Nutritious

How have you never heard of Outrun, Kris? Were you a sheltered child? Things are definitely starting very close to the vest as far as source usage. Same bassline as the original as well as pretty much verbatim usage of the melody line. I would've liked to hear some more variation on the source lines used and/or the progression of the track. Breakdown at 2:16 was a bit unexpected, since we were only a little ways into the second iteration of the main melody. I call it a breakdown section, but it clocks in at 1:15, which kind of kills the energy of the track. I'd definitely trim that down. The build back up at 3:30 felt awkward. Things come back in to the main melody again at 3:36. With a wobbly lead synth layered with the trumpet, which is again on verbatim source coverage. As Kris mentioned, the sounds are pretty vanilla sounding in general. I don't view it as a dealbreaker, but the track could benefit from more expressive and/or realistic samples. There's some fuzzy synth work after 5:00 which sounds out of place and messy. In general, the track gets overly busy after 5:16 with too much stuff competing for space. I honestly thought the track was ending at 4:55, but it kicks back in with the backing pattern again + chords. At this point, the drum pattern here is getting very repetitive, as is the repeated source lines. Honestly, I don't feel there's enough here to fill 6:49 worth of track. The extended breakdown section as well as repeated iterations of melodies and backing patterns makes the song feel like it's dragging on, rather than staying fresh. I know it's a big write-up here with a lot of crits, but that's not to say you haven't established a good start here with some good ideas. It just needs quite a bit of work (IMO) to reach the bar. NO

:00 - :07 Original :08 - :12 Part of the bridge melody at OST :49 :13 - :29 It's possible the bassline is based on OST backing, but too much of a stretch for me :30 - :59 Main melody from OST 1:00 - 1:06 Original (could be super simplified part of OST bridge, but too liberal to count) 1:07 - 1:13 Part of bridge melody again OST :49 1:14 - 1:20 Original 1:21 - 1:26 OST :49 1:27 - 1:29 Original 1:30 - 1:35 Sounds somewhat like the backing pattern from the intro of OST. Very iffy here. 1:36 - 2:05 Main melody again 2:06 - 2:12 Original 2:13 - 2:18 OST :49 2:19 - 2:27 Original 2:28 - 2:32 OST :49 2:33 - 2:42 Original 2:43 - 2:50 OST :49 2:51 - 2:56 Original 2:57 - 3:03 OST :49 3:04 - 3:11 Original 3:12 - 3:17 OST :49 3:18 - 3:34 Original (inaudible) 215 seconds total with 117 seconds source usage = 55% This analysis is a bit tricky because it sounds like the first half of the bridge line is being modified to the point of being original, while the second half is used much more closely to the OST. This becomes a repeated motif throughout the remix in general and encompasses the majority of the second half of the track. Fortunately, even not counting half of each time the bridge is used, it still gets it over the 50% mark. Really loving the energy that this track is bringing to the OST. Lots of well-written synth & bass parts as well as some subtle creativity on the lead lines. Would've loved to hear more of that guitar lead that didn't come in until the second half. On the production end, there are some balance issues present. Snare, hats, & backing synths are a bid louder than needed compared to the leads. Some of the wide panned hihat-type sounds get distracting because of this (careful, once you hear that, you can't un-hear it ). The kick becoms difficult to make out in the busier sections. Some of the synth leads were a bit piercing in the upper frequencies. On first blush, the drum writing struck me as a bit repetitive, but upon closer listen there is quite a bit going on with tom hits and the kick - it's just that the snare and hats really dominate, so it's difficult to pick up on. Definitely some copy-pasta of the :59 section coming back at 2:36 - 3:17, which is a shame, because there's so much room for additional creativity here, even in the later stages of the song. I could see the possibility of some NO's based on the copy/paste section at the end and, to a lesser extent, the balance issues. Overall, I think the strength of the rest of the track is enough to push it over the bar for me personally. YES

The sudden entrance of everything at the onset didn't quite strike me the right way as it didn't sound like a clean entrance, but it was quickly remedied with the section that followed. Liking the guitar & bass work. The track definitely has a loose (dare I say, indie rock?) style & feel to it. The track sounds somewhat lo-fi to me in general, which isn't necessarily detrimental given the style. This is perhaps part of what Palp was referring to and I do agree with him that the drums do sound a bit weak in context. Arrangement sounded solid in both source usage and personalization. Cool stuff here, nice work. YES

On a personal taste level, I'm really liking what I'm hearing. Unfortunately, I'm going to have to agree with Emu & Palp that this is structurally too similar to the original to qualify as having a substantive enough arrangement for OCR standards. That said, the performance on the lead guitar was the highlight of the track for me. Whether you decide to revisit this to personalize & expand on the OST or submit another track, I'm looking forward to hearing more from you. NO resubmit, please

