline at 1:48, a really nice touch. Heard a quick improv riff based of the Sagat theme from 2:14, which was also nice; loved that whole section. 2:37 retread the previous arrangement ideas with some minor changes. If the first minute and a half of the song wasn't basically that same section several times over, I would have been perfectly down with that close. Cool track, and it's live and skillfully performed the entire way, but looking at it vs. other stuff we've passed, to me this ultimately seemed repetitive and underdeveloped as an interpretation. It's a cool cover and the soloing was sexy, so, in a vacuum, I love the track. I own Volume 1 and I'm buying Volume 2 down the line, but at the same time, I can't sign off on this one. No hate on a YES, but objectively speaking I've gotta go NO. I'd love to promote Volume 2 via a ReMix release, as was Mustin's intention, but it's probably gotta be via a different piece. :'-( NO (resubmit)

Rozovian ad.rozovian@gmail.com #21613 "Eat Your Own Dust" F-Zero (snes) Red Canyon This was a track I've had on my mind for a while, and had worked out the melodies months before inspiration struck. When it did I pieced the whole thing together in a couple of days. Then it took me a lot of tweaks and exports (mostly exports), and then... here it is. I got some crucial feedback on the #ocrwip channel, Tensei-San deserves a particular mention in the submission letter. For anyone needing help, music critique, or general feedback, use the channel. -rho --------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=fz - "Red Canyon" (fz-03.spc) Yeah, I remember giving comments on the WIP. Good stuff so far. The background of the theme was brought in at :06 and faded up nicely, adding in some beats at :35. After the beats came in, and the stuttering synth didn't stand out anymore, I realized the overall sound quality was a lot murkier than the WIP I last heard. Didn't seem like a huge enough problem to criticize until the lead came in at 1:09. The synth lead for the melody at 1:09 was getting obscured thanks to the cluttered mixing. Interesting use of what sounded like a repurposed guitar synth. Cool stuff at 1:50 with the liberal arrangement on top of the source's beat pattern, though the lead was arguably a bit shrill. Not a big deal, but you may want to touch that up. Nice dropoff of the beats from 2:51-3:26. The key change at 3:26 wasn't a bad idea in principle, but at this point the arrangement should offer something different/contrasting rather than basically going back to same ideas and structure. I liked the very ending though, the last few seconds were a good close. The production could stand to be refined a little, but was good overall; just needs some tweaks. The arrangement and dynamics were pretty good, but I'd argue the length doesn't justify the overall repetition from 3:26-4:53/end. One could argue this could have wrapped up around 3:26. Besides the key change, the arrangement felt like an extended dose of more of the same (melodic arrangement, beats, tempo, dynamic changes) and dragged as a result. We'll see how the others feel though. Definitely a strong effort, with some interpretive ideas. Beyond the repetition concerns, just touch up the production so there's less clutter, and this could be good to go. NO (refine/resubmit)

We'll definitely contact the mixer to find out more, but if he had the original MOD file (and that is out there because I used to have it), he probably wouldn't need to timestretch stuff. He could deconstruct it however he wanted and do new effects, same as sampling an NSF or SPC.

You have to create your own sounds and those sounds need to sound distinct enough/unique enough from the original to stand on their own. Even if everything using the source tune was recreated from the ground up here, he might as well have used the MOD, since the sounds and even some of the effects would have been copied to ape the original. The same way if someone wrote their own NSF and made the Mario "Overworld BGM" as close to the original as possible, they might as well have not made it. I'm not trying to sound absolutist about it, but the opening of this track seemingly gives away that it's sampled. Definitely open to more POVs or I wouldn't have paneled this and asked for confirmation.

IMO the backing writing from 2:09-2:34 is too different from the source. Compare it to :39-1:05 of "Cyan," just voices 6 & 8 of the SPC, the low strings and drums. Saying it's acceptable source usage just because of the chord connection is too dicey. Listening again, I'll totally give it up to 3:14-3:34, as it's the string & drum notes without the stutter, so that's a lot more direct. My fault for missing those. But even claiming both sections were OK and adding the additional time Palp could have handed out, this track still wouldn't be over 50% source usage by a couple seconds. And I'll go more liberal for the riff at 4:15-4:20, which puts it up to about 41.4% overt source usage. Not to insult, but when you go YES and shrug it off with "I don't specifically care what's there or for how long, it sounds similar, so I feel it's OK," it's not objective enough or displaying any kind of consistency that can be carried from vote to vote. Most of the soloing (1:45-2:09, 2:34-3:02) happens over the writing from the mix's intro, which isn't from the source at all. How is that even connected enough? Someone needs to justify, in terms of theory and A-to-B connections from source to original, how the Cyan theme is used here the majority of the mix. This case isn't identical, but this seems like a similar situation to Villainelle's mix. There's a reason I stick to 50% overt source usage as a cutoff point, and it's because 1) the source music being tributed the majority of the time needs to be paramount and 2) not declaring a cutoff point and allowing feelings, whims and personal preference to justify anything from 33%-49% adds too much subjectivity and bias to the process. We need to be fair not just to one submitter, but, by extension, to everyone else who submits their music. I'd rather argue around whether or not something makes the 50% mark than trivialize how much actual VGM needs to be involved.

