Liontamer   Judges ⚖️

Re-mixer Info Re-mixer name: Wiesty Real Name: Dylan Wiest Email Address: dwiest@hotmail.com Website: - User ID: 11643 Remix Info Game Remixed: Radical Dreamers Song Remixed: The Frozen Flame Name of Remix: Cold as Hell Comments: I had originally had a basic Idea for the song, so basic in fact, that it was the opening piano riff accompanied by the cellos. Being the ballad writer that I am, that eventually evolved into a whole load of new ideas. I wanted to do something Jazzy for this piece, but at the same time keep it a little contemporary, which was where the cellos and piano solo came in. At first the song kind of bounced along on one mellow beat, but that later evolved into more of a bossa nova rhythm, which in the end turned out very nicely, because it contrasted the intro, which is more of a classic jazz feel. A lot of things have been changed from the original piece, including the time signature, style, layout, instruments, and just overall feel, so while it reflects that of the original, my own style and ideas have greatly arranged it. Overall this was a tremendously fun piece to work on, with saxaphone recordings provided by The Prophet of Mephisto. Enjoy! A note: This is a remix for the Radical Dreamers: Thieves of Fate project, and must be kept private until project is released. Thanks --------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=rd - "Frozen Flame" (rd-10.spc) Hmm, the piano and string sequencing felt a little rigid to open things up; good overall, but just something felt a bit off with the overall texture. Maybe someone else can put their finger on it. Source finally got started at 1:06 after some...huh...Schala allusions by Brad. Dunno, but whatever. The guitar work felt really stiff as well. Just seems to me like a smoother approach would have worked better. On the plus side, the percussion was indeed very mellow and chill. The pattern felt a bit repetitive, but the brushes on the cymbals sounded especially nice I liked the interpretation on the chorus a lot from 2:05-2:36. Nice move into the gentler rendition of the theme on piano at 2:39, though again the sequencing and realism was lacking. Though there were some effects, it was rough hearing how exposed the sample was at times. The piano would have fit better if it had a similar room ambiance to the other sounds; the move back into the jazzier stuff at 3:46 felt like an awkward change as a result. The panning of the low bowed string brought back at 3:46 felt a little weird; didn't work as well as it did in the intro. In any case, this could be more polished on the smaller details, and I wouldn't mind tweaks in the interim, but overall I'm feeling it. The arrangement does a solid job, so I feel like it just squeaks by. Cool stuff, Dylan. It's a creative approach and definitely says something different with the theme. Good luck with the rest of the vote. YES (borderline) EDIT (11/5): After The Lady bought a better laptop with a better soundcard, I'm definitely hearing more of the issues zircon mentioned, those being the overall volume being too low (a shame, as it sounded better at a higher-than-normal computer volume to compensate) and distortion on stuff such as the louder sax notes and string stabs. Those issues need to be fixed before this could be considered passable. While I don't disagree with the production and performance criticisms zircon had (I certainly had my own on those levels), the arrangement was strong enough to weather those issues IMO, and I wasn't really feeling any major criticisms there. You now need to the get the post-production up to snuff. Do what you can, Dylan, to polish up the track. Bother whomever you need to get the answers you need. NO (refine/resubmit)

I won't go into the logisitics of how the current one broke, but the BIOS isn't even recognizing the drive as being in place, and the actuator arm just clicks. I plan on recovering the data, but otherwise, R.I.P. I'm not looking for much in a computer. I just want lots of HD space, and a good soundcard in order to listen and evaluate music and get underway with a VG Frequency podcast. Built-in wireless capability and a DVD-RW seem pretty standard for today's models in the $1,000 range. I'd like to purchase something in that $1,000 range, but need some help comparing products. zirc recommended avadirect.com as a place to check out that had good prices and the ability to customize, or other verifications that this particular company offers, as well as other suggestions.

But now you're going into the full-on "this is crappy" deal, which I definitely don't agree with. Solid arrangement, cool ideas.

No problem. In terms of "wide distribution," checking the chatter of the internet (Google search, Wikipedia, blogs, YouTube) is basically the best way of researching how well-known the game is. For the sound effects portion, perhaps "primarily consisting of." But the sentence as-is with the word consisting means "entirely made of" sound effects, not an arrangement supplemented by sound effects. But if it looks ambiguous, perhaps we can revise that with a word or two. For the recognizability portion, it's a little redudant, but is meant to further qualify the statements, especially in terms of going too liberal. djp can weigh in on it, as we had a third bullet as well that turned out to be redundant and decided to axe it.

