Liontamer

OHHHHHH SHIT I WAS JUST PLAYIN!

1) Waltz for Zora (4:30-long) - Overt points of Zelda source usage are :00-1:00, 1:23-1:30, 2:07-2:15, 2:22-2:26, 3:15-4:08 & 4:15-4:23, i.e. 2:20's worth of source arrangement. 1:30-1:40 sounds pretty liberal, as well as 2:52-3:07, since those rely mostly on the supporting instrumentation, so I didn't count those areas. Nonetheless, there's more than 50% usage of the source material. 2) If I miss anything as far as timestamps, definitely correct me, as I'm not overly familiar with this source and it's a lengthy track full of phrases to choose from. You could be using even more from "World Revolution" that I'm simply not picking up on. As far as your mix goes, the first 1:59 is pretty standard arrangement. During the soloing, playing solos on top of the chords is definitely ok. You do have the chords of the original come in at 2:35-3:09. 4:10-4:40 refers to the original with the bassline, and later with the piano. 5:17-6:11 returns to arranging the source. So at least about 3:57-total's worth of source usage in a 6:11-long track sounds perfectly fine to me from a standards perspective. 3) Whichever judge you got the feedback from was mistaken on how liberal the piece was, IMO. While I admire your passion, I don't think the issue this post brings up is in fact a valid one. "Waltz for Zora" is liberal, but not too liberal. Your mix is jazz, but the arrangement concept isn't teetering near the realm of unacceptablilty from a standards perspective. There's no double standard being applied to jazz mixes and how relevant they need to be to the source material. In terms of the sparseness, I agreed with that, but reckon that more work has yet to be done in terms of fleshing out these sounds.

djp: Checks it out, another Suzumebachi submission! Isn't that incrediballs? This one is from VOTL, so please hold out on posting until the project is released (though I probably don't have to tell you that). This mix has been a long (LONG) time coming. I started it back in January 2006, when I first got on the FF7 project. I poked and prodded it for many months, much to the chagrin of zircon. Most of the hangup came from problems recording guitars-- my main guitar died in a gigging mishap before I had finished all the recordings, leaving me just an old beat up Epi with busted pickups to record with. However, Sixto was gracious enough to provide me with a balls busting solo, so in the end it worked out well (and probably for the better cuz that dude is amazing and I have slow fatty sausage fingers). Additionally, zircon was kind enough to help finish with the mixing side of things (and he added some fun synthy crud in there as well). So basically what we have here is a collab, with arrangement, sequencing and guitars by Suzumebachi, incrediballs guitar solo by Sixto, and pads and synth leads by Mr. Aversa. Enjoy! -Suzumebachi

I'm a one man show!

There's always me. Eventually.

Nope. No idea why you'd see that.

