ziwtra

*Brilliant*. You probably have a loose list of names in your head that, on recognition, you automatically click for downloading. McVaffe, Scott Peeples, djp, AE, etc... Well, take a listen. I know I'll be adding SuperGreenX to that list! yh

spacepony: No worries. We all make doofus mistakes like that sometimes. Like when my friend made some reference Beau Bridges and I said, "Um, what's a Beau Bridge?" (as though it were some type of suspension bridge or something). The sign of a real misanthrope, I suppose. yh

Well I wasn't sure what to think at first... I couldn't really see how this mix brought a new feel to the Sonic icecapped theme. But then the flute came in and that funky organ riff, and everything just tightened up into a mean groove machine. Everyone can complain about the bass, but really, it didn't detract (although a different one may have made the whole thing even better). Wonderful work, I am glad to see a real variety cycling through OC Remix these days. yh

I've always loved the beauty of this piece, but just now I took the time to listen to a couple of other renditions of the original as MIDIs (I've never actually heard the original theme). Wow! Bif! Pow! Boy did McVaffe turn a chunk of coal into a diamond : ) yh

If there were OC remix forums awards, I believe E-bison would thoroughly deserve the WIP one. Not only has he posted a number of fantastic mixes, but he consistently critiques and attentively helps others improve their remixes. When DJP calls E-bison a "newcomer" (as we know he always does with anyone's first mix) it is purely figurative. As for 'Time Management': We all know that time is limited. But a day's work has to be accomplished in the same finite 24 hours we each have. Some of us do it. Most do some of it. Some others procrastinate. And some never get around to it. And one of us, Mr. E-Bison, turns all the clocks back and makes us wonder how he ever got it done. yh

The piano has to be the funniest part. yh

Who else could pull something like this off? yh

This is perhaps the most surprising and wonderful interpretation of the serpent trench theme I've heard. Add to this the thoughtful execution, attention to detail and taste for subtleties, and we've got a winner. Quite a gem for OC Remix. yh

Jam-packed with detailed effects and little tricks here, there, everwhere! My favorite is the fake ending at 4:20 or so. There are very fine moments of that sweeping feeling that I think Mitsuda captured so well in the CT Title theme.. but overall my only complaint is that the segmented/chopped leads and syncopated drum beat can't convey the feeling so well. At some points I felt like the mix was trying to be cool or clever or creative or wacky or slicey and had forgotten to just be beauitful. But "The lady doth complain too much..." for this is really an amazing remix. And, by the way, the little splice in of Terra's theme was terribly clever. yh

For all of you who've been clamoring for an end to the Chrono Trigger remixes: Here is a slap in the face. To say that a game has been "finished" or "remixed" or even "over-remixed" is to insult the capacity for remixers to be innovative, creative. Who else heard bagpipes and a brass ensemble when listening to Spekkio's theme? And who could have pulled it off as beautifully as Spekkosaurus did? If you can claim to have thought of it, to have attempted it, and succeeded at it, then by all means go ahead and complain about Chrono Trigger being done for. I cannot make such claims. Less of the negative! How about that Tuba? And isn't that snare riff just perfect? In terms of execution, this remix is one of the best. Whether you like Celtic or not, you'll have respect to the work that went into this one. (And for a little more commentary: likewise, all you techno-trance-haters, there are plenty of remixes for you to appreciate in terms of pulling off techno spectacularly, much to your dismay.)

Digression: I'm reminded of a one hour compo where one fellow's samplepack had been corrupted. Instead of giving up, he loaded them up and went ahead with his entry. It was really rather hilarious at the time. Now then! Mazedude has done just what should be done with crazy nonsense samples: mix it with crazy nonsense music. And of course, what else to do with it than throw in all the tracker scene-esque tricks: arpeggio effects, blips and blops and note cuts all over the place. Truly well done. What I *would* like to hear from Mazedude next is maybe some IDM. Telefon Tel Aviv style : ) yh

*This* is what Amon Tobin wants to do but just can't seem to get right. And for the different pieces "not fitting" together, that is only for dogmatic listeners who are already expecting a genre from the first notes of any song. This is just wonderfully created; I haven't heard a mix that is so daring and successful all at once. This mix will be thoroughly enjoyed for years to come. yh

I guess I should just stick to art : ) yh

The title is "Downwind", not "& Xenogears Downwind." I guess the backend had trouble understanding that the "& Xenogears" bit was referring to what game the second song was from.

Temporal Distortion is an outstanding technical work. But more importantly, it is the most tasteful remix I've heard to date on OverClocked. Attention to detail is important; good production and realistic engineering are also; but they are not themselves an end. The difference between a professional mix and a powerful one is where one aims these tools - for that is all they are. Star Salzman's tools are honed, and never fail to hit the mark in Temporal Distortion. There is no sign of a method or principle being followed here; this is no textbook mix. It is not orchestral, nor is it electronic, and while it contains elements of both it aims to be neither. What I hear is a shot at beauty, and only the most fitting parts have been selected for the job. Often, the remixer hopes to recreate the mood of an original piece. At other times, a different, individual interpretation is the goal. This remix bothers with neither. It shines light on the beauty of the original theme. Mitsuda's work is expounded upon, not imitated or replicated. For many remixers, mastering the skills of the trade is difficult enough. All we can do is admire the masterpiece and continue our efforts. But for the elite, Salzman is a real wakeup call. You have the tools, but to what end are they put to use?