Liontamer

REEEEEEEEEEEMIX! (Happy birfday, again!)

Finish yo project! The Bad Dudes are way ahead of you! Happy Dodge Ball Day, Alan!

This kid is sick. Keep an eye on him, he's only gonna get better. Or die. Preferably get better. Happy 19th, bro!

No, I just don't find it helpful to list everything on the checklist and then write yes or no next to it, so I edited out everything he wrote no for.

djp forgot to shrink the project logo used for the spotlight and add it to the big column of album project logos. I'll bug him if he doesn't see this. 1. Kirby: Thanks 2. Pop-Up: Thanks 3. Dave Wise: Thanks 4. Filmoa: You're incorrect

http://revver.com/video/700341/ff7-voices-of-the-lifestream-lunatic-hero-backseatstuff-matt-furbush/ Part of this, of course: http://ff7.ocremix.org/videos/

Are you kidding me? That's some of the worst misinformation I've ever seen around here.

Who are you again? You were great on Broadway, I'm told? Happy birfday?

Oldie but goodie:

Remixer Name: DigiE/Digital Element. Real name(s): Maurice Willems & Sanjay Sampatsing. Your email address: NemesisTheory@gmail.com UserID: I can only find 'digie'. There's no number. Maybe I'm blind. >.> Remixlink: Our FTP is a little messed right now, and this file is only available for a week. If by the time you're processing this song, it is no longer available, please let me know and I'll find an alternate way of uploading it. Original Game: Castlevania II: Simon's Quest. Name of Song: Bloody Tears. Hi guys! After a long break of deciding what to remix, we went through a bunch of songs but were never really sure of what we'd really like to do. We went through Street Fighter, Lost Odyssey, Double Dragon and even tried another One Must Fall track amongst others. We ended up back, once again, to one of our childhood favorites, Bloody Tears. We've tried to remix this song countless of times, but were never really satisfied with the end result(s). We tried it again recently out of a whim, and sure enough it sounds better than all of our previous efforts on the track that ocurred before. We hope you agree on this. We've had a lot of fun working on this, and it's great that we finally got a reasonable result out of like, 6 tries. All in all, we hope you enjoy it! Greets, Maurice Willems & Sanjay Sampatsing. --------------------------------------------------------------- http://www.zophar.net/nsf/castle~1.zip - Track 2 ("Bloody Tears") The mixing stuck out pretty quickly. There's a slight muddiness to the entire track; the parts could be better separated. Produced a different way, this sound a lot stronger, but I'll leave a production savy J to analyze it. The snare beat of the drums brought in at :26 didn't quite fit, IMO, but I'm always particular on that stuff. IMO, 1:06 should have had a lot more energy and power to it given the lengthy buildup. Especially at the 1:49 section (where the rhythms reminded me of the 2:34 section from Another Soundscape's Breath of Fire IV "Endings, Beginnings and One Hell of a Trip"), I felt like the textures were on the simplistic and hollow side, with the lead synth having some a pretty generic sound. Anyway, the core of the piece is good, but the energy felt tame and needed something to boost it up. Definitely feeling the changeup at 2:15, thought the usage of the "Bloody Tears" melody from 2:42-3:08 was obscured early on. Chugged along fairly nicely, though hitting 4:45 it seemed like new territory wasn't really being hit at all. Nonetheless, the substantiveness of the arrangement did give it some leeway, not making me feel like the repetition was kiling it over the long haul. I can live with this going up as is, but this could be mixed a lot better. I'd rather see it tweaked thanks to some production suggestions from other judges. Nonetheless, the adaptation to electronica worked fairly well, with some good new support writing and melodic interpretation. It's squeaking by to me, but I could certainly reconsider it. YES (borderline)

Happy 27th to Andy Kotsamanidis, who brings the \m/ to OCR, VGMix and of course, Dwelling of Duels. He's always been a great ambassador of the gheysecz, but also pushing for Shizzies to send stuff to OCR, and OC ReMixers to perform stuff for Dwelling of Duels. Of course, he co-directed Project Chaos with KungFuChicken! and made sure to get it done right, and he'll be cracking the whip on the Contra 4 project, Red Falcon Gordita! He's a man's man, a hell of a sausage stuffer, and now increasingly old and feeble! The skin is sagging off of him as we speak! Happy birthday, Snap!

