Liontamer Judges ⚖️
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Posts posted by Liontamer
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Well yeah ^^, since it's the original slowed down with a phaser
ROFL!
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It's the last sub of this. Second resubs have been done before, and in a worst-case scenario 2 is a fine absolute limit since this never happens much anyway. Paul himself said that it's final and that's it for trying to get it accepted. Less bitching, more voting.
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Previous decision: http://www.ocremix.org/phpBB2/viewtopic.php?t=49178
Contact Info
Your ReMixer name : metaphist
Your real name : Paul Ford
Your email address : peford@cfl.rr.com
Your userid (number, not name) on our forums : the hell?
ReMix Info
Name of game(s) ReMixed : Ikaruga
Name of individual song(s) ReMixed : Metempsychosis (ch.5 theme)
Additional information about game if it has not yet been added to the site, including composer, system, etc.
composer: Hiroshi Iuchi
copyright Treasure, Infogrames
Dreamcast and Gamecube, 2003
Your own comments about the mix, for example the inspiration behind it, how it was made, etc.
Made in FL Studio 5 -- The flute, sax, strings and bass are all soundfonts I found while scouring the net. The vox samples are from the game itself, as are a few other sound FX you might find familiar. Everything else if from FL Studio.
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The new version's organ opening was poorer and with the strings replacing the electronic sounds until :11, the string sample sounded poorly used as well. The drumwork in some spots was thicker, but the track's a lot quieter and slightly muffled the whole way through for some reason. Just compare the two versions. Keep the old/first version and vote on that, I say. The old version ended up sounding a lot better by contrast. Like Jesse said, I've got no big problem with it passing. Someone put down a closing vote on it already.
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Sounds a lot like music coming straight from an SPC700 chip, and I wouldn't be surprised if the SPC would've been able to play something very close to this.
See? I told you, man.
Very nice 16-bit style vibe going on. I couldn't quite remember what game some of the sounds reminded me of when Ari was on the air for VGF talking about this, but if you people check out some of the stuff from The Follin Brothers Spider-Man & The X-Men: Arcade's Revenge soundtrack, you might see how something like the synth electric guitar in particular gave off that old-school SNES vibe.
Of course the NES-style sounds were solid as well, so this was a good hybrid of game music sound styles. The expansive work done in the arrangement was hot as well. Some stuff to bitch about in the judging decision on it, like dat slap bass goddammit, but I was just glad to see that someone else noticed that SNES/SPC similarities that I thought the mix had. Now, I must go back to having some sort of "personal agenda" against Ari, which basically consists of me shrugging my shoulders while Ari insists I have a "personal agenda" against him.
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Contacted Damon looking to get a fixed version where the ending doesn't just cut out. Hope to hear back fairly quickly.
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Yep, new version is all set. Much hotter. Cool having AP do the new voice work cameo this time around. Very nice touch. The stereo-panned drums livened up the soundfield and I liked the train track SFX during the intro as well as the new bassline activity. All the additions made enhanced the atmosphere and beefed up the piece.
Thanks very much to Lee for being open to tweaking the track. Because his computer was an iffy bastard, it was harder than it looked for him to put together the new version, so I have to thank him for gutting through it to make the revisions and pushing the quality way up. My YES is solidly reaffirmed.
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Original decision: http://www.ocremix.org/phpBB2/viewtopic.php?t=50559
ReMixer name: Rexy
Real name: Bev Wooff
Email: bev.wooff@gmail.com (Thankyou Mr Oji!)
OCRemix user ID: 7528
REMIX INFO:
Remix title: "Tomorrow's Wake"
Game covered: Sonic & Knuckles
Individual song covered: Sky Sanctuary Zone
Song link:
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First of all, I thank you gentlemen for your (eventual) analysis concerning my previous submission "Tomorrow's Wake" (version 1). I've managed to learn a lot of things within the week leading towards the decision's posting, and to see the final results also come along they have also worked on to sort out the eventual decision.
