Liontamer

Just noting, your sig picture can't be that large. Please make it much smaller. Don't mind the trolling.

We already knew a while ago. zirc typo, I believe.

Indeed, you hear what sounds like Chrono Trigger in place, but that's all from the source. http://tzone.org/~llin/psf/packs2/Xenogears_psf.rar - 213 "The One Who is Torn Apart" Some solid bass and kick stuffs in the intro. Loving those stutter effects first used at 1:41. Very club authentic. Not that often you hear many slow mixes that could pass fairly well in a club setting, but I could see a bunch of the chilluns dancing with the lights down low to this. Takes a bit of downhill turn at 2:28 when you changed the percussion, leaving it a lot flimsier-sounding. I would have kept the perc work thick but changed the tone for the variation. As is, the change took away a lot of snap and punch and whatever other buzz words there are. I perceived 3:44 as the section where you needed to introduce something new to keep things fresh and close the track strong, and I thought y'all generally came through on that. Good additions with the strings, though I really didn't like how electrosynth and hollow percussion at 4:25 sounded when closing the piece out at the very end. On the cheap side. I'm hearing more than enough good stuff in terms of the arrangement and dynamics. While I thought the muted trumpet sounded absolutely fine, I definitely agreed with Vig on most of the production criticisms he had; the frequencies were imbalanced towards the lows, leaving things sounding lossy, and some of the highs (starting at 3:44, but particularly from 4:11-4:22) were ridiculously piercing. It would be great to address those even if it passed. Tons of good stuff, and you guys ended up taking some very small pieces of the source and constructing a very complete and interpretive arrangement around it. Now you need to fine tune this one to get it sounding its best. Right now, it sounds really imbalanced for this genre. EQ this up right. And work out the kinks with some of the flimsier percussion. As is, they mess with the textures you've got going and undermine the dynamic effectiveness of the arrangement. DON'T CHANGE IT DRASTICALLY, just give it some bite back like you've got going with the earlier percussion choices. Keep the writing the same. Do you hear me? Don't go breaking the parts that don't need fixing. I'd conditionally pass if I felt the revisions needed were very straightforward, but since it's not quite that quick and easy, gotta go NO (borderline/refine/resubmit). This is some awesome club stuff, but needs to sound slick. Will kill y'all if this doesn't come back here. Bug whoever you need to on this one, and make sure you get the help you need.

Happy birthday, coleslaw!

http://www.vgfrequency.com/?p=164

Potentially just a placeholder trackname that I made up given the info in the sub letter,as there was no title; if this passes, we can ask the artists for a new name - LT Contact Info * 8 Bit Instrumental * 8bitvgm@gmail.com * www.8bitvgm.net - www.myspace.com/8bitvgm Remix Info * Top Gear * Track 1 Rockabilly , Track 2 Dark Gears, Track 3 Surfing Gear * The first theme we wanted to do something different from the already existing versions of the game, on the second theme we change almost anything and for the third theme feel like a surf music mood on the riff´s so we kind of let if flow -- =x= 8 Bit Instrumental =x= Myspace: www.myspace.com/8bitvgm Fotologs: www.fotolog.com/8bitvgm www.fotolog.com/banda8bit ---------------------------------------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=tg - "Las Vegas" (tg-2.spc), "Hiroshima" (tg-3.spc) & "Bordeaux" (tg-4.spc) The guitar performance felt on the loose side for the first verse, and the tempo strangely felt like it went a bit faster at :50. Not sure if my ears were playing tricks on me, or if my download broke.. Nice stereo effects on the guitar from 1:13-1:33. Transition starting at 1:33 sounded particularly lo-fi due to the effects on the guitar. Some interesting effects at 1:51, though it sounded a bit ugly from 1:59-2:07 before the "Hiroshima" theme took over. What happened at 2:15? The instrumentation seemed to clash briefly. Could have been a byproduct of retaining the source's melodic progression. The drums at 2:39 were too loud, in my opinion, and just cluttered up the good funk performance going on. Transition at 2:57 to "Bordeaux" was pretty abrupt, but whatever. Textures certainly got a lot dirtier and grittier from 2:57-3:23. Nice bass work from 3:23-3:30. Drums at 3:30 were fairly plain, but you had some interesting fills for some parts. Some different drum work at 4:12 messed up the soundscape and made things sound even lossier. Briefly boring drumwork from 4:38-4:47. Transition at 4:55 was also pretty sudden, but not a meaningful negative. Not sure what source it was, as it didn't sound like "Bordeaux", but that's neither here nor there. Good surf vibe, even though the drums didn't fit well for this section and were frequently plodding after 5:10 in my opinion. The overall opinion would be a lot stronger if this was produced better. The recording quality is definitely on the low side, ultimately hurting the finished product. As is, the arrangement actually sounds cleaner if you turn the volume way down. Regardless, the lack of polish was a definite downside. The drum patterns sounded iffy, as some areas felt really plain and dragged this down, while others areas were a lot stronger and more creative. Rethinkng the sound balance and pulling back the drums probably would have been a good idea, but that could be just my opinion. The arrangement is good, but when it's over I'm left I'm doing the so-so hand motion and seeing lots of potential for improvement. I'd argue the arrangement started off stronger, with the last section arranging "Bordeaux" sounding the weakest in execution, resulting in a bland finish. The likelihood of resubmission coule be low, but at the end of the day I just can't quite give this the nod. While I picked the track apart with criticisms, a lot of aspects were good. Really hope this isn't the last we hear of you guys around here. Keep submitting stuff! NO (refine/resubmit)