Tracks from those projects were pimped in many of the mix writeups, and they've been on our Links page for a while: http://www.ocremix.org/info/Links#Non-OCR_Albums The American Album also got a front page spotlight for a little while. So in other words, we pretended they didn't exist.

You can also post the video game music remixes that you have in the Works forum to get some feedback on them. As for getting the posted to the OCR front page: http://www.ocremix.org/info/Submission_Standards_and_Instructions

The posting times are in the same minute. You think? But yeah, if the real site is working, good luck fixing whatever's causing the problem on your end.

Original version: http://thepiratebay.org/tor/3514553/Bound_Together__An_EarthBound_Remix_Project You're gonna need some help on ReBound though.

Abrupt ending means an abrupt ending. People bitch about fadeouts/continuous endings, but there's nothing wrong with them if they're done properly. And we're fully aware of every major issue that's found in a track. It doesn't matter whether the submitting artist considers it a WIP or not. You're not realizing that when tracks are submitted to OCR, even though they're supposed to be finished products, many are only good enough to be called WIPs. That's specifically why many don't make it. So we know what the issues are with WIPs. The only issue that should be added is something on sound balance where one part is too loud or quiet compared to the rest of the instruments. That's just difficult to briefly phrase. Stuff that pushes tracks into violation territory generally aren't on the list, because they're pretty rare. I don't think you're going to find anything major that we missed, but you're welcome to try.

* Name of song: A stormy song (actual Newgrounds title is The Song of Storms, but on your standards, it says that the song can't have a name that's the same of the original, hence A stormy song would fit) * ReMixer name: MickMad * real name: Michele Perla * email address: mick1080dgmad@hotmail.com * website: http://the-mickmad.newgrounds.com/ and http://mickmad.deviantart.com/ * userid: 21346 * Name of game(s) arranged: Zelda OOT, Zelda TP * Name of individual song(s) arranged: Zelda OOT:Song of Time, Song of Storms; Zelda TP: Intro * Additional information: Composer, Koji Kondo; Systems:N64, CGN, Wii * Link to the song : (also downloadable there) * Coments: This is my take on Zelda OOT's song of Storms, with some referring to the Song of Time and TP's intro...I made this by request of a Newgrounds user that after listening to my Zelda Memories (which was not accepted here btw), I opened Reason 4 and my Virtual Midi Controller (I dont have a good midi to usb converter, so I stick on using my pc qwerty keyboard) and started working...actually I don't know how the Song of Time came out, but it was nice so I kept that, then I worked hard till late night to finish the whole piece, finally closing with a reference to TP, that really deserves some honours after all...For the tech stuff there's no much to say, xcept what I already mentioned (Reason and Virtual Midi Controller)...ok hope u like this and hope to see my work on oc remix asap! thanks for ur time

Arrangment Information: * Arrangement Title: "Tyrian Main Theme (Orchestral)" * Length: 2:36 (Min:sec) * URL: * Additional Information: I certify that the aforementioned work is in fact my own arrangement. The filename has a CD track number in it because I suffered a recent loss of data and was lucky enough to have burned that onto a CD to play elsewhere, so it was then ripped back with iTunes. I have since gone through data recovery and got most of the lost data back, though it was on a tertiary drive and there wasn't much on that drive to begin with. Contact Information * HyperFreak * Wesley W. Boynton * wwboynton@gmail.com * http://www.wesleyboynton.com * UserID: 22589 Submission Information * Tyrian * "Tyrian (The Song) * Composer: Alexander Brandon * I acquired the arrangement rights as a student from Alexander Brandon personally a few months ago, and since then have been making my own arrangements of the music from the 1995 Epic Megagames release. This is my semi-orchestral version of the main theme from the game, utilizing several soundfonts by way of FL Studio 6, including but not limited to Violin, Viola, Cello, Upright Bass (Bowed), a varied selection of symphonic wind instruments, and percussion sampled from Kontakt Battery (VST via FL6), a Roland Orchestral Rhythm soundfont and Virtual Drumline 1.0, a marching percussion soundfont developed by Tapspace Productions that samples the Santa Clara Vanguard Drum and Bugle Corps marching percussion section. Thank You, ~Wesley Boynton Composer and Independent Recording Artist Gnarly Sunshine Records