So in the course of the day following the posting I spent time tidying up the piece and re-mastering the source. (See? I can work pretty fast in a piano roll, huh?) They included the re-shaping of some of the timing/dynamics, a hint of transposing, the changing of the sample (the only way to get rid of the bleedin' plunkiness you stated
) and some more cautious reverb work.Thanks for your time when going through the re-vision. I hope this goes down well, but if not, let me know.
Less hesitance, more judge-appreciation.
Peace out,
-Rexy-
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Can't decipher what this is from based on his website that I found. I've contacted the artist. Hope to get a reply...in English.
EDIT - 2/28: Contacted the artist a week ago by e-mail and got nothing in reply. You have to be able to adequately provide the artist, game and track information in your e-mail. The track wouldn't have passed regardless, just in case anyone was wondering.
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http://www.snesmusic.org/spcsets/sd3.rsn - "Few Paths Forbidden" (sd3-2-04.spc)
Played it on VGF44.99; pretty chill stuff. Like Darke mentioned, the violin sounded very, very nice. I thought the drums were a bit loud and didn't sit quite right in the track. Nothing glaringly wrong, but for some reason they didn't mesh quite as well with the other sounds as I feel they should have. Overall though, the production was excellent. Everything sounded nice, and the flute-like lead at 1:35 didn't bother me much.
I heard a bassline pattern come in at :47 that seemed derived from voice 4 of the SPC, though I'm probably looking too deeply into things.
I'm not sure how significantly the source tune was incorporated into the mix from 1:12-2:59. I listened to :52-1:29 of "Few Paths Forbidden" trying to see if that section was used here, but I couldn't make any connection there. Scott's composition of the mix was nice, but the violin work was basically the only notable part taken from the source material and only lasted for a combined 1:38 of your 4:34 mix.
The source tune arrangement returned from 2:59-3:48. From 2:59-4:34/end, the track repeated :23-1:38 of itself verbatim. I initially thought that some of the pad work this late in the track was new in order to provide some subdued dynamic contrast. But nah, it was all just another iteration of what came by the first time around.
I'm loving the chill atmosphere here. Aside from the minor issue with the drums, I thought the sounds were great. The flowing electrosynths, pads & violin created a relaxing track, and the original & arranged elements pieced together nicely.
Nonetheless, I need more overt use of the source tune besides the violin work and the last long section needs something that distinguishes it from the first section. Doesn't have to be anything that would upset the ambient/chillout nature of the track, but something should be done there so you're not literally recycling the track.
A very cool mix regardless of the guidelines here, this was some of Scott's finest work. It would need more usage of the source material and a small measure of development/contrast in order to objectively gain my vote though.
NO (revise/resubmit)
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http://www.snesmusic.org/spcsets/loz3.rsn - "Kakariko Village" (loz3-05.spc)
Interesting tagging of your MP3 there. Http://www.Ocremix.Org?
Anyway, you obviously have some piano skills here. Occasional flubbery in there, but good overall. Just didn't sound like "Kakariko Village" whatsoever. At all. Ever. What the funk happened, bro?
[/DarkeSword] The performance was pretty cool, though disjointed at times. With the source tune being unrecognizable in there, it was impossible to grasp the form of the composition and somehow relate it to the original.Yeah, so do what you can to get some better recording and try to compensate for the limitations with some better post-production work. Reading your info, I'm sure you did what you could though. I'm sure it was tough when a bunch of higher frequencies were outright eliminated due to your recording method.
More importantly though, don't go so overboard on your "arrangement" that all connectivity with the source tune is lost. Keep things interpretive but recognizable. Hope you come back.
NO
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http://www.zophar.net/nsf/sharrier.zip - Tracks 2 & 5
Aside from the occasional fills, I didn't like the drumwork being plain & monotonous for so long (:11-1:22). Thank God that Carbo varied it up later on. I agreed with DS that some more presence on the high-end and cleaner guitar work would have been welcome, but it wasn't a big deal or anything.