Hi, Here are the details of my ReMix submission... Contact Info: Remixer & real name: Chris Grey E-mail add: collapsethelight@gmail.com Website: www.soundclick.com/cgreymusic Forum username: StarsDie Remix Info: Remix Name: The Legend of Monkey Island Games remixed: Monkey Island Series & Legend of Zelda Name of songs remixed: Monkey Island Title Theme, Cemetery Theme, LeChuck's Theme Legend of Zelda Overword Theme Comments: This is a rock/metal remix of music from a couple of my favourite games. It combines variations on themes from the Monkey Island series of games and the Legend of Zelda overworld theme. Originally put together as a bit of fun, but thought it might be worthy of inclusion on the OCRemix despite being a remix of two totally unrelated games! I was originally inspired to make this after hearing Trapeziod's amazing 'Monkey Brain Soup for the Soul' remix of the Monkey Island 2 music. Recorded in Cubase using real guitars and bass, plus drum and orchestral soft synths. Cheers, Chris ---------------------------------------------------------------------------------------------------- The Secret of Monkey Island (Game Rip) - (01) "Monkey Island Theme" [:01-1:13] http://www.zophar.net/nsf/zelda.zip - Track 3 [1:13-2:13] LeChuck's Revenge (Game Rip) - (08) "Scabb Island Cemetary" [2:13-3:18] The Secret of Monkey Island (Game Rip) - (11) "LeChuck's Theme" [3:18-4:35] Certainly no problem integrating pieces from two wholly different series. I thought it was far from seamless in terms of the styles matching up, so I wasn't feeling the Zelda section at all, but it wasn't terrible. The arrangement title leaves something to be desired, but it gets the point across. However, the percussion definitely stands out as the weak link here. A shame when an otherwise solid rock piece has lackluster sequenced percussion. Bland patterns, especially on the generic-sounding drum samples, took away from the skill of the guitar performance and undermined the overall energy of the piece. Gotta spruce that up in a major way and hit us back with this one. Use the ReMixing forum to learn more about making effective use of your sampled drums in a rock setting, harass SnappleMan for advice, and resubmit this once you've improved on that level. Not only will it complete this piece effectively, but the skills you pick up would be applicable to future work. Great base so far, Chris. Hope you stick around the community here and continue to develop your skills. NO (rework/resubmit)

Good luck, Dan. You and ArmCannon deserve to make it over there.

