Liontamer

Ohhhhhhhhhhh snap! SgtRama! The baby-mama drama!

http://www.zophar.net/gbs/sobs.zip - Track 26 I only overtly recognized :26-:36 from the source being arranged in here from 1:15-1:53 (then later in the background). To be on the safe side, you need to clarify how you're incorporating the source material in your submission, otherwise we may have trouble making the connections. When in doubt, the burden is on you to prove how you've arranged your stated source tune. Yeah, I don't know why you sequenced the harp so tightly; it just sounds completely fake, plus the velocites being so similar from note-to-note only help to stifle the energy. The beatwork, when in play, is way too basic; at least there's some meat on the bass kicks, but the overall texture is too simple. I did like the strings and glassy arpeggiated notes serving to pad out the back. Simple but effective ideas, conceptually. Strings were too mechanical-sounding with the sequencing though. Same issues with the brass at 1:54 & 2:13; completely unnatural sounding with weird attacks. I think the overall structure is half-decent, moreso than Vigilante's giving it credit for. Despite more obvious issues like the rigid sequencing and boring/repetitive drums, there's a modicum of attention paid to dynamics and instrumental variation with the melody, so those are a step in the right direction. In my opinion, your primary short term goal should be to learn how to sequence your parts for a more natural sound. If you aren't doing so already, use the ReMixing and Works forums for questions and fan feedback before submitting in the future. NO

* Your ReMixer name - Kryptikon * Your email address - kryptikon@gmail.com [ edit] * Name of game(s) ReMixed - Star Ocean: Blue Sphere * Name of individual song(s) ReMixed - Myth of Fate

This has been up a for a little while. From this point on, I'll be PMing people regarding proper use of the Real Name field if necessary. Everyone should go ahead and take out anything unrelated to their real name out of that field. Otherwise, I'll be required to modify people's accounts myself and throw out some temporary bans.

No submissions should be over 192kbps, so please do not submit something at 207kbps. http://www.zophar.net/gbs/pokemonb.zip - Track 36 Wow, that's an ugly source tune, I'll say. Interested to see where you go with it. ... Redux. The sound quality was half decent; you've got some meat on the individual sounds, but the texture's still empty. Mallet percussion at :08 sounds a bit flimsy. Synth lead at :18 is barren and ugly on its own. Heh, nice Genesis-style stuff from :25-:27 with the throwback sounds. What the hell is the deal from 1:51-2:01; there's nothing happening, bro. Piano chords starting at 2:18 were definitely swanky (though overly quantized), but the piano chords bled into the mallet percussion (gonna assume vibes), so you need to pay more attention to EQing to separate the parts. The textures here aren't nearly complex enough. The percussion grooves change on occasion, but they generally just drag on with repetition and don't effectively drive the arrangement forward. The composition here's simply not sophisticated and the sounds don't fill up the space well at all, both in the foreground and background. The arrangement drags pretty substantially as a result. Just keep on trying to improve, bro. NO

Beatdrizzle, my shizzle grizzle!

Contact Info * Showty * Dana Short * Shortstuff71@columbus.rr.com * 90257328 ReMix Info * Mega Man IV * Citadel (Dr. Cossack) stage 1 * http://members.fortunecity.com/kane5000/cs1and2.mid * For some reason, no one likes this song. I wish I knew why but I’ve always liked this song and so I decided to try and create a remix of it. Besides conserving the original melody, all additional parts of this song are new. This includes an obvious re-organization of the song and the addition of musical segments. This includes a harmonization of the original melody. I’ve played the piano since I was in kindergarten and I’ve become very good with improvising and composing. If you don’t remember, the first stage takes place in the snowy outskirts of the Citadel grounds. I guess that ice, snow, and Russians remind me of the Nutcracker. This explains the fast-paced “sugar plum fairy” electronic style here (that doesn’t mean it’s cheezy). I also have learned that when dealing with winter-related music, dark bass, lots of reverb and staccato are the way to go. If there is one thing that I am worried about, it is that I used Fruity Loops to make this mix. I really don’t like how a lot of the music created using that program sometimes gets a MIDI feel to it so I tried incredibly hard to avoid that. Whether you think this is OC worthy or not, thank you for your time and criticism. ----------------------------------------------------- http://www.zophar.net/nsf/megaman4.zip - Track 9 ("Dr. Cossack Stage 1") Yeah, I remember this track. SgtRama did a cool WIP mix of it for the Fresh Baked Remix Competition 1 back around '03 that made me familiar with the original. Let's see how you did. What immediately struck me was that the beatwork in the back was really simplistic & flimsy and the writing was generically structured, which bogged down the entire arrangement. Nothing like thin, generic-sounding beats & claps and vanilla boom-tss patterns on complete cruise control to make something sound too beginner-ish right out of the gate. Hopefully you're not cycling through a bunch of preset loops. In any case, layer up your percussion tracks for a richer feel that fills out the background more, and go for more creative writing/patterns. Melodically the track is pretty thin. The countermelody on bassline (prominent from 1:03-1:17) wasn't much of a factor. You definitely could have used the meat that the bass provided for the rest of the track. Things finally bolstered up around 1:31 with some additional writing under the melody, but it played a pretty minor part. 1:57 stuck with the verbatim treatment of the melody while throwing in some original stuff on top. The melodic textures still sounded really thin; you need more density here via addition parts. You really gotta give the actual MM4 source tune melody some actual interpretation; you usually play it way too straight and hope that your embellishments will personalize the approach enough, which they don't. Needs more interpretation, more work put into the percussion, and more instrumental depth before this would even be in remotely decent shape. What's in place is at a very work-in-progress level. NO