Nutritious Justin Medford Ultra Street Fighter 4 Decapre's Theme CEO Project Mix Ever since first seeing Darkesword's recruitment posts for the Apex album projects, I'd wanted to join up and do a mix. Unfortunately, real life tended to get in the way of that each time. However, when he posted to recruit for a similar album for the CEO tournament, I decided not to let this chance slip by as well. As most producers/remixers can attest to, when beginning a new track, the end result very rarely ends up sounding like what you'd originally envisioned. I've been listening to a new artist named Fox Stevenson, and was attempting to emulate a style similar to one of his mixes called Throwdown (Rob Gasser remix, actually). The idea was for a half-time, heavy electronic take on the Decapre theme from USF4. Unfortunately (or fortunately?) I wasn't quite able to get it sounding how I wanted it to. Eventually, it evolved into a sort-of Rock D'n'B track, with the same heavy low end presence I was trying for in the first place. I really wanted something high energy for the album and I feel I accomplished it here. In my opinion, I feel that it is one of my best tracks to date.

Actually, I'm pretty sure the tracklist is filled out and the tracks are all done. DS just hasn't updated this thread.

Cool mix. Definitely digging the concept and approach. Gonna keep this vote short. I do agree that there could be some improvement on the mixing levels to get a better balance. Overall, though, while the track is pretty busy, the various parts in general came through clearly enough to be distinctly heard. The swing feel of the arrangement is sweet. Am I the only one who found it humorous that everyone here is talking about the mixing of the track and the voice samples are doing the same? Subliminal message perhaps? YES

Saturday, July 25th Reno Ballroom 401 N. Center St. Reno, NV 89506 10AM - 8PM http://www.renogameexpo.com A wild OverClocked ReMix West Coast Event appears! What is this?? TWO West Coast OC ReMix panels in the same month?! OCR returns for the third consecutive time to the GAME Expo in Reno. Come hang at the panel, play some games, and listen to some sweet sweet tunes. Also, stick around while our very own Flexstyle spins the after party immediately following the festivities. PANEL OC ReMix: 15th Anniversary Video Game Music Celebration! Panel Time/Location: 3:00-4:00 PM in the Rusty Bucket room Panelists: Bahamut Flexstyle Nutritious Zyko

Both added. Thanks, guys!

Wednesday, July 8 to Sunday, July 12 10th Avenue Arts Center, San Diego, CA http://www.gam3rcon.com What is this? Another OverClocked ReMix West Coast Event?!® OCR is expanding our presence on the Best Coast with our first appearance at Gam3rCon! Running alongside the famed San Diego Comic Con, Gam3rCon is a popular destination both for those leaving Comic Con and folks that just simply love gaming. It's our 15th anniversary this year, so join the festivities with us! PANEL OC ReMix: 15th Anniversary Video Game Music Celebration! Panel Date/Time: 6 PM Saturday, July 11th Panelists: Bahamut Flexstyle Gario Nutritious

OK, I'm digging this. The arrangement & composition work here is deceptively complex - trying to get the percussion (used more in the foreground than traditional orchestral percussion) to balance well with the rest of the more traditional orchestral instruments is no easy task. The way it's been done here just sounds effortless. Samples may not be 100% super realistic LASS or anything, but they were very competently utilized and nothing stuck out as being significantly problematic. I thought the woodwind leads starting at 1:38 and later were particularly well written/executed. Coming from someone who tendes to us reverb as a bit of a glue/mask for unrealistic samples, I really like hearing an approach from the opposite side of the coin. I will concede that the ending was a bit disappointing, but not enough to make a major issue out of. Good stuff YES

Wow, way to do a lot in only a little bit of time. I love the tones and writing in the intro. Great dynamics in this piece. Solid production. Personal preference warning: with how big the build is, it felt like there should be some sort of cymbal (roll or crash) to accentuate the downbeat at 1:48. Anyway, as a whole, transitions are really good. Nice work YES

Man, loving this funky approach. Production is spot on - literally no gripes here. Huge thanks to Larry for the detailed source breakdown. Makes my life easier. The amount of integration and sometimes constant switching between both sources along with heaping dose of personal touches is pretty amazing on the arrangement end. Awesome YES

Pretty solid arrangement work here. Clear connections and personalization in style and writing. Was really digging the vibe in the first half. However, I've gotta agree with Palp on the drum kit being a major issue. It's both distant in the soundfield and lacks any sort of punch. The bass synth underneath it doesn't have much presence either (especially in high freqs), so it's not helping to support the song much at all. It's really an odd contrast to be hearing high quality orchestral writing and samples juxtaposed with frankly lackluster drums and synths. I felt like the transition to the drum section wasn't as much jarring as just feeling unpolished and underwhelming. I'm ok with the contrasting mood of the second half, it just needs to be more effectively put together. Really good start here, but the second half needs some love with the drums and synths. NO resubmit, please