Contact Information ReMixer name: Phr4kture Real name: Nafeu Nasir Email address: mythic47@hotmail.com Website: www.soundclick.com/djfrakture Userid: 23228 Name of game arranged: Unreal Tournament Name of individual song arranged: Foregone Destruction Additional information: Forgone Destruction was composed by Michiel Van Den Bos for levels in the original Unreal Tournament such as CTF - Facing Worlds. Link to the original soundtrack: http://www.youtube.com/watch?v=9EDw9oIeiF8 Comments: Forgone Destruction is a track that makes me very nostalgic. Its very influencal to my musical taste and style aswell. This remix is a show of appreciation I have for the track ENJOY! --------------------------------------------------------------- Unreal Tournament OSV - "Foregone Destruction" Awesome track, and I remember Phr4kture's name from zircon's Antigravity remixing contest. However... This sounds like you made an actual remix sampling the original track (and thus not a ReMix), since this was clearly using the original MOD as the basis of the track. Obviously that oversimplifies the effort put into this one. The jist though is that we don't accept remixes done using the original game audio, expertly manipulated or not, as the core of the track. 5:03-5:16 had the right idea in that you have to rebuild the source tune from the ground up with your own sounds and then work from there with the interpretation. Killer remix--and one you should send to Michiel Van Den Bos right away if you can track him down--but it's outside the scope of what we accept. NO Override

As long as you have a month and day and don't select to have your birthday hidden, it'll show at the bottom when it's your birthday, as well as be in the Member birthday calendar. You're already listed there. http://www.ocremix.org/forums/calendar.php?s=&month=9&year=2008&do=&c=2

Supercussionist Andrew Garma Ninfrk6590@yahoo.com Seikien Densetsu 3 Few Paths Forbidden The Composer is Hiroki Kikuta, the game system is snes. I made this song of of Finale and Garage Band. I did all the notation on Finale using percussion instruments as samples, then later made it into a midi file and transfered it to Garage Band. on garage band, i then added the introduction to the song. the song is mostly composed of synth instruments. the Drum part was all written out by myself, from fills, to the beats, and to the the solo in the middle. what inspired me of the solo area was this song jazz artist, chris botti, made. it had a part where the bassist was repeating the same thing over and over while the drummer soloed. i've always liked this song since i first heard it, and ive always wanted to hear a better version of it. ---------------------------------------------------------------- Note for the future that we have a 6.00MB filesize limit. http://snesmusic.org/v2/download.php?spcNow=sd3 - "Few Paths Forbidden" (sd3-2-04.spc) I thought this was a decent concept with potential, but not fully explored. The synths for the melody were pretty lonely, the textures sparse in a bad way. That wasn't necessarily a problem for the intro, but once the buildup was done, :46 had no energy. Once the mix truly kicked off at :46, the drums were louder than the leads. Now, I like the drum writing, but you gotta push pretty much everything else up. 1:44 was a flimsy-sounding transition; add some more meat to it. Aside from some minor additions in the back, 1:52 was a complete cut-and-paste of :46's section. 2:48-3:54's section was basically a repeat of 1:43-1:51's section, but extended to put more focus on the drum writing. Cool stuff; pretty much the same issue that there was nothing going on behind it to fill out the background properly and the overall levels were too quiet. 3:54 went for a bigger close, a key change, and some slight sound differences with the lead once things picked up. This was still plagued by the same core issues though (sparseness/volume). Also, some sort of substantive melodic variation compared to what you had before would have been great anywhere, since what you have in place now is basically being cut-and-pasted. Rebalancing the parts, perhaps adding one or two more parts to flesh out the overall texture, and providing further variation to the melodic interpretation would get this concept sounding a lot more developed and polished, so I hope you decide to see what you can do with it. Looking forward to hearing more from you, Andrew. NO (resubmit)

Get the torrents. http://www.ocremix.org/info/Frequently_Asked_Questions#Why_aren.27t_the_ReMixes_ranked_by_popularity_or_numerical_ratings.3F

On the music side, they don't shut down anyone, here or Japan. Do a search to check it out. http://vgmdb.net/db/main.php