The arrangement was definitely well-done. Solid expansion of the source tune, and, aside from the guitars needing to be a bit cleaner, the layering of both guitar tracks blended together nicely and was well executed. Cool move into Track 5 of the NSF from 1:46-2:08 including some original composition ideas added on top.
The mixing was particularly rough during 2:18-2:27, so just watch that for fuller sections in future works. Excellent arrangement on the last section at 3:13; cool ideas there, bro, and a very satisfying resolution to the track. Forgot what you call this style of rock, but it's definitely something we don't have enough of here. Great job, Christophe. Keep 'em coming!
YES
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The intro was sweet as hell. I really thought this was gonna pwn it, even with this so-so piano synth in there. The beats came in at :19 though, and everything sounded so plain on that level. The piano brought in the source tune at :28, but the sounds were imbalanced as these thin-sounding beats & snaps somehow dominated over everything else. Tone that stuff down some.
The bassline was so dry, it provided little to the piece. Cool freestyle-ish work from 1:26-1:55. Then you just repeated the arrangement stuff you had earlier at 2:08 with some of the freestyle layered on top. Develop the arrangement ideas a bit further instead of complacently retreading them. Nice ending; I liked the fadeout there. This piece could have been so much more, but needs a lot more refinement & polish as is.
Interesting arrangement ideas overall, Pat, but the instrumentation being so thin in texture as well as the sounds being so distant & reverbed so much hurt the presentation here.
NO (refine/resubmit)
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http://www.snesmusic.org/spcsets/ki.rsn - Sabrewulf (ki-21.spc)
Yeah, the low strings in particular didn't sound very natural. I mean, neither do the other strings used, but the issue wasn't quite as pronounced there. Interesting sound effect first appearing at :26, though it was a bit overused IMO. The percussion sounds were pretty plodding & plain-jane during their beat-keeping sections (e.g. 1:09-1:29, 1:56-2:16). Spice it up 'n crud. Not sure what that support instrument was that dropped by from 1:34-1:55; sounded like a wind instrument or vox - leaning toward vox, but in either case it sounded too artificial & exposed.
The sounds were definitely cluttered & messy in parts (e.g. 1:56-2:21 & especially 3:04-3:46) as some instruments like the strings and the piano fought to be heard. The arrangement was alright, though not particularly memorable to be honest. Personally, I'd suggest providing more active drum work during those plainer parts. As for the overall picture, Mike, this needs some refinement on the sample usage as well as better EQing during the fuller sections so the sounds don't mud together. Maybe then, the arrangement will come across better.
NO
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http://www.snesmusic.org/spcsets/ff6.rsn - "The Phantom Train" (ff6-116.spc)
God, the original is annoying as hell. The theme's so unmemorable. Lee's managed to do some good work arranging the theme and providing it with a ghostly vibe. Wouldn't have minded hearing some train-related sound effects in there, considering the name of the remix here.
The beatwork could have afforded to go in some different directions as well; heard the pattern change up at 1:53, but it was still too similar throughout. I felt things could have been more engaging just listening to it casually, but it may just not be my cup of tea since I thought the source tune was meh.
Objectively speaking, this was solid enough arrangement and execution for the YES, though the mix feels kind of "safe", as I can't think of a better word. Nothing against Lee of course, as I'm a big fan of his work and his style, but I've enjoyed his other material moreso than this. Too bad we didn't have this for this past Halloween. Spoooooky!
YES
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http://www.zophar.net/nsf/megaman2.zip - Track 2
Don't have the MM Battle Network 2 originals, but don't need 'em. No offense to anyone at, say, VGMusic, but the majority of MIDI stuff typically sounds terrible. We generally don't/won't take 'em because of their inferior sound quality. I realize it takes skill to make good MIDIs, but this right here was still a terrible mess.
