Liontamer

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Sorry for the delay in responding to this, Troisnyx, but I was on vacation last week and wanted to give this the attention it deserved. I've never interacted with you before, nor have I see your name or handle in our submissions inbox (which I've helped manage since 2006), so you'd have to give me the backstory as to when/how you were excluded over mixing issues despite others being included; not sure if that meant a standalone submission being rejected or you trying to join an album project and being turned down. As far as you or others creating VGM arrangements out of spite for OC ReMix, we'd rather you didn't, but spite can be a powerful, motivating force. Whatever spurs you to make great music, channel it while its available. Not that you need it, but if part of your issue with OCR is not getting direct validation from someone in our community, then please consider that over, because I see that you're extremely skilled & talented. I wish you'd been on my radar way back when, but you're certainly on it now (in a positive way). You in 2012 on our forums: *"I'm already deterred from submitting anything to the judges — as much as I want to [...] I know for sure they're going to turn round and say something is wrong."* Definitely correct me if I'm wrong, but from what I can tell, you've never actually submitted an arrangement to our judges panel for consideration to OCR before. I would always encourage anyone to submit something and just see what the feedback is. We have another great female, UK-based arranger, Rexy (@freqrexy), who was rejected time and time again, yet eventually improved her skills enough to where she's now on the judges panel that helps evaluate and select the music that's posted on OCR. Lots of arrangers have different stories, but she can attest to the fact that we do our best to be constructive with the feedback, and we're not here to beat people down. You also mentioned being shy in a forum post in 2012; glad to see that's not the case now. You wouldn't be the only talented person that's unreasonably intimidated by our submissions process or (wrongly) feels they already know the negative outcome in advance. But Pixel Mixers and GameGrooves also do quality control on their albums and I'm sure have had their own run-ins with people disappointed to be told their work needs improvement before being included in a project, even if their bars aren't as stringent as ours. You posted an incredible LoZ:LA "Wind Fish" arrangement with French lyrics on our forums back in 2013; I'm sorry you didn't get a reply to it, because it definitely deserved the attention and affirmation. I thought it was amazing (i.e. a great creative concept, beautifully performed, and well-executed) and it's something I would strongly be in favor of posting, if it were submitted. Not sure what production limitations were involved in the track back then, but we don't consider how pricey someone's equipment is, just how effectively they use the tools they have (including predominantly free tools). I also enjoyed your recent "Face Shrine" arrangement that you linked; not sure if an Enya comparison would be taken positively or not, but it's meant as a genuine compliment. If you don't want to consider submitting it, or the older "Wind Fish" arrangement, that's unfortunate for the additional audience we reach that otherwise won't get to hear it, but it's OK, and there's no drama here; we can't force you to actually try going through the submissions process, and we can't house every great interpretive VGM arrangement in existence, but we do our best to evaluate and publish the ones that are actually submitted to us. Whether it's now or years from now, you're always sincerely welcome in our community and encouraged to submit music for consideration. If it isn't approved, we'll do our best to explain why, but from what I can tell, your work is (and already has been) strong enough to be included, as well as unique enough to attract a following. Lastly, I also mentioned Rexy because she's also a contributor to Pixel Mixers & GameGrooves recent charity album Heartwood. We don't look at being involved with OCR as being an either/or thing with other VGM communities. So I'd always encourage you or anyone else that's a part of Pixel Mixers, GameGrooves, Dwelling of Duels, Tiny Waves, GameLark, Materia Collective, Remix64, etc., to keep in mind that being part of OCR isn't at the expense of contributing to and supporting other creative VGM arrangement communities. It's all about "and", not "either/or." I'm not here trying to manufacture a kumbaya moment, but I'm glad that you voiced your criticism so that I could respond and clarify that we're a genuinely welcoming community, and you and your music are definitely still welcome in it. I'm not sure what event made you feel like you were unwelcome, but that's never actually been the case. If you have any questions about how the submissions process works, let me know. I hope you're willing to reconsider submitting music to be included on OCR; if not, that's OK, and there's no negativity from us about it. Keep up the great work! -Larry Oji (@LarryOji), community manager and submissions judge

A great creative concept, beautifully performed, and well-executed. Never a bad time to submit this!

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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.

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

OC ReMix presents Jet Force Gemini: Mizar Attacks! June 22, 2021 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 76th free community arrangement album, Jet Force Gemini: Mizar Attacks! Featuring 18 tracks from a dozen musicians, Mizar Attacks! pays tribute to Rare's Nintendo 64 space adventure shooter Jet Force Gemini, and is directed by Darkflamewolf. The album is available for free download at https://mizar.ocremix.org. Mizar Attacks! involves a worldwide lineup of musicians creating more than 80 minutes of interpretive arrangements in a bevy of styles including rock, funk, orchestral, EDM, chiptune, cinematic, house, metal, and more, inspired by the music of Robin Beanland, Alistair Lindsay, and Graeme Norgate. Mizar Attacks! was made by fans, for fans, and is not affiliated with or endorsed by Rare or Microsoft; all images, characters, and original compositions are copyright their respective owners. "I remember getting hyped for this game way back when it was first introduced in Nintendo Power. I was already a Rare fanboy due to my love of Donkey Kong Country and this was just yet another great endeavor in their growing roster of masterpieces," recalled album director Darkflamewolf. "Popping that cart into my Nintendo 64 that first time and seeing the Rare logo with that ominous jingle followed by bombastic title screen music, I knew I was in for a good ride. And that's exactly what we hope to deliver to you with this album, a good ride from start to finish!" The album's artwork was designed by Brazilian artist Rodrigo "Inert-Ren" Martins and features Jet Force Gemini's lead characters, Gemini Squadron members Juno, Vela, and Lupus. "I thankfully secured some insane talent who were all more than willing to give this underrated gem a shot and the album we've created, I'm sure you'll come to agree, is one freaking fantastic collection of songs that'll knock your socks off!," Darkflamewolf assures game music listeners. "So sit back, grab your rocket launcher and enjoy blasting some Ant guts across the walls with this album, Mizar Attacks!" Mizar Attacks! is OC ReMix's second collaborative community album directed by Darkflamewolf, following 2018's Arcadia Legends, which arranged the soundtrack of Sega's Dreamcast classic Skies of Arcadia. It's also OCR's first album project heavily geared towards music by BAFTA-award winning composer Robin Beanland, who himself has also performed on two previous OC ReMix albums, Donkey Kong Country 2: Serious Monkey Business and Donkey Kong Country 3: Double the Trouble! About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676). ### Preview it: http://youtu.be/-nhmggRxDVU Download it: https://mizar.ocremix.org Torrent: http://bt.ocremix.org/torrents/Jet_Force_Gemini_-_Mizar_Attacks!.torrent Comments/Reviews: http://ocremix.org/community/topic/50582/