Any non-commercial game needs to have a wide distribution and notariety before it can be accepted, a la Cave Story or Perfect Cherry Blossom. Otherwise, anyone could make a mini-game, give it to 5 people, then someone could arrange the soundtrack and it's allowable. As it's said, gauging these factors is at our discretion. It doesn't say those games are disallowed. The above wording is perfectly fine as is, as we've clearly accepted mixes from games that aren't traditional commercial releases.

I don't think this forum is even designed for the casual forumgoers any moreso than the ReMixing forum is. Like that forum, this one is designed for a more specific purpose. After doing the move myself over the last few weeks and seeing the results, I don't think lack of visibility is the biggest negative, in that a lot more has to be done to make sure concepts thrive than just having it in the Community forum.

After djp thought about it, he's moved the Competitions forum under Workspace where it's not merely a sublisting and should remain visible. The arrangement will be kept like this, but hopefully this solves some of the visibility problems caused when this was a subforum under Community.

YOU CAN STOP BEING A DICKHEAD NOW!

I would say once a week, but don't know how much time I'd have for that with my other responsibilities (job/judging). I definitely have a lot less time than I did in college, but I may work around this through shorter, but more frequent shows. For now, it's all a work in progress.

Congrats on this great opportunity, Chris! I blogged it up. Good luck to you and Capoeria Nation!

I bloggy about this deal of epic proportions!

Oh, no worries. I've definitely got faith.

With the FF7 project on the horizon, I aim to be there to cover things. Which means they're gonna be a podcast of some sort coming soon. With that said, the format of the podcast will be similar to the old radio show in that I want to spotlight all aspects and sites of the community, as well as original material. But the time will be nowhere near as long. The podcast will be about luring the chilluns into OC ReMix, but also touching upon everything else. How long would you be willing to listen to one podcast of the show? And perhaps more importantly, how long do you think a n00b would be willing to listen to a one podcast of the show? Any viable feedback is appreciated.

Any new news on the Storm WIP, esteemed sir?

Guy gets his muzak used at E3 and he carries himself like a pimp daddy. Welcome aboard. I'll hit you up regarding refinements to the arrangement, but yours is a very solid base so far, and of course really catchy. Great treatment of the Spider-Man theme. Thanks for joining up!

This is dopez.

I mentioned it on Hipster, please! but I'm extremely jealous of anyone and everyone that'll be at the video shooting.

While it lasted though, we did appreciate everyone banding together for the lulz.

--In the event this makes it onto OCR, please don't post it until the Radical Dreamers project is complete.-- Contact Info Your ReMixer name: Abadoss Your real name: Kenneth Edward Keyn Your email address: Abadoss@yahoo.com Your website: http://www.warnerpacific.edu/personal/kkeyn/ Your userid (number, not name) on our forums: 1901 ReMix Info Name of game(s) ReMixed: Radical Dreamers Name of individual song(s) ReMixed: Frozen Flame Link: Additional information: For me, "Frozen Flame" always seemed out of place in the Radical Dreamers soundtrack. It's not by much, but it seemed to be of a different stock than the other pieces. Perhaps it has something to do with the waltz feel or something else. I'm not entirely sure the reasons behind the difference are all musical. Anyway, I joined the Radical Dreamers project some time in February 2007. Seeing as how I was somewhat of a late-comer, I didn't have a whole lot to pick from, but, to my relief, Frozen Flame was among them. Thus my journey began. I set out to work transcribing the piece in its original form so I could study it and see what made it tick. I then tried various re-orchestrations to hear what certain parts would sound like on different instruments. I then played around with a few musical forms before settling on something a little latin jazzier. I build the arrangement, getting feedback from the other members of the project along the way. With the exception of the style and nuances, it's fairly straight forward. My personal favorite section is circa 1:42. Oh, and yes, I know about the flute's vibrato. Unfortunately, Garritan Personal Orchestra's flute has two settings: vibrato and no vibrato. Please know that I picked the better of the two. That said, I used Finale 2007, Garritan Personal Orchestra, Garritan Jazz and Big Band, and Audacity to create this piece. The name is rather unimaginative, as it's spanish for "Cold Fire". LT EDIT (10/13): For most of the piece, the melody is carried by the flute. However, it's been modified rhymically - i.e. augmentation and diminution. Hope that helps. I'm screwed. ------------------------------------------------------------------ http://snesmusic.org/v2/download.php?spcNow=rd - "Frozen Flame" (rd-10.spc) Good source selection. I was only particularly familiar with the very beginning of the theme myself. Hey, "Portal to Open Grounds" is pretty interesting too! But back on course... The overall feel is definitely a departure from the original. Not sure how it felt straightforward, but I only got the connection to the source once the arrangement reached 1:01, though from about :42 things sounded similar. I'll have to familiarize myself more with the source and get back to this one. EDIT (10/20): I'm finally clear that Ken used the entire verse (starting at :07) from the source before moving onto the chorus, funking around with the rhythms and progression of the verse moreso than the chorus. After counting the notes in each section of the verse (glad I'm very familiar with this theme) and following the melody here, I was able to more easily decipher the interpretation from :07-:27 covering :00-:14 of the source. There was a little more, but I'm good. :41-1:24 arranged the chorus very nicely before shifting to another iteration of the verse from 1:24-1:57, and back into the chorus at 1:58. Great changes at from 1:37-2:00 compared to the first go around. The second chorus felt too retread-ish and could have used some other ideas. The ending at 2:48 was too cheesy for my taste, and the last few seconds (2:44-2:49) felt like the samples were on the exposed side, which made that string run finish sound very weak; clearly not the intent. Overall though, I FINALLY got where the verses were coming from, and I can lay this one to rest. Though I wish the choruses had more pronounced variation from first to second, the differences in the verses were good. Can't help but feel that the arrangement was still underdeveloped on account of the second chorus, as there was a lot more potential to exploit for that section and with more material afterwards. So a little underwhelming on that level when I take a step back. Still, the the whole arrangement was pretty interpretive at its core. Definitely enough substance here from my vantage point to get the duke. YES