Contacted the artist regarding the source usage - LT pot_hocket (tekcoh_top) michael lee pot.hocket@gmail.com 15440 rachel (final fantasy 6) again 2 guitars (new guitar) and km184 neumann mic. I had a wip on the forums here a long time ago, but I scrapped it and deleted everything in a hissyfit. Heh anyways, I really loved the scenes in FF6 involving locke and rachel. She...*cough* OOOspoiler spoilerOOO runs away with kefka forever and happily ever after... but not for locke. i tried to capture whatever emotions (regret, bitterness, goodmemories, etc) that locke would feel [unless he were actually a robot (omg)...or had a lobotomy-gone-bad]. The earlier wip/version didnt do a good job in my opinion of having enough emotion, and I think this one was a lot easier for me due to circumstances. Anyways, I hope it's a good listen. -- -pot.hocket --------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=ff6 - "Forever Rachel!" (ff6-204.spc) As y'all know, I'm a big proponent of the 50% arrangement concept and personally feel it's core to the site. Anything less than 50% makes it ambiguous as to whether the arrangement is more of a tribute to the original composer or more to the artist themselves. That doesn't imply intent, creative value, or quality, but merely examines execution. With that said, I felt like I have good handle on this source after looping last night and all day and contacted Mike regarding the arrangement. What I'm left with is a mix that barely doesn't make it on the arrangement level. Quoting/paraphrasing myself, the only areas I recognize are :00-1:02 & 1:57-2:35. The section at the end of each verse (i.e. :29-:38, :52-1:02 & 2:12-2:19) sounds pretty liberal but seems derived from :47-:57 of the source. I'm really trying to give this as much credit as I can, and those sections are a stretch. 1:03-1:57 & 2:35-3:23 sounded wholly original and unrelated to the interpretation of the source tune, and wasn't disputed by Michael. So with that said, 100 seconds of a 203-second arrangement: 49.26%. Now a vote like that is anal, but again, to me VGM arrangement should be predominant to wholly original material in any and all cases on OCR, no matter what. VGM is what the site is tributing. >50% is a fair and unambiguous cutoff. Anything lower automatically becomes arbitrary. As soon as you slide the bar down to 49.9%, you can potentially then move it down to 49%. Or 45%. Or 40%. Even 33%. And it starts placing less emphasis on VGM interpretation and more on "what sounds good." I'm not going to endorse anything that knowingly moves us in that direction. Even if it's 49% VGM arrangement like it is here. 50.01%, I would have put it as a direct post in a heartbeat. If I'm missing any clear arrangement that puts this over the line, let me know. This is definitely an excellent track. I gave due diligence on all levels I could. NO (borderline/refine/resubmit)

IKNOW, RITE! I gotta say, I agree with the repetition criticisms, but I feel like the track still came together well enough. I would like to think that the exact same arrangement with varied percussion would be an easy pass, rather than it being voted down for being empty. I felt the textures were enough to adequately fill out the soundfield despite not being complex. If the perc patterns were more varied, that be great. But what's there was already pretty intricate, which is why it didn't catch my attention before and why it isn't a problem for me having been pointed out now. Unless that popcorn-like percussion turns out to be a preset, then I'm surprisingly ok with it. [/outlier]

