Eino Keskitalo

I have! Yesterday I just reached the point where it turned from "trying to figure out the notes" to "this is starting to find some character of its own", which is exciting! Also finally sent in my source pick for the next round. It's a genuine classic and one of my all time favourite VGM pieces!

Sadly I did not find the time.

I think the longer deadline works for me too, as long as I don't do the usual and start working right before the deadline regardless of how much time I'd actually have ...

A beautiful piece! I love the treatment of the source here, taking a high-energy MM level track into something delicate, fragile and somber. And yet the parts are all there in the source material itself. I also appreciate it does what it intends to do and nothing more. One more thing I like about this piece is how the tempo changes naturally. The range of the tempo is quite large, it sounds confident and works great.

Yup, yup, it's all Renoise presets. Looking forward to making it a bit less so in the future!

Ooh ooh ooh.. I've had this idea I've wanted to do for a while.

The trick is to just submit whatever you've got. Like I just did!

I think I should finish my draft and upload it here. The source tune turned out to be pretty tricky! I really like the concept of having to pick source tunes that aren't commonly ReMixed, but of course then we don't have the hit source tunes that lots of people recognise and get excited about.

I like how this track has very clear funk/prog stylings. The organ, the electric piano, the organic drums, popping bass, analog synths.. at the same time, it has also a clear "sequenced and produced on a computer" feel and production to it. I appreciate this combo a lot, don't exactly know why but it makes me feel good. The ending is a bit brief and sudden, I feel like I get what it was going for but just a little more guidance/ramp-up for the sudden ending would have brought out the idea of cutting it out suddenly a bit better. I'm not intensely familiar with Super Metroid music (apart from listening to a ton of rearrangements) but I feel like I certainly recognize the melodies and very much appreciate the refreshing reworking done here. I liked this a lot!

Okay, let's see if I can count this time.

The piece begins with ambient bendings very reminiscent of the of the original sound palette, which I love. The juxtaposition with the organic latin percussion that follows is strange and effective. Overall the idea behind the arrangement is sort of "obvious after the fact" - I'd never thought of this connection before, but it makes perfect sense. Great sound, great playing, and a very enjoyable arrangement. Great work from start to finish!

https://ocremix.org/community/topic/46224/ <-- 'back to ReMix page' takes me to a wrong ReMix.

Hmm, I thought I read the deadline being 1d 10 hours when I checked on Sunday. Either it was reading wrong, or quite possibly I failed to comprehend it.. Yes.. I think I failed to comprehend it.. Here's my late - I suppose bonus - entry: https://www.dropbox.com/s/0ovr1gktk4dqgzd/eino_keskitalo-concept-crash.mp3?dl=0 ping @HoboKa

I started a little something.

What I really like in this mix is the sense of distance it conveys. The gritty synths, the guitar(ish) lead pushed pretty far into the background, the 'slapback' reverb of the snare, these work really well together (I can see where Gario's comment about the snare 'verb being a touch much comes from, but really didn't think about it while listening to the tune. A tone-down might make it better, but wasn't really bothered as it is). I do feel like the woodblocks are very much disconnected from the rest of the soundscape, at least on my cheap headphones. It's a bit like I'm trying to listen to this song and somebody clanks stuff together in the kitchen. I just didn't get it, but I do see MindWanderer complimented the very same thing in the panel thread. The 'hanging' guitar note at 1:12 feels off key to me. (Similarly the 'tail' of the previous section at 2:35-2:36 conflicts with the next part). I don't like 1:28-1:29 harmonically much either. The same with 3:04-3:06 and 3:16-3:18. Not sure anything is 'wrong' with that part, but it jumps out to me. The key change at 1:35-> is superbly cool. It sort of recontextualizes the material through repeating it in the different key. The 'hanging tail' of the previous part works well there.

Quick thunk, incentives doesn't sound like a bad idea (I cannot speak for OCR), but an album project is a huge undertaking and has a lot of stuff to do in addition to making the tracks themselves. Maybe hosting a competition with prizes might work better? If you want as much of the whole soundtrack covered, you could make it so that tracks are claimed first-come-first-serve.

This is super solid stuff, extremely well done. J.ME vocals are a particular highlight!

I'm playing a lot of 3D Out Run lately, and hearing this brought a smile of recognition on my face. It's usually annoying to hear the high-score track for me, I've beaten the game only twice so far, so most of the time the track means defeat to me. This arrangement has an interesting feel to it.. in a way, this would fit really well in a modern re-vision of the game, but in another, the arrangement has a slight tint of melancholy that feels slightly too serious for Out Run. But it's really good for an arrangement of Out Run music, don't get me wrong. 1:44 has some clashing harmonies. That's about all the criticism I have for the piece. The playing is good, the incorporation of other material is seamless. Pretty good work!

Voted! I was impressed!

I don't see why not! Some contests have been ran on the forums, with some special threads set up for voting. Or @HoboKa knows how to use ThaSauce compo back end, perhaps he could help set up something there.

Deserving of praise. Everything in the arrangement feels very carefully considered, it flows wonderfully.. the nods to secondary source material are embedded in a natural fashion and serve a purpose in the overall piece of music. The sound is good and compliments the emotion within the arrangement. This feels like something that came together on every level. Much enjoyed!

I'm slowly playing through Oracle of Seasons for the first time - I haven't made it this far in the game, but it feels like I recognize the vibe. I tremendously enjoy the unusual acoustic small ensemble. I like the flute bends, though the one at 0:19 feels like an off-key note unless I'm listening very carefully (I mean, I don't really hear the bend very well as it is masked by another note). To comment on the comments about structure, personally I quite often like to-the-point structures that pack their punch, or even ones that feel deliberately "incomplete". In this case.. the arrangement is short enough that it does not need a break for the listener inside it. No intro nor outro either to ease you in or out, it just delivers direct from start to finish. The ending is abrupt, but to me it leaves behind a sense of wondering. Track like this often works in a larger context, where this piece, what comes before, and what comes after, make for a greater than the sum of their parts. For me this track is fine on its own - you can add your own silence before and after, but it probably does not work that well in a random or not-carefully-selected playlist or stream.

That log-in track is really, really cool.

Oh man, FFX....