Hi, this is my second attempt with the Team Rocket source, and I figured Id go with producing more of a groove with it. Ive focused on making the mix more cohesive than my previous stuff....well, here it is: Contact Info Remixer Name: Dr. Rod Real Name: Rod Turpin EMail Address: LightningRT@gmail.com User ID: 19945 Source Info System: Game Boy Game: Pokemon R/B/Y Song: Team Rocket Hideout Remix Info Remix Title: Basement Funk

http://www.zophar.net/usf/lozusf.rar - 26 "Zelda's Theme", 28 "Lon Lon Ranch", 35 "Lost Woods", 44 "Temple of Time", 57 "Windmill Hut" & 32 "Hyrule Field Morning Theme" Thanks to pixietricks for the source breakdown. In the context of judging loads of OoT submissions, I've grown to know the tracks very well. I'm trying to read Vigilante's mind and guessing he'd think it suffers too greatly from medleyitis, but that's all it is - a guess. I'm certainly interested in his take. I think the trackname, while bland, is fine. I mean, it says what it is. Some of the theme transitions definitely felt jumpy and undeveloped (e.g. 1:27, 2:37), but the majority of them felt very natural and seamless. The hanging note at 1:36 seemed like a mistake, but it's negligible. Overall smooth playing and a nice atmosphere, which is all you can ask for with a solo piano arrangement. On that most basic level, it clearly brings the goods. I don't think it's a question at all as to how passable this is, only how far above the bar it is. With that said, this is enough over the bar to me where it's not quite a borderline vote. I wish each of the themes had more breathing room for expanded interpretation and personalization. After all, it's something we like to stress admist the lure of the mega-medley. But like pixietricks, I agree that the themes were all individually altered and embellished, which makes an up vote all the more comfortable. Welcome aboard, George. YES

I'll be honest, I just wanted some Lord of the Sword; Who's gonna stop me? You? - LT Hello Judge’s Panel from OC ReMix. I’m sending you my remix from Lord Of The Sword (Battle Theme). I used mainly Triton Classic sounds – only the real drums are from a soundbank I have here. Mixed on Audition 2.0. There’s not much remix/midi/etc from this game, hope you like this one. CONTACT INFO ReMixer name: Cosmonal Real Name: Eric Fraga Email: cosmonal@terra.com.br REMIX INFO Game Remixed: Lord Of The Sword Song: Battle Theme System: Sega Master System / Mark III See you, Cosmonal ---------------------------------------------------------------------- http://www.smspower.org/music/vgm/unapproved/Lord_of_the_Sword_update.zip - "Battling" Decent intro, but it was downhill from there. The interplay between the sounds just isn't cohesive, especially once the drums come in. The timing between the instruments is out of synch, and everything's too mechanically sequenced. And once the drums arrived, the pattern looped over and over again, which was extremely boring to listen through. A brief glimmer of something fuller showed up at 1:17 but was over by 1:24, replaced by even more empty space. Same tease of fuller textures at 3:10 for the close. The strings first used at 1:30 were extremely mechanical. The changes in the dynamics at 1:24 and 2:20 were good ideas conceptually, but the textures were so spartan that the track merely sounded boring still. There were some minor expansive ideas as well as observable dynamic shifts, but the overall arrangement was too straightforward and not helped by the very simplistic and sparse textures. Needs more complexity, tighter timing, more interpretation and expansion. This is only a work-in-progress at this level, keep working on it. NO

LT: It is when I'm in charge. When you're in charge, you can add all the blurry, ugly avatars you want.