The sound balance among the instruments was godawful, and the arrangement was too brief and seemingly didn't take many liberties with the source material, as the Megaman II stuff used in there was pretty verbatim. The lack of a transition at 1:45 sounded incredibly sloppy.
I'm being harsh, yeah, but get better at everything before you submit again. You're not even making solid MIDIs, so you have a long way to go. This was the epitome of rough and sloppy and should have gotten the form rejection letter.
If you take DarkeSword's advice and get new music software, you better eat, sleep and breathe improvement. Make use of the WIP forum & ReMixing forum here in order to keep developing yourself. Stay diligent.
NO
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http://www.tzone.org/~llin/psf/packs2/FFXI_psf2.rar - 102 "Vana'diel March"
Though the Prelude was referenced there, Naoshi Mizuta actually composed the source tune. And, ugh, don't co-credit yourself with Nobuo Uematsu everywhere in your MP3 tags. It looks tacky as hell and disingenuous.
Some war drums opened things up - waiting for something to happen. 5 minute mix though, so there's lot of time for something to develop. In terms of the decision, it was practically over at :55 with this really muffled and tepid brass sample that came in. Everything sounded incredibly distant and had shit to do with the source whatsoever.
1:44 changed the flow. Still original material; no connection with the source. The string sample is meh. Everything's still very distant-sounding. More brass at 2:24. Still nothing to do with the source. Finally at 2:31 we got some faster-paced material and the source finally comes in at 2:46. Like DarkeSword said, it was verbatim and sped up. What a sudden, poorly conceived "I-give-up" ending at 4:41.
To put it bluntly, bleh. Rearrange the source tune substantially next time, and make sure you next pieces posess a greater deal of clarity and more impactful sample usage. Read the OCR guidelines before you ever submit anything again.
NO
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None of the Lunar: Silver Star album information I could find even mentioned the original aside from this crud: http://mes-cd.com/detail.asp?s=COTATEL71684&c=16. (It's not the track "Burg" from other versions of the Lunar: SSS & Lunar SSS Complete soundtracks. What album is "Empty Burg" from?)
The piano sample here was a MUCH weaker sample than in the clip of the original you provided, Matt. That was just a total downgrade. The arrangement was decent, but it needs more time to develop and you just gotta up the game on these samples. The piano & strings here sound way too synthetic. Expand the piece more and up the sound/sample quality.
NO
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Just to clear up any confusion, "Final Hours" in the USF pack is indeed "Last End" from the official soundtrack.
So yeah, I loved this track. I thought it was well made and played it back on the Halloween episode of VGF, VGF38. I remember a lot of people complaining that the piece was really slow and didn't go anywhere, but I enjoyed it a lot. Too bad, however, that it's exactly like DS pointed out: doesn't sound enough like the source tune it's inspired from.
Heard some light but frequent-enough audio deformations within the piece (e.g. 2:21, 2:31, 2:34, 2:37, 2:53, etc). Anyway, this piece was way too liberal. I heard some more overt reference to the original within 1:43-2:15 for example, but this was mostly original stuff that didn't carry enough similarity to the original. And the piano at 4:38 was from some other Zelda tune I don't feel like looking up. Sorry, bros. As Vig has said to other tracks like this, call this an original and sell the track for lots of $. You people that read the decisions, feel free to pick the track up at VGMix. You may like it.
NO
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Yeah, I checked the NSF as well and don't know what the hell you're even mixing from here. The game's from no other systems, so you need to be more explicit with what track your mixing in your submission information. Helps to know WHAT you mixed.
The percussion was plodding, the synths were mediocre and the synth guitar in particular was awful in both sound and note movement. The "arrangement" or whatever you're doing here was really repetitive.
The opening was initially not bad for a Final Fight-type vibe, but this was really unengaging work. Even the synth guitar solo-ish sections that were supposed to be intense didn't work. I heard variation in the lead synth work, but the supporting elements were so repetitive that everything stagnated.