Remixer: Trenthian Guitars: brOtherSynthe Forum id'izzle?: 6010 I think maybe? erm.... oh yeah! Game Remixed: Wizards and Warriors Songs : medley! Title of the Remizzle: Wizards in My Armor (Warrior in My Long-Johns*) *see entry 6 in our fantastic offer. Id like to offer you a chance to 100% FREEEEEEEE do somthing or other. Listen to our exciting commercial offer. What is included with your subscription? 1. Vanished Princess (read: Varnished) 2. Medieval Electric Rennaissance Disco Butt-Rock 3. Trenthian Singing for the lulz 4. Brothersynthe Guitar Solo 2. Electric Recorder Solo. 5. WEARY! 6. It's More likely than you think. ------------------------------------------------------------------ http://www.zophar.net/nsf/wizwar.zip - Tracks 1, 11 & 2 Badass. The drums were the weak part of the mix, as I thought the steady beat kept the time nicely and moved things forward, but droned on like a robot after a while and wasn't as interesting as the rest of the composition. The harmonized lyrics also could have been a bit more upfront, but they were otherwise handled very well. The arrangement as a whole was extremely excellent. John's vocals were handled pretty well, and the harmonization was solid. Taking lessons from Star Salzman on improving your vocal technique and production? Man, I remember that Perfect Stangers theme arrangement you made, and those vocals were HARSH. The electric recorder solo from 3:01-3:43 was very swanky, followed Basdass guitar solo from the anthropomorphic Brothersynthe from 3:42-4:16, both on top of the source's progression. Could have been mixed a bit better, but god damn that was some impressive stuff. The lyrics at the very end had me laughing out loud when I paid attention to them and acually heard what you saying. A lot of people are gonna get a kick out of 'em. Otherwise though, the serious parts of the lyrics were also very well written and coneveyed great imagery of the game. Not a necessity of course, but some closed-minded vocal haters (FUCK YOU!) will at least lay off when the lyrics are relevant to the game. Thank you, oh gracious Lord, for thine son Trenthian of Trenthia. Plus it's the first Wizards & Warriors mix in 4 years, which is a blessing in and of itself from the Supreme Being. Wouldn't mind a shower and message of the mixing on this one to get it sounding cleaner and sleeker, but this is still a gem of an arrangement. YES