Aight, so SnappleMan had a colonic over this rejection. Apparently, we would have passed this as is as long as it was either by 1) a friend of a judge or 2) an OC ReMix legend. Never mind that he was being a dumbass about it , and that we've rejected established mixers, friends, past judges, current judges; he insists it's nepotism. Obviously, Tony should have bribed the judges. Besides that, Andy also said we were too focused on the melody and that the source was all up in this. I'm not sure why Andy keeps insisting we're focused on just the melody when I said "I listened to the SPC, and all 8 individual voices on their own looking for anything I could have missed", i.e. countermelody, drum patterns, all the things besides the actual melody. The lack of melody, when so many other elements could have been used, wasn't an automatic dealbreaker. Especially when a song is good, you WANT to find legit reasons to YES it, and this didn't give 'em to me. Using a chord progression and nothing else from a source while soloing over it for the majority of the time is not using the source in an overt enough way, IMO. With that said, Tony stopped by #ocremix to argue for the track, which I'm quoting below. zircon replied on some points. Let's get some more votes and perspectives.

Need someone to track down the original source MIDI - LT Contact Information * Your ReMixer name - Argitoth * Your real name - Elan Hickler * Your email address - Argitoth@gmail.com * Your website - www.elanhickler.com * Your userid - 17225 Submission Information * Name of game(s) arranged - Ultima Online: Renaissance * Name of individual song(s) arranged - Vesper * Link to the original soundtrack - Personal comments: I've always loved Ultima Online music. There are emotions, themes, and expressions that the original composer could only hint at with the midi files. My goal with any remix is to take those hints and express them as strongly as possible. --------------------------------------------------------------- Ultima Online: Renaissance - "Vesper" (arranged version by Dinaris Techarin) Interesting take. The classical instrumentation wasn't hugely different from Dinaris Techarin's version at Techarin's Music Hall, but the dynamics were more pronounced and the mood was more genteel. Good stuff, IMO. 2:17-2:41 was arguably too quiet given the intensity of some of the instruments. Didn't seem realistic to me at all. I would have bumped the volume on that up a bit, as I don't think it would have undermined the dynamics. Otherwise awesome stuff; just fix the ending at 4:40 cutting off a little abruptly. Provided the MIDI confirms this is good to go, and that's looking pretty sure from the sound of this excellent arrangement, welcome aboard, Elan! YES

Contact Information * XTREEMMAK * Jamaal O. Ephriam * HUFO_2000@yahoo.com * http://www.myspace.com/keyjizat * Userid = #11647 Submission Information * Ristar - SEGA Genesis * Original Arrangement Name: Busy Flare * This Arrangement Name: Burning Star * Original Composer: Tomoko Sasaki * Information about the Mix: The mix was made using a plethora of different programs including software from the Easy West series (Orchestra Elements), software from the Spectrasonics series (certain Ambient Elements), and Reason 4 (underlying loops and certain one shot samples). There were external instruments recorded as well utilizing a Yamaha SO8 keyboard, a Korg Triton LE keyboard, and (lol) a Fender Squire Guitar run through Guitar Rig 2 (looking into Line6 software modelers now). I'm not much of a guitarist.....yet. Some instruments were recorded through my Pro VLA External Compressor. For the time being I use a Onyx 1220 mixer w/ Firewire card running through KRK Rokit Power 5's in my tracking room, and in my Mix room, DynAudio BM15a's. The mix was created using Nuendo 3 and after, dubed down with PSP Vintage Warming on the Master bus and then sent to WaveLab for home mastering (considering I dont have access to a mastering house). All I added was the Waves SSL Compression with not too much threshhold activity but more makeup gain, and then under that, I added the L3 Multimaximizer a.k.a. the Multi Band Compressor plugin. Before I added the plugins though, I did normalize the first orchestra section to keep it in line with the other section after it. Then I added a fade out. After setting it, I dithered down with the threshold set to the default settings and the output set to about -0.1db with Auto release so nothing hit's 0db or goes over, also considering I recorded this in 48kHz. The orchestra was recorded in sections and then summed at the end so I dont max out all my resources. Out of the two Ristar tracks that I always wanted to do, this one was a very unexpected outcome. Considering I didn't have all the resources I needed to record the next one (which needs to be mixed now) which I always wanted to do, I did this one mainly for practice and liked where it was going. I developed this track little over a year ago but never had the time to finish it (mix it). Recently I finially got time to finish it and am submiting it now . I do question the translation but I'm very interested in the opinions that will folow after this submission. -------------------------------------------------------------- http://project2612.org/download.php?id=55 - "Round 3-1 - Busy Flare" It felt like there was something slightly off with the timing of the percussion throughout (one example, :30-:42) that made things not flow as smoothly as they should have. The transition at 2:04 felt pretty abrupt, but it could have clicked had the overall product been more cohesive. It was then that we hit some pretty bad/indistinct mixing that hurt the execution of the concept, i.e. beats meshed with orchestration. The beats were too loud, the strings/orchestration was marginalized, and the leads were quieter than the beats. Definitely too bad, because the arrangement for that area was pretty cool and had the energy and sensibilities of stuff like the NiGHTS soundtrack. Cool stuff there that just needs better balance between the parts. Would really love another J to shed some light on how they'd specifically try to polish this up. Fadeout ending around 4:00 that I loved. Felt a little too fast, but the fade idea was executed fairly pro. First person to complain get kicked in the balls, since this was a perfectly fine close. Just make sure the few seconds of silence afterwards are trimmed off. Solid stuff. Make sure everything's synched up properly and the parts are properly balanced, and this would be a lot closer to passing. The arrangement itself was pretty much fine and really doesn't need any kind of dramatic changes, Jamaal, so don't muck with success and end up throwing out the baby with the bathwater. NO (resubmit)