Hi, my name is Misha Mansoor I would like to submit my remix to the forums. My username is bulb My email address is thisfilter@gmail.com My website is www.myspace.com/iambulb My user ID is 21924 The game i remixed was Final Fantasy 7 I remixed the Jenova Theme. The original composer is Nobuo Uematsu I have actually been meaning to do this for a while now, its really different from my usual style of music (feel free to check out the music on www.myspace.com/iambulb and www.myspace.com/periphery if you like what you hear!) but Nobuo is and has been a huge inspiration to me since my introduction to him with this game. I just finally sat down and did it instead of going out haha!! I have attached the file to the email, please submit the song as "A Song For Sephiroth's Mom" and the artist as "Bulb" Thanks! Misha Mansoor ---------------------------------------------------------------- http://tzone.org/~llin/psf/packs2/FF7_psf.rar - 214 "J-E-N-O-V-A", 307 "Cid's Theme", 201 "Main Theme of Final Fantasy VII" Any longer of a track at these levels, my ears would have broken. This was some balls out stuff, with some insane drum power. Nice drum writing for sure, compared to J-E-N-O-V-A's very straightforward pattern. Performance-wise, no issue here. Awesome power metal. Indeed, we need more metal in our diet. It's how interpretive the arrangement that's the debatable issue. On account of the instrumental expansion (Otto: "You know those guitars that are like...double guitars?"), the soundfield felt cramped, but didn't sound bad. Probably would have encoded at VBR to get as close to 192kbps as possible. Things felt too conservative within the genre adaptation, but it's mostly played live which was a plus. The additional harmonization and embellishments were definitely needed. The cameo appearences of "Cid's Theme" and "Main Theme" from 1:31-2:08 were cool, albeit unexplored potential. Ending at 2:26 was really weak, but at least it didn't end more abruptly than that. Can't help think about what this could have been, i.e. being more interpretive melodically and thus exploring the theme, as well as having a real ending. But since Misha didn't want to build horizontally, he built vertically. Even then though, it could have been pulled off with more interpretation. As is, it's a kickass cover, but as an interpretive enough arrangement it's just not there. Not a problem if this passes, and clearly Bulb knows what he's doing, but when the structure of the original is kept intact, I need more interpretation than what was presented here. If this doesn't pass, hopefully Misha will submit more down the line. NO (borderline)

Gathering serious dust. Let's go.

Wow. Certainly interested in how this turns out.

Cool stuff, but I've always wonder what, if anything, if being arranged from 3:23 until the end. Didn't hear it anywhere in the GBS or NSF sets. Pretty seamless original writing if that's in fact what it was, but I wish Mike or someone else could give more information.

hello, oc peoples! i'm submitting a mix that's part of the Super Dodge Ball remix project. it's called "Rockin the Yard". the original is the Team Kenya theme, available through Lightbunny's hosted nsfe at http://mysite.verizon.net/lightbunny/sdb.nsfe. I'm still the same artist that i was a few years ago...The Prophet of Mephisto. No collaborators on this one. i recorded my saxophone through my m-audio mobilepre usb. i also used the vst versions of steinburg acoustic guitarist run through guitar rig 2.2, steinburg virtual bassist and the NI B4 organ. and addictive drums. that's pretty much all the instruments in this - the wah guitar was the steinburg electric guitar, but as a whole, that's really all that i needed. i used my KeyRig 49 for the organ and bass parts. recorded in two takes, straight through, except for the soli section right before the last time through the head. that was two additional takes for the lower two parts. i'm pretty happy with how it turned out. this was my first real non-collaborative remix that i finished in a while. i'm pretty happy with how it turned out. i'm not a very good jazz saxophonist, but i think i handled myself adequately on the solo section in the middle. the bass is a little heavy in the middle, but it sounds fine on other systems than my computer speakers so i think it's pretty much fine. get it at my soundclick page (you can leave this link up) - www.soundclick.com/theprophetofmephisto. it should be the first track on the music page. have a great day, everyone! hopefully i'll see some of you at magfest again this year! BRAD -------------------------------------------------------------- Certainly no offense to this one (still haven't even heard it yet as I'm typing this, so NYAH), but I'm still bummed about Harmony dropping out of this project. I heard his 1-minute WIP for this one way, way back and it was awesome. Tons of unrealized potential on that WIP. http://akumunsf.good-evil.net/S/Super%20Dodge%20Ball.nsf - Track 8 The opening synth from :03-:06 is definitely one of the more fugly openings I've ever heard. Change the sound on that? The sax performances are decent, but need to sound smoother in tandem with the other instrumentation. The production is also pretty weak, IMO. Everything sounds pretty distant. Nothing turning up my volume didn't address. I see how the dual saxes are supposed to be in different places, but panning hard right and hard left just sounded unrealistic and undermined the energy of the performance. Much better at 1:29-1:35 when you panned it pretty far right, but kept it in stereo with some acoustics resonating more in the left ear. That was the shining point of the piece. Everything else afterward sounded poorly balanced with the sax lead not cutting through enough, IMO. The e-piano, bassline, drums and sax feel like they're at really similar levels 3:02, the sax harmonies were a good concept but didn't quite sound good. Just sounded pretty cluttered. There's that ugly meedley-me sound again at 3:25. :'-( 3:29 could use some more interpretation/variation with the melody, but things picked up more afterward, finishing on a fairly solid note. Mostly messy on the production side. Everything's ultra-busy and comes off feeling unfocused as a result. Balance issues are part of it, but let's see what the others have to say. They'll be able to hone in further. Good stuff so far, Brad, but needs some fine tuning. NO (resubmit)