I'm willing to wait months, Cain. Plus, there's no rule saying there's only 1 arrangment allowed for a source tune. If we get 5 Silver Surfer title themes, and they're all high quality, let it ride, I say. --------------------------------------------------------------------------------------- Long overdue WIP comments follow: *OverCoat (Plok - "Telefon Akrilic"): Interesting opening. Sequenced strings felt too rigid, but seemed purposeful. Lo-fi strings entered in at :38. I liked the new writing with the woodwind brought in at :56. The approach on this one grew on me as I got more familiar with it; the rigid timing turned out to have more legitimacy that I though it would. Good percussion programming. Some slight distortion on the piano during 1:26's section. Heard a LOT of light clicking (1:30, 1:36, 1:37, 1:42, 1:46) possibly related to a damaged soundfont. Once could argue it doesn't sound out of place with the way this is produced, and the problem wasn't exposed during the busier parts, but just letting you know. Ending at 2:14 is a bit anticlimatic; nothing wrong with it, but maybe one last reference to the source melody during the fadeout could be added, just not with the string instrument. Aside from any minor issues you have with it, Scott, feel free to work on this further or call it a done deal. It definitely sounds like a complete musical idea to me, which was impressive given the length. It ends up feeling like a longer track, due to the tempo. The textures are relatively sparse, but nothing ends up feeling empty here; definitely produced well. Decent effort (i.e. Nice work!). Thanks very much. *Abadoss (Equinox - "Altena's End"): From the opening, I felt like the panning could be more distinct. I dunno how that jives with a typical orchestral setup, but this seemed like it could be more spacious. In case I'm just trippin', feel free to ask Sil, James George or any expert you trust on any opinions they may have. Volume got particularly piercing from :40-46 and 2:54-3:04. Less so during the rest of the track, but please watch out for hot spots like that as they tend to be pretty frequent with the encoding I have. If you need more specific timestamps, lemme know. Woodwinds abrupty cut-off at 1:59 instead of trailing off when the strings take over. The way the soundscape became so much clearer felt off as a result. Instruments cut off too quickly for the ending at 3:07, exposing the samples. And lastly, the arrangement is beautiful. This is basically complete Kenneth, but just needs some touch-ups with the mixing to get everything solid. Really glad to get a sub from this game! *Erik S (Ghouls 'N Ghosts - "Ghoulsies & Ghosties"): Intro sounds really cool. Man, once the drums come in at, it's really obvious this is missing a lot of treble/high-end. Makes the track sound really lossy despite being at 182kbps. GrayLightning's production suggestions for your Awesome remix (re: EQ rolloff ideas) seem fairly relevant here and could potentially help this out a lot. Piano at :50 can't be heard very well; seems like the :50-1:07 section is kind of crammed up; some EQing needs to be done to the parts to get them sounding more distinct and improve the overall texture; some killer writing ideas are getting hidden back there. Awesome changeup at 1:34. Really great ideas, with great energy. The dynamics in the arrangement are amazing. Need major EQing changes for everything from 2:14-3:24. The synth warbling, strings, and lead are bleeding into each other really badly. I imagine in a more properly balanced mix, the synth warbling wouldn't be so prevelant, but I'm not knowledgable enough to tell you definitive. I'll have zircon take a quick listen soon. Seems like there's an extra note in the 6 note sequence that transitions into a synth solo at 2:47. Getting rid of that 5th note makes the transition flow better and makes it so that the timing doesn't feel slightly off. Key change ending at 3:26 was a little corny, but did attempt to bring the arrangement full circle. My only suggestion there would be to trail off the ending more with a fading delay effect or something to stretch that last note out. We gotta get someone with an ear for production to reexamine this, but as an arrangement this is nothing short of excellent.

If the bassline was phatter, it would put it over the top, but I really liked the way this turned out nonetheless. Solid stuff, glad to pass it!

http://tzone.org/~llin/psf/packs2/FF9_psf.rar - 101 "The Place I'll Return to Someday" Interesting sounds for the opening. Source melody was referenced at :09 before a nice groove jumped in at :29 with the source arranged more interpretively. For d'N'b, yeah, this is weak stuff. Bass and drums aren't meaty enough at all. Actually, none of the sounds have enough depth to them at all. Changed up to a crazy original breakdown at 1:07 that sounded ultra-thin. Same issue at 2:14. The writing was cool, but the processing and production on this were super dry and leave the track merely sounding empty and unfinished. Changes into a shrill electrosynth lead at 1:35 really liberally arranging the source material. IMO, there was adequate usage of the source theme, especially in the background. More overt melodic interpretation would help, but I didn't think there was a question of using it enough. I was disappointed that there wasn't more focus on interpreting the source melody, rather focusing on using the same initial 5 note-pattern for most of it. I liked the orchestral rendition of the theme at 2:52 for the last section as well. I disagreed with Lee on it being too similar to the original, as the supporting parts from both sets of strings definitely expanded upon the original with new countermelodies. In lieu of TO's concerns on the arrangement piecing together well, I think over repeated listens the arrangement structure doesn't sound aimless. On that level, familiarity helps, and I think the dynamics were good on the whole. But yeah, the production on this is way too dry and thin for what you're going for. The dynamic contrasts inherent in the composition don't resonate at all, because everything sounds flimsy and quiet. Sure, leave the appropriate sections sounding more subdued, but beef up the parts here where its necessary. Definitely work on this one further, Mattias. NO (resubmit)

