Liontamer

Lorenzos on Yokohama tires, bling bling I've seen Dain's future!

ReMixer name: Mercurius FM real name: Bo E. email address: mercuriusfm@housemusic.com website: http://myspace.com/mercuriusmusic forum userid: 20378 Name of game(s) ReMixed: Mega Man Name of individual song(s) ReMixed: Dr Wily's Stage 1 Comments: Well, I got the Mega Man Anniversary Collection a while ago and recently I've been playing the oldies in it. I was playing through the Wily stage where you have to fight the Glob man at the end. So after playing the level probably a hundred times, I said, "This track has a killer hook" With my listening background including Daft Punk, LifeLike, Kris Menace, Giorgio Moroder, Eric Prydz and more (if you don't know these names, you should), I went on to make this remix. Since in the game it was just a looper I was able to have great freedom with it, but I think I remade it in a very dramatic way. Hope you guys like it! Link to mp3:

ReMixer Name: Setu_Firestorm Real Name: George R. Powell E-Mail: setu_firestorm@hotmail.com ReMix name: Legend of Zelda - Ocarina Medley for Piano Just as the name says, it's a piano performance by me of the ocarina songs arranged in a medley. Whether or not it's accepted doesn't really matter; I'm just taking a crack, but the way I see it, you'll have a harder time shredding it based on sound "quality".

My lady and I could write a proper press release for you. P.S. Gimme $$.

This is very dope. And fly. No lie!

http://snesmusic.org/v2/download.php?spcNow=ta - "Flower Stage" (ta-18.spc) Opened with some decent piano. From around :22-:35, the piano was definitely too loud and really mudded things up, like TO mentioned; also some piercing frequencies on headphones during the louder sections (1:24-1:46, 4:05-4:27). The piano tone itself was aight, but the sequencing was too rigid. The flow of the track was half-decent, but that's it; the sequencing being so perfect and robotic really hindered the dynamics and potential emotiveness of the arrangement. Some bowed strings joined in at :51, along with a harp cameo at :57. Volume picked up nicely at 1:02 for some dynamic contrast. Every instrument was still pretty rigidly sequenced, and the overall texture wasn't rich enough; the sounds need more depth via effects. Right now they sound really raw, with seemingly only minor work done to make the atmosphere and acoustics sound realistic. Note sustains on the low bowed strings from 1:57-2:16 sounded a bit too long and fakey, but maybe that's just me; any J, please correct me if needed. Piano note at 4:01-4:02 sounded off. Minor point, but some note decays cut off abruptly at 4:36 & 4:39 which made the final section a bit jarring. Also, the ending cut out before the last notes faded at 4:54. Not sure if TO was referring more to source interpretation or the instrumental textures instead when he crticized the arrangement. I personally thought the interpretation was fine and creative overall. The sequencing really hurt this one, the thin textures to a lesser extent. I thought you had some good dynamic contrast in the piece, and I see what you're going for. But the sparser areas still need to adequately fill up the soundfield, which they don't. Definitely get more feedback from some orchestral arrangers that you respect on creating stronger, more realistic textures with these sounds. I couldn't specifically tell you how to get the sequencing sounding more natural, but the resources and people are out there on the forums if you go to the effort of picking their brains. Perhaps another J could offer some clarification. See what you can do about getting the existing instrument samples sounding a bit richer. More importantly though, the stiff sequencing means that the strengths of the writing don't resonate strongly here. But the arrangement itself, IMO at least, is where it needs to be. Work on refining this one, Witold. I enjoy hearing you improve from sub to sub. NO (resubmit)

Hi, my name is José Carlos Pelaez Lazo. Im new submitting songs to this page but i give it a try. This song is a cover from a Super Mario World Level song. I hope you like it. I made a litle bit, metal and punk stuff with keyboard arrangements. And the quality isnt so good because I made it at home with my crappy equipment. THX ------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=smw - "Athletic BGM" (smw-11a.spc) Great base, and a surprisingly good sub. Most <2MB mixes, I get the Form Letter warmed up and ready to send. Nostalgia bias aside, this was a potentially pretty badass arrangement, with some good expansive ideas and a modicum of personal flair. Solid drum writing as well. The timing of the performance needs to be tightened up. The brass samples in particular are pretty thin and fake-sounding; gotta go for a richer sound, as they sound bad even buried as deeply as they are. More work could also be put into separating the parts more, but I'll be honest that that wouldn't have been a big enough issue to tank a very strong arrangement. For such a short arrangement, instead of basically retreading the opening again at :53 & 1:39 (good tempo change though), develop the arrangement further with new ideas. Right now, the arrangement, while a great concept, is simply repetitive and underdeveloped. Keep working on this, José, and give this an actual title. If you're not doing so already, use the ReMixing and Works feedback resources here at OCR for more help. NO (resubmit)