* ReMixer name: Written Pages * Real name: Fred Epe * Email address: fred.epe@gmail.com * Website: (see below) * Original game/title/composer: Axelay / Colony / Sotaro Tojima & M.C. Ada For my last submission, some of the judges gave me both valuable/useful and cool feedback. I wasn't sure if I should work on Pots of Treasury and resubmit it or use the feedback and get started on a new song instead. I love to move on and try new things, so I chose the latter option and in this case, I chose another Konami title. To me, the folks at Konami have always provided the best music in videogames, back in the 16-bit era and even now ("Silent Hill"). Again, except for the drums, nothing was sequenced. This leads me to one thing I would like to share with "big giant circles": I am sure you got the judge job at OCREMIX for a reason, but I strongly suggest you do your homework before passing judgement on a submission. Just one example: you criticized my piano "sequencing" last time around; that statement wasn't true - at all! None of the instruments in my songs and remixes are sequenced (well, except for drums ) . You can criticize my playing all you want, sure - but please don't make it look like I sequenced something that I didn't. I am pretty sure most musicians would agree that this is an important fact to note. Just read the info, man ... Peace out! -- -= www.unwrittenpages.com =- -= www.myspace.com/unwrittenpages =- -------------------------------------------------------------- Heh. Well, I can't speak for BGC, but sometimes we'll think something sounds hand-sequenced when it's played live. Doesn't happen often, but it happens. But you gotta be asking yourself why anyone would think the performace didn't sound live. Moving on... You...you remixed Axelay. Holy shit. This game never gets enough props, you earn tons of cred for even tackling this one. So don't mess it up!!! http://snesmusic.org/v2/download.php?spcNow=axe - "Colony" (axe-06.spc) Starts out a bit loud, but already sound interpretive in just using the intro of the original. Picked up at :33 with some beats and e-piano. Now I can easily see why anyone would think your piano work was hand-sequenced. The performance sounded robotic, the timing wasn't smooth at all. Hopefully some piano playing Js can give you more direct advice. The beats and backing instrumentation are also really bland and ultimately leave the texture feeling empty most of the way (1:05-1:15 being an exception). Tons of dead space. Luckily picked up fairly nicely at 1:45 with some a nice J-rock type of synth lead in the forefront, though the occasional brass embellishments sounded really fake. 2:15 dropped back to the previous verse. The brief bridges and the chorus are filled out a lot better, but the verses are so empty. What needs to be worked on? Varying up the drum pattern at the core of the arrangement more would help. And fleshing out the texture of the verses with some additional instrumentation. Practicing your performance on the keys is probably something you don't want to hear, but the e-piano easily sounds sequenced. You can complain and treat it as an insult, Fred, or you can suck it up, practice more, and get better. It's definitely a good base, but needs a lot of fine tuning. NO (resubmit)

http://snesmusic.org/v2/download.php?spcNow=dkq - "Stickerbush Symphony" (dkq-17.spc) The improvements definitely round out the piece much more strongly. The arrangement was already interpretive enough, though I still could have gone for some more observable variation from the first verse to the second. The oboe sample abruptly cut out at 3:13, so that would need to be fixed before it went up. Otherwise, this is good enough. YES