NO
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The Legend of Zelda: The Wind Waker - (103) The Legendary Hero
http://www.zophar.net/usf/lozusf.rar - 68 "Gerudo Valley"
Sounds were REALLY quiet. The organ opening was boring and dragged for way too long. Sounds were thin as hell and not much was going on. I liked the hand drums, but that was about it. The melody on the synth plucked strings was excessively dry and took no creative approach with the Legendary Hero/Zelda melody. Man, there really was nothing to this. Organ, hand drums, strings & occasional drums, and the track STILL sounds really empty.
We hit the Gerudo theme at 2:27. Still very uncreative. Really sparsely mixed and not interpretive at all on either theme. Gotta agree with DS's flat assessment of the track. Boring, uncreative, repetitive. I bleh on it.
NO
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http://www.zophar.net/gym/ps4.rar - 01 "End of the Millennium"
Heh. Some cool modulating sounds kicked things off. Yeah, that was some cheesy stuff with the vox here at :21. I wouldn't really keep that. The electrosynth that also came in at :21 playing an arranged part of the source tune's opening notes was pretty tame and could use a bit more oomph.
Some cool ideas for rearrangement at 1:10; I'm actually liking the vibe here, but things need to fill out. Just as I said that, some beatwork started fading in at 1:33. Good stuff. The strings that came in handling the source tune melody at 1:39 were pretty slow on the attack and had no volume. It sounded like they deserved some presence at your chorus at 2:07, but you kept their volume pretty low. Rethink the balance between your various sounds. Watch the string movements from note-to-note; sounds unnatural in some places.
We had the percussion work drop out at 2:38, which seemed like a good move, but it simply faded right back in. The tempo & pacing was getting monotonous at this point. The sounds were always the same, the beats were never changing up, and there wasn't much dynamic contrast going on here though I noticed you increase the volume a bit at 3:06.
By 3:30 or so, we got more string work, but again it had no melodic presence here. The electrosynths sounded as if they were handling the foundations of the melody to some degree, but there was still no overtly melodic component to the track.
For the close, the percussion dropped out for good and we got some vox handling the source melody and a somewhat cool sound effect from 4:03 until the end/4:37. Again, watch the note movements of the vox; sounds a bit too fake.
All in all, bring out your rearranged melodies more, as they're difficult to get a grasp on being so subdued, like DarkeSword easily noticed. Work on giving your vox & string work a more natural feel also. Look up more information at the ReMixing forum & Work-in-Progress forum for advice on how to improve. I heard & appreciated your arrangement ideas, but the composition really dragged on by the halfway point, so you also need to learn how to switch things up in order to retain the interest of the listener. zircon absolutely pegged you on that. I really liked the potential here, so you should definitely keep working at it, Algo. Maybe not with this one, but don't stop attempting to make remixes.
NO
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http://www.zophar.net/nsf/megaman2.zip - Track 22
http://www.snesmusic.org/spcsets/ct.rsn - "Chrono Trigger (part 2)" (ct-1-02b.spc)
I don't hate your constant beat, but it was definitely too repetitive. What the hell was goin' on with 1:19-1:53? The notes pattern was so odd here, I'm not sure what the funk you did. Ugh, you kept it as your background as the source melody returned at 1:53. Man, this just sounded bad. The beats were really obscuring everything else here in terms of the sounds, as well; that was a constant problem throughout the track.
Heh, there's the Chrono Trigger reference at 2:26, and DS was totally right, it WAS the highlight of the mix. Don't list this as a medley-type mix in the submission letter though with just a brief cameo reference to CT in there. Some new pattern arrived at 2:41, and it wasn't too bad, but again these note patterns sounded really rough.
The fact that you relied on the MM2 Ending theme as your melody really hurt the mix, as you didn't even play around with the source melody itself until 3:49, which was a welcome change of pace, but too little too late on experimenting with the actual source tune's composition.
