Liontamer   Judges ⚖️

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The track was 3:00-long, so I needed to hear the source tune invoked in the arrangement for at least 90 seconds for the source material to be considered dominant in the arrangement. :03.5-:32.25, :48-:55.75, :57.75-:59.25, 1:00.75-1:08.25, 1:10.5-1:11.75, 1:41.75-1:45.5, 1:48.5-1:50.75, 1:54.75-1:57.75, 2:00.75-2:08.5, 2:35-2:38.25 = 66.75 seconds or 37.08% overt source usage Otherwise, it's definitely enjoyable in a vacuum, mixed reasonably well, also well-performed. If you can add other references to the source tune as backing elements to make the majority of the track a VGM arrangement, Mike, then it's golden. NO (resubmit)

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What did you think? Post your opinion of this ReMix.

Welcome to your new home! :-D

I'll still try to do one anyway, but that's my bad, I should have asked in the first place. I'll reach out to Rebecca. EDIT (2/1/24): Rebecca kindly provided video-based timestamps (added to her submission comments in the first post).

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What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

Crazy, needless clipping & distortion throughout; plenty of ways to do wild percussion and noises without that (see: https://ocremix.org/remix/OCR04536). I liked the dropoff at 1:31, which was offering something different as far as the leads and briefly moving away from the source melody. Ending at 3:01 had a very nice trailoff, but otherwise came after an abrupt stop of the music with no real resolution. It might be a MIDI rip, but the sound's meaningfully personalized and expanded, and we have a number of arrangements that spin off from MIDIs, though I hope in this case, this isn't wholesale taking an arranged MIDI and reinstrumenting it without credit. Barring a Standards violation on potential lifting of an arranged MIDI, there's potential here though, and I'm open to approaches like this; it's a very basic source tune, and there needs to be adeqate space for an expansive concept like this to have a chance. In my opinion, it still needs further development, because while the instrumentation's personalized, the different patterns used here feel too repetitive, which (along with the poor mixing) is what sinks it. NO

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Started this originally as a challenge to try and make a remix / arrangement in 2 hours again but was met with failure as I had only reached about 2 minutes into the piece before reaching the end of that sprint. Shared what I had with Emunator who teleported to my house somehow and threatened me if I didn't finish it. Fearing for my life I obliged and spent several more weeks working on it off and on in bits and pieces... sometimes sharing it in the workshop and getting feedback from Hemophiliac and some others in private. Eventually I tapped on the shoulder of Jesus once again for some Irish whistle treatment and he delivered as always. I've always loved this particular theme ever since playing the game originally back in 1999, because of the tragedy of Rena's background story. No spoilers. I have played around with different ideas for it before but apparently it took a spontaneous sprint to really get anything solid down and then a threat from a kind lunatic to buckle down and finish it. Irish whistle, performed & record: https://ocremix.org/artist/14128/e-jesus-chic-acevedo Games & Sources Star Ocean: The Second Story, Theme of Rena

Hey Josh, I'm asking the ReMixers on your behalf, and I'd also recommend joining our Discord server if you're not already there: https://discord.gg/ocremix Best of luck on the paper!

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From Cyril the Wolf For the Impact of Iwata album. When the album opportunity was first posted, after reading the briefs on the track selection I immediately knew that I wanted to do something from Kirby's Dream Course. Until the post I had no idea Iwata contributed to Golf - though I knew he was a large part of some of the Kirby Franchise. Since Golf lacked a soundtrack I wanted to do something from one of my all time SNES games. I had some help - as while I take great pride in my ability to slap the bass my guitar work does not always keep pace. Zack Parrish helped with some clean funky guitar rhythm in the first part and a fantastic fusion-influenced guitar solo at the end. There's a lot of different sounds happening with this song in the original and I definitely wanted to keep that spirit - but one thing that I felt had to stay was the TRUMPET - so in the spirit of Mambo No. 5 I had TSori (also Project Director) contribute some live trumpet parts to really tie this all together. The entire form of this song was a result of me grooving to a metronome - none of the bass parts changed from the initial arrangement though I did several takes to make sure the groove was as slick as possible. So happy to contribute to this project. Games & Sources Funky track that plays at the end of every course. Kirtby's Dream Course - Cloudy Mountain Peaks Composer - Hirokazu Ando

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I'm cool with it now, babyyyyyyyyyyyyyyyyy! YES

Original Decision The submission link: Original Judges Decision: https://ocremix.org/community/topic/52590-no-f-zero-top-gear-top-gear-in-mute-city/ Your ReMixer name Kyaku Your real name Richard Westbrook Your email address Your website(s) https://www.youtube.com/@kyaku_ongaku Your userid (number, not name) on our forums, found by viewing your forum profile 38541-kyaku Name of game(s) arranged Top Gear and F-Zero Name of arrangement Top Gear in Mute City Name of individual song(s) arranged Top Gear: Track 1 and F-Zero: Mute City Additional information about game including composer, system, etc. (if it has not yet been added to the site) Both are popular songs for remixes so I imagine I can’t add much more here, though please let me know if I need to. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Top Gear: https://www.youtube.com/watch?v=iAMvfv6X8xs F-Zero: https://www.youtube.com/watch?v=QxU0eHnQjo8 Your own comments about the mix, for example the inspiration behind it, how it was made, how the source material was referenced in the arrangement, etc. I hope OCR’s standards never lower and in fact only get more stringent as the years continue. I frankly jumped the gun on that previous submission and you were right, it showed. After implementing additional feedback and making other changes, I am confident this version is improved. Whether or not it’s good enough is your call! I am glad that I had a chance to work on it a bit more though. I was tired of it at the time of first submission but sometimes it takes a kick in the rear to finish the job. No matter the decision, let’s keep on jamming! And thank you judges for your feedback.

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Noticeably smoothed out the sax (thanks, Zack!) NOW we're playing with power! YES

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