Link to remix (direct download): REMIXER NAME: RockyRan REAL NAME: Raniero L.G. E-MAIL ADDRESS: ranierolg@gmail.com (this one) GAME ARRANGED: Mega Man 5 INDIVIDUAL SONG ARRANGED: Gravity Man's Stage RANDOM NOTES: This is my very first (and hopefully not last) remix that I've made. This track has always been my favorite in the original Mega Man series, and I tried to make a "livelier" (word?) remix that brings the song to a more dance/techno approach. ---------------------------------------------------------------- http://www.zophar.net/nsf/megaman5.zip - Track 1 You're going in the right direction in terms of trying to add your own style to the sounds and adding some new sounds & effects, even though the overall structure of the track is the same as the original song. The beat structure never changing also became very static and repetitive. Overall, the textures weren't particularly well-mixed, sophisticated or complex though. When you tried to get more freestylish in the handling of the melody (e.g. 2:34-3:02), you ended up with some bad notes, so writing cohesive original melodies and/or melodic interpretations is something you need to train your ear for. Tons to work on and improve at. Use the ReMixing and Works forum to learn more about your current setup as well as solicit fan feedback. NO

Contact Information: ReMixer Name: swarmer Real Name: Terence Lee email Address: ncswarmer@gmail.com userid: 15693 Submission Information: Name of Games Arranged: Chrono Trigger and Final Fantasy 7 Name of Songs Arranged: Sealed Door and Prelude Comments: An older version of this song was submitted for the Nobou Uematsu Arrangement Competition at SquareSound. It placed 9th. I was not completely satisfied with it when I submitted it; I was under a big time constraint: I finished the song and sent the email out at exactly 12:00am, the time it was due. I knew there were production problems, but I admittedly do not have much experience so I was happy to learn that judging reports with comments would be available. Larry, one of the judges, had some very helpful advice, which was that the drums were largely under par and the vox could have been better quality. So upon reading all that today, I hurriedly went to go fix it, and here it is. I'm really bad at mastering so my 10-minute-mastering done at 11:45pm for the competition didn't work so well, so I spent most of today redoing that. The drums are the same instrument but I tried to fix the sound quality of it, and tried a bit riskier approach to making it not sound too out of place. I hope it worked! As for the inspiration, I reallllllly like Chrono Trigger and its music, and was happy to learn that one of my favorite songs, Sealed Door, was a Uematsu song, and therefore I could use it for the competition. I began to notice that it had a lot of structural similarities with the Prelude from Final Fantasy. Specifically, the melody was almost the same (if you looked at it correctly), and the harmony had a lot of similarities. The big difference, however, is that one is minor and one is major. I tried to explore different ways to transit from one to another, and I hope you find them effective. Side note: I'm really unsure about the mastering; it sounds fine on my desktop but not so great on my laptop, and I can't seem to find a happy medium. I hope my desktop happens to sound exactly like the rest of the world! Thanks. ------------------------------------------------------------------ Let's see what I wrote before: While the submitted version for SquareSound's Nobuo Uematsu arrangement competition was promising, it still had those issues that held it back from being in the highest places. http://snesmusic.org/v2/download.php?spcNow=ct - "Sealed Door" (ct-307.spc) http://tzone.org/~llin/psf/packs2/FF7_psf.rar - 101 "The Prelude" Aight, so as a listener and wallowing in the source tune love, I was certainly feeling the old version of the track. Comparing it to the sources as a judge, I was put off a little by how the instrumentation and rhythms for "Sealed Door" were kept intact, but the addition of the piano and guitar gave followed by the beats at :23 and Prelude piano backing at :31 gave the theme a different enough feel compared to the original. The drums I criticized were definitely improved nicely. Good dropoff at :53 going back to the style of the intro and going even more minimalist with a dropoff of the dropoff around 1:09. Ha! Pretty creative, and a solid transition into "The Prelude" at 1:31. The syntheticness of the guitars and bowed strings was a lot more exposed there, but the sequencing and production was still pretty strong, so I wasn't bothered by it. Though still somewhat fake-sounding, the vox at 2:02 was also improved compared to the competition version, also very good to hear. I thought the beats joining back in at 2:26 sounded really awkward and made for a weird texture, but it left as quickly as it arrived, so that was good. I would have gone for a different drum tone there for a better fit. Beautiful stuff with the piano once it demanded most of the attention at 2:56. The beats returning at 3:19 felt awkward again, but better couched in the soundscape. Good close with "Sealed Door" on its own at 3:48 for the finish. I thought the dynamics throughout the piece were pulled off nicely, and the mastering definitely sounded good to me. My only major crit was how effectively the new drums clicked with the other instrumentation, but it was still solid enough on that level. The two themes were combined pretty expertly, adding a nice new dimension to both. I'm definitely glad, Terence, that my criticisms helped you improve the piece and feel more satisfied with it from a creative standpoint. Even for the harshest criticism (saved for people who got more wrong than right), it's all about pushing people to realize the potential of their ideas. Good luck with the rest of the vote, and hopefully we'll be hearing more from you! YES