Hey, it's me again! It's been a while since my last submission, and this time I teamed up one Derek Oren - who's a great sample artist way beyond my abilities with that sort of thing - in order to create a multi-movement cantata based on everyone's favourite Dancing Mad from Final Fantasy 6. I'm sure everyone thinks this piece should have got the "One Winged Angel" treatment from Uematsu's orchestrators, and after I heard the rendition from the fourth Symphonic Game Music concert in August of 2006 I knew that wasn't going to happen. I didn't like that orchestration at all, and thought it was amateurish and irresponsible towards Uematsu's music (practically a marketing gimmick, like many new game concert arrangements are turning out to be) so I decided instead of complaining about it, I'd put my orchestration/arranging/composing abilities to the test and make my own version. I definitely couldn't do it alone, so Derek took over where I needed help the most: production. I've never done a collab before, so I looked at previous collabs on ocremix and figured if you decided to post this, here's what Derek wants to say: "Working with Jeremy on this project was a huge honor. When we first started working on this project together I knew right away that with his composing, arranging talents and my sampling and editing skills we would produce something great. Most challenging part of this collaboration was getting the choir to blend with the orchestra. Once we got that taken care of it was a breeze. Both Jeremy and I hope that you enjoy the first movement of themes surrounding the charcter Kefka from Final Fantasy VI (my favorite)" Credits: Cantata for Dancing: I. Mors ego sum mortis Based on a theme by Nobuo Uematsu (Dancing Mad from Final Fantasy 6 OST 3-14) Arrangement and orchestrations by Jeremy Robson Sample/synth programming, lyrics, and additional orchestrations by Derek Oren Lyrics (approximately): Vae victis, lacrimosa, gloriosa Rex Aeterna Ah Tu suscipe pro animabus illis Mors ego sum mortis Woe to the vanquished, mournful tear, glorious Eternal King Ah whom today we commemorate I am the death of death Submission Info: Name: Jeremy Robson e-mail: jeremy.robson@gmail.com website: jeremy.narphonax.com forum id: 5955 Name: Derek Oren e-mail: derako@charter.net website: http://www.soundclick.com/bands/pageartist.cfm?bandID=686739 forum id: 20212 Link: http://jeremy.narphonax.com/temp/Morsegosummortis.html

No, you just didn't look at that aforementioned link from ThaSauce, a.k.a. "READ!" "Here, XPA – or the artist formerly known as Siamey..." This version is 4:12 long because I personally clipped 11 seconds of silence off the end of the file.

1) The song clearly ISN'T on Remix:ThaSauce. 2) Siamey IS XPA. 3) READ!

Looks like it. http://www.thasauce.net/modules.php?name=Content&pa=showpage&pid=20 (Thanks to zircon for the link.)

Even though I NOed "Fury of Medusa", I did like its more upbeat take on the source material as compared to this one. Nonetheless, the overall arrangement here was more creative, IMO, even if the mixing wasn't so hot. Solid older school material with some good dynamic changes throughout.

If you didn't know the source theme, it's easy to wonder what, if any, structure is here. That is some serious ambiance. Not one I'd listen to a lot, but IMO a great track for looping if you want to lose focus.

Name = Prasa U. (prasakodees[AT]gmail.cOm) Game remixed = Syberia : PC game, Microids (Music by Dimitri Bodiansky, Nicolas Varley) Hello, As Syberia is not the most popular game in existence, I've included two clips from the original tunes. Most of the original material in the piece are derived from the original themes or chord progressions. The first part of this orchestral arrangement revolves around the main theme & variations of the main theme, the middle is based the second "explore" theme, and then the end is a return the beginning ideas. Starts in C major, modulates to Am, goes to D for the restatement, then modulates to the dominant to finish. My purpose with this mix was to exhibit the subdued wonder, awe, and serenity in the game. The volume is a bit low because I needed to prevent clipping in the louder dynamic sections. The link to the mix may remain if it doesn't make it.

Back before Neostorm subbed that track, he used the WIP forums to get feedback on it. He specifically said the source tune was the Super Turbo version and hosted an MP3 of it. Back in the day, djp just put some stuff where it was covenient. Another example, "FF7 ROBOVoice" really belonged in FF5, so I had it moved there. That was all OCR01500 house cleaning. I'm detail-oriented about that sort of thing, so when we can, source game will always be the specific game attributed by the submitting artist, even if a source tune is used in several different games.

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