Really liking the arrangement and how you handled theme transitions. I've always been a sucker for FF6 forest. Good use of various percussion elements. I felt like the balance could use a little tightening up in places. Sometimes the harp sounds overly loud or a lead will suddenly push its way to to the front a bit too far. Instrumentation is pretty solid, though there were times the leads were stretching the realism factor. For example, the flute around :20 gets pretty exposed on the long sustained notes with the heavy, robotic vibrato. I agree that there were percussion elements that were overused - even beyond the chime. It didn't strike me as a big enough issue to be a deal breaker, though. Overall, this is good stuff and a great arrangement. YES

Added! Added! Glad I could help with the ASIO setup. One thing I didn't mention is the best solution I've seen to the issue is one Zircon told me about: Though not as *free*, you can buy Virtual Audio Cable and use it to manually route the output of a VST plugin on your master channel to the input of your OBS speakers. Then, you can put your microphone on a separate mixer track (that does not route to the Master channel), and output that to the OBS microphone. This way it won't co-mingle the audio and you won't hear yourself talking in your headset. This is what I use now and it works perfectly. If you decide to go that route and need help setting it up, let me know.

Thanks to Larry for the source breakdown. Gonna second Kristina's crit on the bass being pretty muddy sounding. Great performances overall, especially on the vocals. Drums really drove the energy of the track on the more intense sections. Minor crit: I felt like the background vocals were a bit off-key/dissonant in places after 4:57. Still, the effect when combined with lead vocals were very cool. Love it. YES

Not much to add to what's already been said. Getting super-realistic sound with exposed parts like this is really tough, but the mixer did a really good job. Part balancing is really well handled and the mix is reasonably clean sounding. Really enjoying the fresh arrangement ideas you've brought to this theme. I particularly liked the chord changes in the 1:32 section. This part really sucked me into the track. Personally, and this is really nit-picky, I would've liked a bit more dramatic ending to close things out. Excellent stuff. YES

This is fantastic. Lush soundscape that uses reverb spacing really well. Vocals are gorgeous. Minor gripe, but occasionally the instrumentation begins to compete with the vocals when the vocals are not quite as loud. Great arrangement. Too bad we didn't get this one earlier, but better late than never. YES

Not much to add to what's already been said. Nice production work and performances here. The mix in general sounds pretty mid-heavy, especially in the main melody (A) sections. I think it's the combination of the bass and the rhythm guitars taking up a lot of the same frequency room. See if you can pull down some of the mids and perhaps give a little more high-end to either bass and/or guitars to avoid having a dull-toned mix. Not gonna beat a dead horse on the track repetition issue mentioned above. I will mention, though, that the bass writing within sections is also pretty repetitive. Would've liked to hear some variation in the part-writing. After all, your average competent musician isn't going to be content to sit there and hit equal tone/volume eighth notes throughout song sections . Obligatory fadeout complaint. Good start. Hoping to hear this one again. NO resubmit, please

Cool use of haunting synths to set the stage for the mix. Fellow J's really hit the nail on the head here. From 1:00 until 3:03 it sounds like there are missing notes and/or elements that should be fleshing out the track - like they were muted before export. At 2:16, the drums drop off for a breakdown section, but because the soundscape wasn't fully realized prior to it it just sort of sounds like a lower-energy version of the previous section instead. Things become much more full at 3:03. I'd argue the backing pads/sustained notes are actually a bit too loud here. The oboe lead sample works in general, but because it has no vibrato, it sounds stale/stiff (not sure what word I'm going for here) on the long sustained notes. I'm also on the same page with Vinnie on the direct source sampling: I wouldn't have noticed either without it being mentioned because of the bitcrush-type effect. Nice start here, keep on it. NO resubmit, please

Very nice writing with the string support. Seems like there's potential here to utilize more of the orchestra rather than just strings + oboe. Some soft brass support or tasteful & subtle timpani rolls, cymbal rolls, etc would Definitely agree that this sounds underdeveloped. It's essentially one run through the main melody and B section, then it finishes. Beautiful as it is, it needs moar . Oboe volume level didn't bother me, mainly because it's supposed to be a solo instrument competing against the rest of the orchestra, so naturally it'll be somewhat quiet in comparison. So, flesh it out a bit more, and perhaps also consider some more instrumentation support. NO resubmit, please

I'm going with Ryu's theme from USF4.

Are we sure this is the correct source being cited? Is that all of the info from the sub letter? If so it's pretty sparse. The mixer did mention they weren't referencing the OST at all when creating the track, so it's possible that it's completely off the rails, but if we can get confirmation on the correct OST, that should keep us from possibly wasting our time here.