You really should let this thread get by on account of actual interest, and not by deleting the last post and reposting. There's no reason to hyperactively bump anything. Don't do this any longer. EDIT: I've gone ahead and edited your thread title to reflect your need for musicians. This is something you should have had in the thread title to begin with. Only bump this thread with meaningful developments pertaining to your project and keep it reasonable. EDIT 2: I would also recommend you learn more about the ReMixers by downloading recent OC ReMixes or the torrents available here. Listening to the randomly played ReMixes at Ormgas.com or albums available at Last.fm are other options. You could also do the newb standby idea and make a thread asking for what remixers/remixes are available in the style(s) that you're looking for, as long as you're explicit with what genres you want. Like others have recommended, asking for the score to a game that's not essentially done likely won't get you any bites, only because loads of fan-made game projects don't finish, and good faith isn't a lot to go on. If and when you do have nearly everything in hand in terms of the game, then personally contact artists you're interested in. Most ReMixer profile pages have the artist's latest website and contact info available.

djp was working on this a few hours ago, and it should be fixed now. I saw this error myself, but thought nothing of it, as I wasn't on my regular computer at the time. Thanks for the heads up.

Let's just assume (note: assume) for this hypothetical that Tappy knowingly used "Troika" as the basis for the MGS theme, but also knowingly chose not to give credit. Would rearranging "Troika" then not be considered plagarism, because some aspects aren't copied over from the old theme to the new theme? That would be like any OC ReMixer rearranging any video game theme with some additional original ideas and claiming they wrote the entire piece on their own without direct interpretation. Would you then claim there's no instance of plagarism? I'm just trying to understand why some people come across as believing that Troika and the MGS Theme having differences somehow means that the practically 1-for-1 similarities are somehow irrelevant to any claims of plagarism.

http://www.mobygames.com/game/playstation/metal-gear-solid/credits http://www.ocremix.org/game/metal-gear-solid-ps1/ ?

Not. Williams. Not Williams. Updated the thread title. I don't wanna see Gregson-Williams brought up 10 more times.

Tappy Iwase composed the MGS theme in the first place (not Harry Gregson-Williams). I don't think that's a coincidence on any level. BUT that doesn't mean it wasn't done on purpose as arrangement homage rather than plagarism. I'm just wondering if it's even been cited before, which would make it more of an issue. Seems like no credit was even given in the past.

Not much to add to this level of carnage. http://snesmusic.org/v2/download.php?spcNow=ff6 - "Tina" (ff6-201.spc) I see what you're going for, but Jon, in his uh...charming way...pretty much gave the breakdown of how the execution is lacking on the various levels. The piece definitely doesn't sound creepy/moody/dark/etc enough. The left hand stuff was boring and droning and didn't make the composition interesting. The Terra melody sounded nice enough adapted for piano, but there wasn't much interpretation beyond that. The performance was decent, but even a moody piece needs to sound more smoothly performed. You're gonna have to refine this a lot in post production. The bells at the end were a perfectly fine idea, don't sweat what DarkeSword is saying. Yeah, I can see how they come as an afterthought due to this being a marginal execution of the arrangement, but if the bells had come at the end of the much more solid/sophisticated arrangement, I doubt the complaint would have been as strong. Thematically, it pieces together reasonably well with the previous piano material. Sounds like a perfectly fine way to close it. If you're going for a Donnie Darko feel, and there are some similar pieces in the score to the approach you were going for, I would definitely study those a lot more closely to get a better idea of the execution, especially for the left hand piano part. You have a good base here, but it's REALLY undeveloped. Don't be discouraged, Brandon, just keep trying to step up your game and approach improvement piece by piece. Look at what was criticized as lacking and play with ways to achieve more complexity and sophistication. NO

Wow. Yeah, if that's indeed what it's claimed to be, that's pretty much the MGS theme. YouTube comment from a Russian: Lots of stupidity on the YouTube comments. (Pretty par for the course when dealing with YouTube.) Lots of people dismissing the similarities or too dumb to recognize them. Lots of people. Some people claiming the subtitles were fake. (I'm half-Russian and those subtitles are definitely accurate.) One guy even said the Sviridov song ("Troika") had to be a fake, because they played it for Kojima on a PSP, and the PSP came out after MGS1. The stupidity is amazing. If that Russian guy (who was the only person who had the info on when this actually took place, Games Convention 2006) says there's no stigma against the track for arranging "Troika", then I'm gonna believe it.