Hello, I am submitting a remix of the Guile Stage from Street Fighter 2 called, "You're In The Army Now". Here's the link to download the song: Here is my contact info: Remixer Name: SynaMax Email: maxpetrosky@yahoo.com Website: http://www.reverbnation.com/synamax Userid: 24901 Name of game: Street Fighter II: The World Warrior Name of song: Guile Stage This remix was written in FL Studio 8 and was inspired by '80s music, especially by music written on the famous Fairlight CMI sampler. A couple of samples from the Fairlight CMI are in this song, especially the "ARR1" - which is probably the most famous sample from the Fairlight library. 26 separate channels make up the mix. The explosion heard through out the remix is from freesound.org and is licensed under a Creative Commons Sampling Plus 1.0 License. The sample itself is called USAT BOMB.wav and was created by sandyrb. Thank you very much, Max Petrosky --------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=sf2 - "Guile" (sf2-08.spc) Aside from the lead synth, quiet countermelody and drums, you don't have much going on, so the texture was pretty empty despite the volume. Many of the sounds were abrasive as well, especially that generic synth lead. The metal clangs were a cool concept but sounded out of key with the melody, so they sounded awkward to me. Good structuring of the tempo matching the marching sample at 2:37, IMO, though when the track got fuller the marching sample got muddied and obscured. As noted, 3:01-3:25 was pretty muddy and indistinct sounding; I see the cool delay effect going on with that glassy lead, but you've gotta clean things up there. The melodic interpretation was pretty low, which was a negative, but you did at least have the right idea with the countermelodic interpretation and new drum writing to try and change the mood. To sum it up: experiment with some new sounds for that bleh synth lead and whatever else wasn't working, flesh out the texture by adding one or two more parts (perhaps some sort of pad), make sure the soundscape doesn't get too muddy during the fuller sections, and get more interpretive with the melody. Definitely worth another shot if you're interested. NO

That doesn't make any sense, BTW, since (aside from the remix removals I pointed out), we've only been adding more ReMixes from those game series. For years. There's literally no way we have fewer Chrono Trigger, Final Fantasy or Secret of Mana mixes.

But of course!

Amber is pissed: http://nerve.com/CS/blogs/61fps/archive/2008/09/02/what-s-in-my-mp3-player-bowser-is-pissed.aspx (She likes it!)

Nutritious Justin Medford NutritiousMultimedia@gmail.com http://nutritiousmultimedia.googlepages.com 16520 Super Metroid: Item Room, Item, Samus, Norfair II Metroid: Main Theme This remix was created for Blind's get well album. (Hope you get well soon and are back to mixing in no time, man!). Anyway, this mix was started on the Wednesday before the deadline and finished it two days later, on Friday. It's by far the quickest I've put together a full mix. This is also the most OST tunes I've used in one mix, however, I think they all incorporated well, while avoiding medley problems - mainly because 3 of the 5 mixes are either really short or just fanfares. Hope you guys enjoy. ------------------------------------------------------------------------------------------ http://snesmusic.org/v2/download.php?spcNow=sm - "Item Room" (sm-s03.spc), "Item Acquisition Fanfare" (sm-31.spc), "Samus Aran's Appearance Fanfare" (sm-30.spc) & "Norfair Ancient Ruins Area" (sm-26.spc) http://www.zophar.net/download_file/9125 - Track 3 Got some good mileage out of the various jingles to open things up. Meanwhile the rest of the arrangement was spot on. Cool take on Norfair that felt a bit more militaristic thanks to the drums but also had some grandiose writing. Would love to hear a live orchestra perform it. Cool original writing, with Metroid material occasionally woven in, from 2:26 until the finish. Strong close. Not realistic sounding, but it uses the samples fairly cohesively and the arrangement was solid. YES

Well, we're not SquareSound support, BUT I'll see what I can do.