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Preview Jet Force Gemini: Mizar Attacks!: http://youtu.be/-nhmggRxDVU Download Jet Force Gemini: Mizar Attacks!: http://mizar.ocremix.org Torrent: http://bt.ocremix.org/torrents/Jet_Force_Gemini_-_Mizar_Attacks!.torrent I remember getting hyped for this game way back when it was first introduced in Nintendo Power. I was already a Rare fanboy due to my love of Donkey Kong Country and this was just yet another great endeavor in their growing roster of masterpieces. Popping that cart into my Nintendo 64 that first time and seeing the Rare logo with that ominous jingle followed by bombastic title screen music, I knew I was in for a good ride. And that's exactly what we hope to deliver to you with this album, a good ride from start to finish! The overall genre of music present through the album alongside track order was carefully crafted to flow from one to the next to give you a single cohesive experience from the moment you press play. There is even a separately remixed bonus track meant for just that purpose - with specifically created transitions between tracks, it is intended to be an aural experience enjoyed via a single sitting period. Like my previous album project I managed, Jet Force Gemini was completely off the radar on most remixers history of games they were familiar with. Being the sole person directing and managing this (albeit smaller) project was challenging. I thankfully secured some insane talent who were all more than willing to give this underrated gem a shot and the album we've created, I'm sure you'll come to agree, is one freaking fantastic collection of songs that'll knock your socks off! So sit back, grab your rocket launcher and enjoy blasting some ant guts across the walls with this album, Mizar Attacks! Enjoy! - Darkflamewolf

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The arrangement was interpretive primarily due to the very hefty instrumentation, coming off to me mostly like a sound design demo (not in a perjorative way). Really nice dynamic change at 1:18 for the chorus by initially stripping things down. Soundscape was obviously too cramped from 1:33-1:49 (booooo!), but it can slide only because the rest of the track was mixed fine. Also not sure of why the chorus notes were essentially half-randomized from 1:49-2:20, as it didn't sound melodious or like it truly clicked as a technique, even after giving it several listens and acknowledging that it was more orderly from 2:04-2:20. Not totally my cup of tea, but solid nonetheless (and it ain't about my personal preferences, now is it? ;-D). Fun take, Dakota! YES

Not a close one for me. Great variations throughout. prophetik laid out a lot of the interpretive aspects of the piece that really shouldn't be undersold; this is a different genre, lots of additive writing including original countermelodies. I'd even argue that the areas referencing the "on Yoshi" drums aspect of the source aren't even copying those patterns, so it's like getting wholly original writing inspired by the Yoshi drums. Gario had a valid point on the repetition of the melody from 1:54-2:39, sure, but it wasn't long overall and that part was really a brand new rhythmic idea after everything prior to it; really, the offending repetition was only from 2:16-2:39; some doubling/chorusing of the lead there and/or varying the beats more from 1:30-on would have been a subtle way to differentiate from the first iteration at 1:54, but it was brief, the repetitive section was already meaningfully interpretive, and it's a nitpick. Sure, more could be done with this, but nitpicks aplenty aside, when you look at the big picture at how interpretive this is of a 16-bit theme vis-a-vis rhythm, tempo, instrumentation, additive writing, and dynamic shifts, and how full the production sounds, I don't know how this is a close call. If this gets rejected, I'd argue the bar's just too high. YES

It's worth noting that the droning background notes are more directly inspired from the classic Genesis version of the theme (rather than the Sega CD version) and provide a lot of the glue making the arrangement constantly reference at least some aspects of the source, so I'd consider this an arrangement of both versions together. That said, this is an excellent expansive take of the Flashback theme, and I enjoyed the ride. The arrangement's an extensive gradual build at a slow tempo, and nothing but ear candy with space for the listener to breathe and appreciate the details. Nice work, Ernesto! YES

Man, this theme kicks ass. Don't dig the chorus as much, but the verses are really the hook. Really beefy sound for 16-bit. Checking out the submission here, the opening immediately sounded cluttered once things were adding into the picture at :15 and became even more crowded. I can make out the melody but it's nonetheless pushed behind the beats, so IMO the mixing is imbalanced; there's too much high-end and the melodic lead needs to be more upfront. prophetik had very thorough production comments to keep in mind as well This has good energy, but at 1:55, you essentially have a cut-and-paste going on all the way until 3:07, starting with :29's section, which left the track underdeveloped and overly repetitive. So it's not just the beats being repetitive, it's everything just being rinsed and repeated wholesale for an extra minute; some changes in the leads, textures, or beat-writing would have allowed this not to drag on. Great foundation here, Kris. Between introducing more varied writing and improving the mixing, this definitely has what it takes to be raises above the bar and get passed in some form. Loads of potential here! NO (resubmit)

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