Liontamer

It's mentioned in the Read me TXT, but there's no lossless version for only that track, so that MP3 covers the gap. We do that rather than have a "missing" file in the FLAC folder, which would get even more questions about it.

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Not trying to say you're silly/dumb for caring about the topic and having strong feelings, Chris, but why can't you do it WITHOUT the needless hostility to everyone who disagrees with you on this? It's a subjective conversation by its nature.

No idea here, but interested to know more as well. Seems like it's still up at http://shop.klicktrack.com/sumthingelsemusicworks/425342

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Criminally underrated; if only Descent wasn't relatively obscure. Ash with his usual gold here; loved the tempo and the deliberate pace here. Still a big fan of this one.

Always dug the energy and instrumentation here; definitely some upper-tier stuff from Starla from ye olden days that got me into OCR.

Always so smooooooooooooooooooooooooooooooooooooooove. Still love this!

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.

The thing is, the structure is the same as "The Midnight Wood".

I actually thought the bass was too loud and resonated too much; should have been pulled back or re-EQ'ed. 1:51-1:53 had a very noticeably flat note; not sure if that can be fixed, but it would be a nice-to-have. Other than those more minor issues, I loved the arrangement. The source was referenced for basically the whole time, so there was no need to timestamp anything. The approach remained mellow like the original, but this version was nicely personalized, and I loved the backing pattern being used as the foundation of the track from 2:02-4:06. A really cool listen; nice teamwork! YES

The instrumentation was in the uncanny valley of realism at times, particularly the piano, but certainly above our production standards; Nice textures that mitigated the realism issues and put the focus on the writing. Easy call here, with a short but sweet combination of these two sources. YES

The heavy original source tune sampling in the opening did bother me. Although the piece wasn't using the sampling as a crutch to tie this to the VGM, I'd have liked less direct sampling of the original audio to make things less dicey from the perspective of the Submissions Standards. The ducking first found from :47-1:29 was annoying and should be pulled back some; I'd live with it as is, but that's a lesser ding on this. Was disappointed that 2:08-on was essentially a cut-and-paste; for something with a fast tempo and big energy, this particularly made the track feel flat and repetitive. Arguably, there's enough interpretation here to bear a ding on the repetition, but to me it made the track boring for the last minute. I'm more in the middle of the YES's and Jive's NO. To me, the production was stylized and even if I'm a grandpa and thought the ducking was too much, the production felt cohesive enough and had direction. That said, the last third needs to bring something new to the table beyond the copy-pasta and it would be rock solid. I won't have a big problem if this passes, but wish the arrangement were more fully developed for the last third instead of re-treading with no meaningful difference; it's OK in some tracks, but with the tempo so fast, it feels like too much repetition. If this doesn't make it as is, see what more you can do with this for the final third, Zach, and consider pulling back on the ducking/pumping and original audio sampling; for me, a combination of smaller issues are making me feel this needs one more pass. NO (resubmit)

Reasonably well-performed but there's practically 0 interpretation in this adaptation to piano; I actually thought MindWanderer was too charitable. Way too straightforward and repetitive with no meaningful development or variation. Good performance though, Rob; definitely send over another piano piece that is more interpretive and developed, it'd fare better when looked at with OCR's arrangement/interpretation standards in mind. NO

Nice to see Markus go outside his jazz comfort zone; the instrumentation could be richer and more sophisticated-sounding, as the blatty brass and the bass parts in particular sounded pretty thin. That said, I was just listening to another submission where weaker-sounding samples had little body and this was an example instead of coming through with solid enough, filled out textures that helped mitigate the realism issues. Would have liked for the initial claps to be more substantial, as they felt pretty flimsy, along with the core beat being basic, but the overall interpretation was an easy pass. Good stuff, Markus! YES

Much of the instrumentation sounded very thin and mechanically-timed/sequenced, e.g. the keyboard at :12 & 8:12, the sequenced faux-electric guitar line at 5:41, the bowed strings at 6:31 & 7:47. Even when the DnB elements were introduced at 1:28, they had no body to them (except at 6:56, which was still thin but a more complete texture than anywhere else), so on a production level, this was pretty dead on arrival. Arrangement-wise, I liked the writing ideas, Vittorio, so it's a matter of putting meat on these bones with more sophisticated instrumentation, making sure the sequencing doesn't sound so fake, and making sure the textures are filled out. Make sure you're using the Workshop forums (both for production and specific arrangement feedback) along with other online resources to improve your production. To some extent, the issues lie with limitations of the instrumentation/samples you're using, but it's also about you needing to be able to get more out of your current sounds. NO

strike911 - Online Street Band (Mega Man Battle Network) EDIT: Not sure how the labeling came to be, but I'm pretty sure Sal-Paradise - "Solace Eldean" is actually by Quinn Fox. No idea who or what Sal-Paradise is. Also, that MP3 is weird in that it fades in; when I originally had this file back in the day, the opening notes didn't fade in, they were at full volume. Dunno what game it corresponds to though. As far as Void, maybe someone could dig up the drama thread from the VGMix2 days when his plagiarism was discovered, if that was archived anywhere. I don't think anyone had any discoveries on his VGMix1 postings unless he'd also put them up on VGMix2. From what I can remember, it was pretty obscure stuff from professional VGM arrange albums, but there could have been other sources. Maybe @Ramaniscence, @k-wix or some ex-VGMix staff would remember something about it.

DrSeuss - Take it to the House (Zelda II) Nemo - Mezzo Forte (Rockman & Forte) nesprotection - Sunny Skies (StarTropics) Nightsong - Lost Souls (Castlevania: Symphony of the Night) Nukkus - Spaced Departure (Space Quest III) Quinn Fox - Miranda Block 4 is http://ocremix.org/remix/OCR00697 Quinn Fox - Post Intermission (Ninja Gaiden) Quinn Fox - Powerup Candles (Super Castlevania IV) If I remember correctly, all of Void's VGMix submissions were stolen/plagiarized. More later.

The piece was 2:59-long, so I needed to ID the source being used for more than 89.5 seconds for the VGM to dominate the arrangement. :23.75-:26.5, :31.5-:34, :35.5-:42.25, :43.5-:45.75, :47.5-1:33.5, 2:12.5-2:20.5, 2:27.75-2:56 = 96.5 seconds or 53.91% overt source usage My timestamping was just me going for super obvious connections, given that the source was brand new to me. Mike's approach had some of that Italo quality to it. Fun energy here, thick beats that drove the arrangement forward, and I enjoyed the source tune as well (love AJG's music, he's awesome)! YES