http://www.snesmusic.org/spcsets/ct.rsn - "Sara's Theme" (ct-3-06.spc) Yeah, good stuff y'all. A bit too lo-fi for my tastes on those strings, but otherwise everything was cool. In terms of the treatment of "Schala", definitely a good move going for a conceptually subdued arrangement that didn't place all the emphasis on the melody, but instead move things along via the source's original chord progressions. The drum programming is defintely ace stuff from Skrypnyk. You ever gonna get a solo mix up? Hopefully your individual skills are improving beyond just drums; still though, props for that singular level of improvement, both here and in your previous Bubble Bobble sub. It's just one of many but I liked the subtle but noticeable dynamic shift at 2:20. I loved the adjustments made in the drum programming from section to section. Say what you will about the drums & other glitch SFX seeming crazy the whole time, but it was the programming sophistication there that really controlled the dynamic changes in the mix and made them work so effectively. Good stuff boys. As they say in poker, take it down. YES

http://www.mirsoft.info/gmb/music_info.php?id_ele=MTM4MDQ= - HOCUSIT Immediate summary was that it was a generic, by-the-numbers Euroscene style mix; decent for the undemanding, but otherwise bland everything. The arrangement isn't too interpretive beyond the genre adaptation. After the lengthy lead-in, the part writing is just a cover with a nice groove. TO already broke it down. For those that AREN'T as familiar with the Euroscene, the sounds are a refreshing change of pace from the electronic stuff we normally get. But to me, the sounds, production and processing are serviceable but vanilla. Something with this level of production would always have a good chance provided the arrangement was strong, but that's not the case here. The production could stand to be more creative, the textures need fleshing out, and the arrangement needs more development and interpretation. NO

Read this thread; see if you like it: http://ocremix.org/forums/showthread.php?t=8375

Hi there.. Im sending a Remix for OCRemix.org... All Infos: Remixername: Tax-5 Real Name: Stephan S. Email: webmaster@tax-5.ch Website: http://www.tax-5.ch Forum User ID: http://www.ocremix.org/forums/member.php?u=20291 Remix Info: Game: Hocus Pocus Song: Main Theme Additional Infos: Developed by Apogee (1994), Genre: Jump n Run, System: MS DOS Original Song: http://youtube.com/watch?v=jx2v3nCKgbE (can only be heard a short Time) Comments: The Song was created in a late Sunday evening. I was sitting in my Studio an wanted to do something but i had no Idea. When i was looking at the DX7 (which uses the same Synthesis as the old DOS Games did) i thought: Hm.. lets remix Hocus Pocus Main Theme for OCRemix. Because it was already early Night i was too lazy to use my Hardware (because of the Connections) so i decided to use only Software. The Song was made in Cubase and the Melodies were played on a Yamaha CS1x wich sends MIDI Data to the PC..The Plugins were Vanguard, NI Battery, Triforce and Superwave and some Samples (also from the Original Game) Thats it Have Fun Greetz Tax-5 www.tax-5.ch