Blue Dragon Original Soundtrack - 103 "The Land Shark is Coming!" & 101 "Waterside" Nice source tune choices, particularly "Waterside". Onto the track, the tone on the snare didn't fit the track, and the part was also somehow buried in the back of the track. The clipping was definitely noticeable. The guitars sounded decent when harmonized, but using a single guitar, the performance could have been smoother and the sound itself was very flimsy even when beefed up by the rhythm guitar, especially during the "Waterside" section when the drums did nothing to actually fill out the background. Your production needs a ton of work, but the other Js have given some good insight on what could be touched up. You should try entering Dwelling of Duels sometime, Jordan; you'd learn a lot from The Shizz community as well. Use the ReMixing and Works forums here to get production advice as well as solicit fan feedback for future submissions. Keep at it. NO

Visible changes or it didn't happen!

How was it rushed?

Nice work. I totally cribbed this for the intro! --------------------------------------------------------------------------------------------- There's too much assumption on the form discouraging positive feedback. We're specifically saying everyone should provide it. But if someone is to also improve areas that are lacking, it's important to place the emphasis on those issues. If a listener doesn't have the common sense to understand that potential good traits of a song are based on the opposites of things listed on the form (e.g. realistic sequencing, creative sound choices, energetic drums, tight timing with the performances, coherent structure, etc.), that's more an indictment on the person than any failing with the list. We can't hold everyone's hand and bloat the list up with what are essentially redundancies on the assumption that people are incapable of knowing what good things are and giving positive criticism. Just extrapolate what the good traits are from the bad ones listed. If someone gives unconstructive or stupid criticism, slap 'em down. That the same as always, and this form doesn't change that. It's up to the staff and community-at-large to encourage an overall positive environment for critiquing music. But to think that people will interpret the form as "I shouldn't [or can't] say anything positive" is selling everyone short and needlessly pessimistic.

I understand what you're getting at, Rozo, and in a perfect, ideal world, the judges could comment on everything to give feedback to everyone. But this is not going to be happening. Everything we do as judges is voluntary and depends on interest, availability and familiarity with the source material, just like the panel. None of us have the interest and availability to regularly review WIPs and judge submissions at the same time. We're not gonna make judges divide their time on voting on submissions and commenting on WIPs, and we're never going to appoint separate WIP judges. The form itself pretty much lists everything negative that can ever happen with a submission. Those elaborate almost fully on the OCR standards. It's a great way to get the listeners who are interested and have the potential aptitude to give good feedback thinking more critically and training their ear as to what makes for a cohesive work of music.