name: Shaun Wallace avaris.studios@gmail.com remixer name: avaris 88369 Game: Final Fantasy XII Company: Squeeenix Composer: Hitoshi Sakimoto Source: Game Over http://www.vgmusic.com/music/console/sony/ps2/index-af.html Remix: Inishmore is a little island off on Ireland. While I have never been there the pictures seemed peaceful and serene place. It felt like a [;ace that was a little detached from the world. When I first heard the song I obviously had just kicked the bucket in the game…I thought I could win without paying attention to the gambit system. I heard this tune and instantly fell in love with it. The mix started out as an experiment to write something in 6/4 and sequence some early 90's alt rock ballad drums. (Candlebox, Gin Blossoms, Goo Goo Dolls etc…) As the song progressed over time I started getting creative with audio, FX, and tons of automation on send amounts and synths. I kept working on it and it grew into what it is today. I recorded audio from the reverb send and added tons of further processing to widen the sound. The intro is a fade in from the recorded reverb to the actual mix. The string patch is actually about 6-8 layers of sounds ranging from your generic cello to European instruments from QL Rare. Many of the sounds were run through Vokator set up as send. I had the dynamics processors on as well as the compression on the Vokator. That send effect is mainly responsible for the feel of the mix. The crackling is from Live's Vinyl Distortion effect run through the string patch. All of the synth work except for the bass (FM7) is a nice lil synth called Feldspar. Composition was done in FL while the instrumentation and production were done in Live. Big thanks go out to Tensai-San, OA, Malcos, and Jewbei for critiquing the song as it was nearing completion. Sorry for the long write up, there was a lot of inspiration and new tricks that went into this mix. Thought it'd be cool to share a few of them. If I need to find a picture for the game just PM me. Thank for listening. ~Shaun -------------------------------------------------------------- http://www.noderunner.net/~llin/psf/packs/FFXII_psf2.rar - 207 "Game Over" Brief, but very nice source tune. I'm definitely interested in seeing how you can build enough off of this. The instrumentation derived from the source plays it very close to the original. Sounds like you were trying to emulate the original, but broaden the instrumentation. The cymbal shots (first used at :32) sounded a little out of place; too clean compared to the other instruments in the soundscape, plus IMO you overused them. I'd like a second opinion on whether the cymbals were working or not. The other percussion, like the rim hits, were good though. The composition was otherwise pretty cool, and some of the phrasing had some passing similarities to Shnabubula and GrayLightning. 1:59 started getting a bit more interpretive and expansive with the source, which was good. Good original writing from 2:27-2:43. From a compositional perspective, you clearly owe a lot to the original, as it was easy to use it in a fairly straightforward manner. As such, the writing tends to be a lot stronger and more cohesive that what I've heard from you in the past, though much of that is because of holding to the structure of the source. But you've been improving gradually and you were able to both get some good variations out of the source and make the arrangement to expansive enough to properly personalize things to me. Just refine the cymbal usage and production and you'd be good to go, IMO. Subdued but swanky, this has come along nicely, Shaun. Good luck with the rest of the vote. NO (refine/resubmit)

Nah, I mean, what was the setting where all those people inquired about the mix? Were you guys at a party? What was going on, and what were some reactions to the track?

Remixer name: atari2600a Real name: Email address: atari2600a@yahoo.com Website: http://mtac.profusehost.net/ (painfully unfinished) UserID: 20484 Game remixed: Sonic The Hedgehog (Genesis/Megadrive) Songs remixed: Green Hill Zone atari2600a http://mtac.profusehost.net/ ----------------------------------------------------------------- http://project2612.org/download.php?id=36 - "Green Hill Zone" 2:14-long, I was ready to break out the Form Rejection Letter when I was very pleaseantly surprised. Up until, the arrangement was pretty liberal, but the underlying progressions felt derived from the source. Listen to the padded notes in the intro (usually repeating the same two notes, until the phrasing was completed with the final two notes from :30-:34). Then from :34-:50, that changes to a warbly ambient-type synth that uses the similar pattern derived from the background of the original, repeating from :50-1:06. I'm not trying to give that stuff a free pass on account of liking the track, but I'd need a theory buff to explain how the connection was there. The synth bassline also had a pretty liberal spin on the "Green Hill Zone" theme in the foreground until 1:06. Nothing overtly dealing with the source until after 1:06, but all of that was pretty well-written and had some tenuous connections so it gets a small degree of credit in terms of using the Green Hill theme. From 1:06 until 2:14/end though, the usage of the source was completely overt, which was good. The usage of the Sonic sound effects was really creative, and the writing on all levels except the percussion was interpretive and well-varied. For such a brief track, it was important that the arrangement be not be retreadish at any point, and, except for the percussion, you delivered. My main complaints were that the main percussion track brought in at :34 repeated ad infinitum until the end and that the sound balance could be tweaked a little. I can live with the sound balance, as the arrangement is otherwise well-developed and solid, and the Green Hill melody is audible enough versus the other sounds. But if you could pull back the percussion a little bit and add some variations to the percussion patterns, this would be a shoe-in. I think we should push for the drum tweaks to get it on more solid ground, especially in light of how brief the track is. Might pass regardless, as the arrangement is impressive, IMO, and the issues here may not seem weighty enough versus the strengths, so good luck with the rest of the vote. If this doesn't pass, definitely refine it a little bit, and resubmit this so it can go up on the front page! NO (borderline)

My lady, ThatPaige, wrote up on the VG Frequency blog about her love for this track. She knows what she's talking about. This track is the business. You don't know jack about OCR if you haven't given this a listen. It's required downloading.

And I just posted on Reyn Ouwehand's new C64 arrangement album "The Blithe, The Blend & The Bizarre". It's extra swanky. Check out ze blog, and once you get a look at that cover, you know it'll be some crazy stuff. The previews for the album are solid, so check it out!