Remixers: ambient, Skrypnyk Game Remixed: Chrono Trigger Song Remixed: Schala's Theme Hey guys! I think it has been a while since my last submission, so here comes my latest collaboration with one of the most talented glitch percussion programmers out there. I started working on this remix about a year ago, and it has its own little story. One time when I was totally bored and hanging in #ocremix, Taucer and I thought of a name for a joke remix - Chrono Wigga. It was intended for OLR, and we planned to put some "white" rapper vocals and wah-wah guitars in there. I started laying down the groundwork, some beats and arrangement ideas using Schala's theme as the source. However, at the time I was listening to a lot of downtempo electronica, and shortly that influence took over the mix completely. One of the thing that remains from the original hip-hop idea is the sub-bass, which has now been toned down a lot. In the process of working on the mix, I couldn't make percussion I was 100% happy with, and that is when I listened to some of Skrypnyk's glitch tracks. He agreed to work on the drums for this remix and I gave him complete creative freedom. At this point, the track formed into more or less what it is today. So, why Back 2 Skala? Well, when I first played Chrono Trigger, I assumed that Schala's name was pronounced "Skala", instead of "Shala". Now I know that the proper way of pronouncing it is most likely "Shala", since in the Japanese version of the game it was spelled "Sara". To me, though, it will always be "Skala" (you have to admit, it does sound better). Also, Back 2 Skala is a reference to a relatively new track by one of my favorite bands, which other fans will easily recognize. This mix took a long time to complete and it could be my last remix. Or at least my last remix for a long while. There are other priorities in my life right now, and hobbies tend to suffer first. I want to thank Skrypnyk for his great work and dedication to the project. Skrypnyk had only one short message for the panel: "I like drums =)." And it shows. He really exceeded my expectations on the drums and did a great job mastering the track. It turned out to be a successful fusion of Reason and FL. Special thanks goes to Zircon for giving me feedback regardless of how many times I bothered him. Could not have pulled it off without his advice. I hope you guys like this one!

OHHHHHHHHHHHHHHHHHHHHHHHHHH YEAH! chick...chicka-chickahhh! Awesome stuff.

http://www.zophar.net/nsf/bubbob.zip - Track 2 Yeah, my main complaint was that harmonically, this was thin as hell. Flesh out the melody with other parts. It also doesn't interpret the theme enough and, other than some rhythmic changes for the 1:50 section, you couldn't ask for this track to be carried any more by this sick drum sequencing than it already is. If and when there's more melodic rearrangement substance, come on back. NO dice

Original Decision: http://ocremix.org/forums/showthread.php?t=5162 Remixer name - Vidilian Real name - Vidal Spaine Email - vspaine14@hotmail.co.uk Game remixed - Legend of Zelda: Majora's Mask Song Remixed: Deku Palace Composer - Koji Kondo System - N64 I've submitted this before, quite recently actually. It was my first mix so I wasn't expecting anything, except helpful criticisms. I've improved on everything that was said I think, (changed quite alot) so I thought I'd try again at getting the first Majora's mask mix on the site. The judges said this mix could have a bright future. Hopefully I've given it that... ---------------------------------------------------------------------------------------------------- http://www.zophar.net/usf/lozmmusf.rar - 145 "Deku Palace" I still think the opening sounds pretty sluggish, and that the lead there isn't a particularly strong choice. By :17, the pads, strummed strings (entering at :12) and low, rumbling thingermabobber (entering at :17) pretty much crowded out all of the other sounds until :47. Bowed strings first used at :35 were pretty fake, plus barely audible, though you could hear them a bit better at :46. Not sure what was up with the key change at :58, especially since it only lasted until 1:09. And again with the instrumentation being exceedingly crowded and indistinct. What was that all about? Another key change at 1:26. Uh...OK, yeah, we're getting into more of the same issues with REALLY abrupt transitions and crowded textures. Plus, the sense of dynamics this had is pretty much ruined because there are so many crowded parts, none of them really working together cohesively. Think about what Vigilante said last time around: Hate to sound like an asshole, but this isn't an improvement over the first version in any way. All the same problems are there, only it amplifies them compared to the first go-around. It's just a mess. A huge mess. Well, you gotta walk before you can run, so don't be discouraged by another rejection. Keep striving to learn, but this won't be the track that gets you on the main page. NO