Lots of raw potential, but needs a lot of work. The sounds were really cluttered, but had some good energy. Another change up at 4:23 and the notes sounded weird yet again. Is it just me hearing these problems?
The beats altered in an awkward, non sequitur way at 4:32 & 4:40, 4:49, etc leading towards the end. Really not sure what the hell the point was. Confusing choices here and a cop-out/fade-out ending. Needs work on sound balance, fixing awkward note patterns, and arrangement. Definitely move onto the next piece and call this one a day though.
NO
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I like Bryan's work a lot, and played this back on VGF45, but per the usual that I've seen with his submissions here, he simply follows the source tunes too closely and doesn't create enough rearrangement ideas on his own. This was absolutely reliant on the source tune's own structure & instrumentation in terms of its appeal, and got by here by reinstrumenting some of the elements. I like both the source tune and this mix a lot, but this mix wasn't necessarily an improvement over Akemi Kimura's "Commander Yammark Stage."
Finally some original wind material played over the source tune's beats starting at 2:17. Goes on for quite a while. Heard a reference to some other theme I can't remember at 3:15. Original stuff kept going until 3:33. Wholly original work there, and very welcome there in terms of changing things up, but so far we've gotten verbatim arrangement followed by almost entirely original freestyle work.
Going into 3:33, it was back to the same verbatim-style reinstrumentation of the original. I love the feel of the track a lot, and listen to it more often than you'd think, but I've gotta go NO. Finally some rearrangement on the winds at 4:55 until the end. WHERE WAS THAT BEFORE, BRO? [sigh] I liked when you DID branch out, Bryan, but otherwise this was just too conservative. "ReMix," not "remix."
NO
OCR01324 - *YES* Sonic & Knuckles 'Tomorrow's Wake' *RESUB*
in Judges Decisions
Posted
Modified from my WIP board comment. I purposefully waited for others to vote first.
http://www.zophar.net/gym/SK+SONIC3.RAR - 24 Sky Sanctuary
Kinda funny how you were saying at VGMix (paraphrase) "What the hell is Vigilante talking about 'bring it down a third', what does that meeeeeean?!?!?" It was just a music theory term, not something meant to confuse you or sound forceful.
Like I said in the first vote, since you played the track live, I think if you had played through the piece a few more times to get more comfortable with playing it, it would haved flowed better, which is still the case to me for parts of the track.
Nonetheless, I think you did a beautiful job working on this revision. Transposing it downward and creating a slightly fuller atmosphere brought about a great result. Much more emotive and memorable, and the track still manages to give off an intimate setting. You really did some nice work eliminating some of the more jarring & awkward intensity changes that plauged the track, creating dynamics that were more natural-sounding. Absolutely excellent.
For someone like Bev, who takes negative criticism pretty harshly (VERY harshly), a borderline NO can somehow seem just as harsh as a straight 4N. For all the people that get pissed at us for rejections, especially close ones, I disagree with vilifying the judging process or being greatly discouraged. We're simply going by the strengths of your arrangement, production & performance. If you get NOed but desperately want a piece to be accepted, then you've gotta take a step back at the decision and subsequently step up your effort.
The important thing I hope you gained from the process, Bev, is that you yourself like this version of the track more and feel that the criticisms given out have helped you to create something that you are personally more satisfied with than before. I'm not saying our word is gospel, but I think you'll be able to look back on the first version of the track in the long-run and see how it had the potential for improvement.
If the criticisms received on this piece as well as your other disputed NO from Crash Bandicoot 3 have helped you assess your pieces and have lead to self-improvement that genuinely makes you feel you're a better artist, then we've accomplished our purpose in giving your our concerns and asking you to come back.
So, yeah, I realize the rejections suck, but why grumble in the Chatterbox about how collectively bad/confusing/mean we are if you get one? If you have a track rejected in the future, you can vent, but just place your focus on whatever valid advice you obtain in order to benefit your material.
YES