I've called Natasha at Group Sales once again, and I'm being conservative with upping our tickets as we're closer to the payment deadline. I've reserved 8 addition seats, and I'll be heading to the Kennedy Center after work tomorrow to sign the additional paperwork. Row S has 3 seats free behind Row R, then I also got 5 more seats in Row T that are immediately behind the 3 available seats in row S. In order to be fair, the original 25 reserved seats will go to those who paid first, and I will be going through with Dave to look through the PayPal records and treat the purchases on a FIFO basis. If we don't get any additional ticket reservations, we'll still have an incredible showing. Everyone make sure to have their OCR shirts handy! I'm going on Saturday as well, everyone else be damned! We just need to organize who else is attending the encore show in order to buy a group of tickets together, which I can also handle. Expect to pay full price with these though, $45 + additional charges, but let's see how many people we can wrangle first.

That's 25 people. Thanks to BGC's message, I'll call Group Sales to reserve some more tix, but they won't be right next to our block of 25. 3 seats in row S and a bunch in row T. I'll see what we can do.

I remember this one from way back. It was one of the first newly posted tracks that I DLed after I was introduced to OCR. I was still in my "download stuff only from games I know phase" before I wised up many months later. I definitelyt played this on the radio several times, because I remember the bass distorting through the radio station's soundboard and having to compensate for it with Winamp's EQ settings. One subtle detail I never noticed with the electric guitar synth until just now was the really cool effect of trails of previous notes overlapping with new notes, something you don't catch until the sample is exposed from 3:17-3:39. I loved the arrangement's slow burn approach. Spent many days just sitting back and letting this one loop. There's been nothing else like it on OCR. Especially being from a popular game like SMB2, this is criminally under-reviewed.

Wasn't a fan of the changeup at 2:46 at all. I would have settled for further development of the previous ideas. Wish this was cleaner-sounding, but that was some really impressive dNb. Nothing too complex, but very driving in terms of the energy.

During Lockdown 2, I gotta say, I was hardpressed to make all the connections to the source material here. Sounded pretty liberal to me. AFAIK, I was satisfied enough with what I heard to let it go. As for the track itself, it's got a positive vibe without seeming saccharine sweet or syrupy, which I really enjoyed. Really excellent composition & sounds, as well as very tight production. Benedikt is a consumate musician.

I should have commented specifically on the track years ago when I mentioned Chris's passing, because this one was also one of my favorites when it was posted. Final Fantasy 3 "Winds of Eternity" was also a classic favorite of mine. The opening bassline was incredibly sexy, and I loved the warping effect on it from :38-:47 as a transition into the source melody. The string work afterward was also really beautiful, and the overall atmosphere is something analogous to mv's material. I wouldn't have disagreed if someone has told me it was a collab between the two. It's unfortunate that Chris passed away, as I would have loved to have heard more material from him and follow his musical development. He mostly phased out of the community years before the car accident that took his life, but what you have here in his final OC ReMix were all the hallmarks of a sophisticated, creative arranger.

The sounds are pretty dated, unlike stuff like "Forest Birdcussion," and Ari would be able to come up with more fleshed out textures nowadays. But the arrangement is pretty good, even though I'm not a fan of the original at all. Really awesome rock stuff from 2:51-3:41 with some awesome synth soloing. Everything from that point on carried the track home strong and sounded a lot more cohesive than the first half.

Short, and way too underdeveloped & uninterpretive, but the guitar tone is really nice.

Absolutely loved this one back when it first came out. It solidified Quinn as one I'd watch after I first heard Phantasy Star Online "Lobby Static." A really engaging, laid-back, beautiful mix, it really does a lot to take the original and make it more melodic and palatable to the ear. Definitely an overlooked gem if you want something chill.

Yeah, this was an awesome mix back in the day, plus it completely holds up now. It's a drastically different take on the original that I enjoy for its sheer interpretiveness. It's got a great groove and really unique textures. I do wish the track had a bit more overt melodic focus, but that's only because I think it would appeal to others more that way. I personally love it as is. Looking at when it was posted (October 2002), I get nostalgic about including this one back on my radio show, even before it became VG Frequency. Really well-polished, this was indicative of OCR's quality and professional quality as well, even if it was less consistent at the time.

They definitely were. It's a really cool mix for its time, but the interpretation, in light of the source material, is really low. I did like the thick drum work in particular though. It really drives the track along well.

Lovely piano adaptation. That's the short of it. Greg always does a goob job with results that have a wide appeal.

Doesn't hold a candle to its conceptual successor, Final Fantasy 5's "ROBOVoice." Lyrics here aren't intelligible enough and are too loud. Arrangement's pretty by-the-numbers as well. Definitely not one that aged well.

I didn't like that chiptuneish lead very much; didn't mesh well with the other instrumentation IMO. Transition to the piano at 1:38 was very nice though; I could have used more of that. The beatwork changing up more often also would have been a nice touch. Melodically though, I liked the direction this went in.