Game: Shadow of the Colossus Song(s): "Counterattack" and "The Opened Way" Remix Title: Wanderer On The Offensive Remixer: Cerrax Original Composer: Kow Otani I have always loved the music from Shadow of the Colossus. It is probably the best game I have played in years. But trying to do a remix of such excellent music is tough, as it is already quite a stunning work. The colossus battle themes "Counterattack" and "The Opened Way" are practically on repeat on my iPod. They were stuck in my head and I just couldn't get them out! So I remixed them. The title of the remix "Wanderer On The Offensive" speaks greatly of the nature of the mix. One of the things to note in SotC soundtrack is that even the brutalest moments have a very gentle side to them. So I decided to get rid of that and just rock the hell out of these songs It's sort of as if Wanderer is fed up with being a bug on the windsheild and starts being the wasp with deadly poison. Well enjoy! -Cerrax (Charles Koch) ----------------------------------------------------------------------------------------------- Wondering why you didn't retract this given that you potentially have Sixto on board for guitar, but we'll just go on this one as is. Wander and the Colossus -Roar of the Earth- Original Soundtrack - (21) "Counterattack ~Battle With the Colossus~" & (08) "The Opened Way ~Battle With the Colossus~" Hoo boy, that guitar synth is pretty nasty. Just sounds really fake and super dry. The drumwork doesn't have the power it needs either, particularly that snare during the verses. That plucked string instrument at :42 made me pause the track, it's so rough. It's absolutely buried in the back, sounds incredibly thin as if there's 0 string resonance, and sounds very mechanically sequenced (:53-:1:05, especially). :'-( It came back at 2:45 with the same writing ideas verbatim; you gotta do something different and help things evolve. Tempo change at 4:02 for the ending was awkward, and the track abruptly cut out at 4:20 in the middle of the cymbal fade. The arrangement is in the right place, so this is promising at the core, but this track itself was just ugly-sounding the whole way. Things really need more finesse to get this sounding the way it does in your head. The sequenced guitar playing just sounds cheap and choppy the whole way through. It's cool that you've got Sixto on the collab side now, but keep learning on your own, Charles, so that you can achieve richer, more realistic sounds in the event that no one is available to collab. NO (resubmit)

Nice cumshot, Coop!

Hello... I am giving it another go. Remixing and submitting to OCR again that is. I previously sent in an FF7 remix that was horribly done and use the name Black_Marauder. I have since then started using a different name and feel better about what I do now. So here goes!! FlatEq is the new name. My site: http://kylekoch012186.googlepages.com. My song of choice for this month was Doom, Episode 2, Mission 8. I have played doom since I was 8. Its once of those legacies that has been around for a long time and will continue to be around for a very long time, IMHO. I gave an honest effort to this one. Considering I have no professional background, and very little experience compared to all of the wonderful remixers here at OCR. I worried that it still wouldn't be good enough for submission, but I then decided that it would be up to you guys to determin that. Song Info: Remixer: FlatEq Game: Doom, Episode 2, Mission/Map 8 Original Artist: Bobby Prince File Link: Peace, Kyle (FlatEq) Koch --------------------------------------- http://www.doom2.net/~doomdepot/musi...02%20midis.zip - Doom: E2M8 Interesting beginning. I definitely recognize that drumloop at 1:18 as one of the FL defaults. Probably another drumloop at 1:59 there. Nah, no good, yo. I understand you gotta walk before you can run, but tacked on drumloops don't get the job done. The production is half-decent in that the soundscape is spacious and filled out decently by the otherwise sparse writing and textures here. Needs a lot more to adequately flesh this out on the production side. Arrangement is carried by the excellent source tune. Once you hear the pattern from :37-:44, you've basically heard the entire mix, only the background changes up every so often. In other words, the arrangement is vastly underdeveloped. It's worth noting that there's also a really basic grasp of dynamics here, but that's better than nothing. In any case, the intro had some potential, but once you got into the meat of things, it was obvious the arrangement didn't have too much to say. Use the ReMixing and Works forums hear to both learn more about making music and post your stuff for other people to provide feedback on. NO

