Liontamer

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We've got other ReMixes where the source tune usage is overt, but functionally more of a background/supporting line with original writing in front of it, the most prominent example on OCR being SGX's "Kick Your A". As long as the invoked source material is, to quote the Standards, "identifiable and dominant", then that works for me; in this specific case even when the source tune is in the background, it's clear, audible, and integrally works in concert with the other original writing once that kicked in at :52. We did have a Zelda submission by RebeccaETripp that we rejected for obscuring the source tune too much in the background, even though, by a stopwatch perspective, the source tune had been invoked for more than 50% of the track's duration. In other words: the context always matters. Production-wise, this has the same issues commonly found in Pieter's pieces, i.e. the humanization of the piano sample itself isn't great, leading to an obvious uncanny valley territory for the overall performance. Pieter frequently overcomes that issue, but it's still a legitimate drawback to the finished product. Arrangement-wise, I was timestamping this for my notes, but aside from me not being quite as generous due to some brief gaps, the source usage breakdown Pavos gave was fair and accurate, and the interpretation was readily apparent and creative. When in doubt, definitely submit the work, provide as much context and breakdown of the source arrangement as you can, exactly like Pieter did, and let the judges examine things. Nice work, Pieter; count me in! YES

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Interesting piece, and it's weird, but it's still capably produced. You just need to listen to it several times to get acclimated to the structure and flow of it. When it comes to source usage, Michael's breakdown was very helpful and appreciated. Always err on the side of providing us as much information as possible with source usage, rather than needing the judges to ask. My timestamps slightly were a little less generous than Michael's, but the sources were overtly invoked where he claimed they were, and I tried (as always) to give as much credit as possible. prophetik wondered about rhythmic connections where the notes are different. The context also matters, but that has always been a valid arrangement technique, as long as it's clear where the direct A-to-B relationship from source to arrangement is. The track was 4:05 long, so I needed to be able to identify VGM being arranged for at least 122.5 seconds for the VGM references to dominate the arrangement. :38.5-:46.5 (first two notes referencing 1:46 of source), :53.75-1:05.5, 1:12.25-1:17.5 (quiet), 1:27.5-1:31, 1:33.5-1:35.5, 1:41.25-1:52.5, 1:57-2:22.75, 2:27.75-2:35, 2:39.75-2:41.25, 3:14.75-3:26.5, 3:34.75-4:01.5 = 114.75 seconds or 46.83% overt source usage The piano of the first 7 seconds of the intro also seemed loosely derived from the constant sine wave part of the source, but it wasn't something I'd count myself. You could also count the 2-note rhythm and notes of the patterns from :17-:38 (with big gaps) in a similar way to what I'm counting from :38-:46 in referencing 1:46. That didn't quite get there for me, but the case could be made by someone else. To be on the safe side, there should be more overt source usage in the opening minute somewhere. As is, this is slightly source-light to where the VGM references almost but don't quite dominate the arrangement. Otherwise, the unorthodox sound design didn't both me whatsoever. Good stuff here, Michael; please don't be discouraged, and I hope you're willing to resubmit this one with some additional tweaks. Production- and writing-wise, this may be throwing some folks off, but I greatly appreciate the approach and character here. NO (refine/resubmit)

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Back in her earlier days, @Rexy played in piano stuff via keyboard, but it would sound mechanical, so she could better speak to why something played in live would still sound super-unrealistic; I'm looping her in here, and hopefully we can get her thoughts. It's a spirited presentation, but the obviously lack of humanization of the sound needs to be mitigated somehow.

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OC ReMix presents Songs of the Sirens: Link's Awakening ReMixed! September 20, 2019 Contact: press@ocremix.org FAIRFAX, VA... Celebrating today's highly anticipated re-release of Link's Awakening on the Nintendo Switch, OverClocked ReMix today released its 71st free community arrangement album, Songs of the Sirens: Link's Awakening ReMixed. Featuring 14 tracks from 14 artists, Songs of the Sirens pays tribute to Nintendo's 1993 handheld classic The Legend of Zelda: Link's Awakening, and is co-directed by OC ReMix veterans William "WillRock" Harby & Emery "DaMonz" Monzerol. The album is available for free download at http://sirens.ocremix.org. Songs of the Sirens pulls together a talented roster of musicians honoring this legendary soundtrack in a variety of styles, including EDM, orchestral, jazz, prog rock, and more. Songs of the Sirens was made by fans, for fans, and is not affiliated with or endorsed by Nintendo; all games, characters, images, and original compositions are copyright their respective owners. "Right after we finished Mirror Image, we already half-jokingly talked about making another Zelda album at some point," recalled directors Harby and Monzerol. The duo were motivated by Nintendo announcing their next-gen revival of the exemplary Game Boy best-seller. "As soon as the Link's Awakening remaster for the Nintendo Switch was announced, we realised now was the perfect time to do the album," Harby and Monzerol added. The album's artwork -- depicting a stone carving of Koholint Island's mysterious Owl and Wind Fish characters -- was designed by Canadian artist Roxanne Chartrand. Songs of the Sirens marks OC ReMix's fourth Legend of Zelda series album, following 2017's Mirror Image tributing A Link to the Past, 2011's 25YEARLEGEND commemorating the franchise's 25th anniversary, and 2010's Threshold of a Dream previously honoring Link's Awakening. "Link's Awakening is very special to us, and we wanted to show the depth of our appreciation of the game and its music by releasing an arrangement album simultaneously with the remaster," explained co-directors Harby and Monzerol. "This album was very much a labour of love, and we hope that translates to the finished product!" 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/kqVjfCTeclU Download Songs of the Sirens: http://sirens.ocremix.org Torrent: http://bt.ocremix.org/torrents/Songs_of_the_Sirens_-_Link's_Awakening_ReMixed.torrent Comments/Reviews: http://ocremix.org/community/topic/48696/

Preview Songs of the Sirens: http://youtu.be/kqVjfCTeclU Download Songs of the Sirens: http://sirens.ocremix.org Torrent: http://bt.ocremix.org/torrents/Songs_of_the_Sirens_-_Link's_Awakening_ReMixed.torrent Right after we finished Mirror Image, we already half-jokingly talked about making another Zelda album at some point. As soon as the Link's Awakening remaster for the Nintendo Switch was announced, we realised now was the perfect time to do the album. Link's Awakening is very special to us, and we wanted to show the depth of our appreciation of the game and its music by releasing an arrangement album simultaneously with the remaster. This album was very much a labour of love, and we hope that translates to the finished product! We'd like to thank djpretzel, Liontamer, and OverClocked ReMix for releasing this album, Roxanne Chartrand for creating incredible artwork, José the Bronx Rican for doing the awesome trailer, and all the amazing remixers on the project who helped make this dream a reality. - William Harby (WillRock) & Emery Monzerol (DaMonz)

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As long as the files are MP3s (VBR1 or 192kbps) or WAVs/FLACs that we can make MP3s from, the format is good. The most important part is that the tracks meet the Submissions Standards for arrangement and production to gain approval. Good luck!

Lesson would be to save WAV backups AND project backups. At least if the project files are borked, you have a lossless version laying around. Regarding what Audity posted, I have lots of WAVs and we'll do something with them later, but it's duly noted.

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