http://tzone.org/~llin/psf/packs2/FF7_psf.rar - 402 "Weapon Raid" I don't crib other people's votes often, but I do when they're spot on. Strings are BURIED in the back. They might as well not even be there. The drums needs to be refined like TO said, though they're ok in their role overall. The mixing is too loud and completely imbalanced. There's no ending. This wasn't a bad track at all, but for the standards of this site, it's just another case of an uncreative mix title denoting an uncreative arrangement. You need to interpret the theme, not merely cover it. Come back with something more interpretive and personalized next time. NO

http://www.zophar.net/nsf/superm~1.zip - Track 2 ("Overworld BGM") Played the original version of this way back on VGF75. I remember not being nearly as hot on it back then, but this version definitely sounds improved from a production standpoint. Short, but personalized. The arrangement could use MORE development, but it's critical to note that the arrangement is still adequately developed, not underdeveloped. The volume is a bit loud, but nothing negatively impactful; lends to the energy. Brief but creative transition section from 1:03-1:15 that was wholly original, also used as the intro. There's loads of good instrumental variation from verse to verse that really seal the deal in terms of making the arrangement his own. Solid stuff. YES

ReMix Download link: ReMix name: Pure Ten ReMixer name: Phytre Pighlet Real name: David Hesselbom E-mail address: phytrepighlet@gmail.com Website: nah Userid: 3191 (Dafydd) Game ReMixed: R.C. Pro-Am (http://www.ocremix.org/game/rcproam/) Songs ReMixed: (in order of appearance) (# = nsf #) #2. Start race #6. Game Over #1. Title Theme #3. Finish race Comments: I realized R.C. Pro-Am is listed as a game at OCR but it currently has no remixes. Here's the result of that insight. Thanks for Ken Ardency for making a really nice drumkit, Darkesword for hosting it on his website, and to this here website for providing some nice guitar soundfonts: http://www.lyd- teknik.dk/soundfonts.html . I'm counting on this to get shredded because mixing/mastering/production issues, but if you complain too much about my arrangement being repetitive or whatever (not much source to work from) I'm going cry... at least a little. // Dafydd ------------------------------------------------------------------------------ Uh...certainly a weird artist name. Can't say I like it. Stick with Dafydd. Anyway... http://www.zophar.net/nsf/rcproam.zip - Tracks 2, 6, 1 & 3 Dave Wise always deserves some arrangement treatment. Cool sound choices for the intro. The plucked acoustic guitar at :29 sounds ultra-mechanical, but at least the tone was fairly good. Good gradual volume raise of the other supporting parts afterward. The snare first brought in at :53 was pretty weak; generic-sounding, generic pattern, and the sound of it just didn't fit the texture here. Unfortunately, I couldn't tell you what to change about it, but right now it sticks out like a sore thumb. Maybe some other Js will weigh in on that. I did like the arrangement of the main theme on acoustic guitar, but IMO it was pushed too far in the back behind the electric guitar and other sounds from 1:28-1:57. The bowed strings at 1:57 sounded ultra-fake as well unfortunately. At 2:04, the usage of the source material was still buried way back until 2:19, but it was brief. The strings from 2:19-2:24 again sounded very mechanical. The sequenced acoustic guitar returned at 2:31, still sounding pretty mechanical. Some interesting ideas with the light, layered brass (?) samples from 2:41-3:10. The ending was pretty good; nice touch with the racing car SFX. The overall texture was on the thin side, but if the various instruments had more realism to them, the textural thinness may have been less of an issue. The arrangement got a lot out of the minimal source material, which was great. You mainly need to gain more finesse with the sample usage and sound balance to get things sounding their best. See what you can do about refining the snare drum, acoustic guitar and bowed strings and you'd be much further along. Good base so far, David. NO (resubmit)

Nah, it'll be done when it's done. But yeah, I'm still waiting for results from the Tornado of Solos before I ask anyone if they're willing to submit their stuff for the project. Since everything's supposed to remain anonymous until the judging's done, I won't holler at anyone until then.

Bwahahaha!