Palpable

Contact Info: Blue Magic Damon Campbell User ID: 4656 Submission Info: Game: Pokemon Diamond/Pearl Track: Snowpoint City (midday) Composer: Junichi Masuda (I'm not 100% on this, but this is what I found on Wiki). Original song Youtube link: http://youtu.be/iIWg6TUav0g This remix is part of the Pokemon Diamond/Pearl project [DS EDIT: there's not diamond/pearl project; this is on the Eevee EP] that is directed by Theory of N. If this remix is acceptable, I ask that it gets posted around Christmas time, since it sorta has a holiday vibe to it. However, I do understand if that's not possible. This mix is a chill/uplifting piece, mainly inspired by my daughter. I was actually pictured her and my dog playing in the snow together as I made it (even though she has never seen snow before). I honestly can't think of much to say about this mix. I'm striving to make remixes that outdoes the last one I made in terms of creativity and overall quality, and with that in mind, I feel that this one is definitely my best mix yet. I added the link for the mp3 on my Sound Cloud page for streaming, and a link to the WAV file on Google docs. Thanks for your time and consideration, Damon

Very unusual style and usage of source - palp Remix: Remixer Name: Brent Wollman Website: https://soundcloud.com/brent-wollman UserID: 41181 Game arranged: Donkey Kong Country Name of arrangement: Banish Individual songs arranged: Aquatic Ambiance I was shooting for a gigantic ethereal kind of sound. Not sure what else to say… Source usage is pretty straight forward

ReMixer name: Pl511 UserID: 48825 Name of game: The Legend of Zelda: Link to the Past, Majora's Mask, The Wind Waker, Twilight Princess, Skyward Sword Name of arrangement: Zelda's Lament Name of song arranged: Zelda's Lullaby, Song of Healing, Midna's Lament, Legendary Hero, Fi's Lament Link to Remix Comments: This is a piano arrangement of several Legend of Zelda songs that (for the first time almost XD) is actually playable by a solo performer (as you hear in the recording). As well as combining these 5 pieces, a lot of original interpretation as well as original composition has been included in the arrangement. I'm still a little unsure whether to put Zelda's Lullaby under Link to the Past or Ocarina of Time, but that's probably not an issue. I think that my personal favourite part of this arrangement was the writing in between Zelda's Lullaby and Midna's Lament. It was a lot of fun coming up with the few linking parts of original composition and getting everything to flow into each other properly was quite difficult. Hope you enjoy it! -Pl511 https://www.youtube.com/watch?v=CPG2yDvD_08 Zelda's Lullaby Song of Healing Midna's Lament Legendary Hero Skyward Sword

Original decision Name: Arceace Real name: Ben Clifton Email address: Game: Crash Bandicoot Warped Arrangement name: “Tiny’s Requiem” Original track: Tiny Tiger Theme Link: Comments: Thanks for all the awesome critiques you guys gave me on the first submission. I was able to go out and purchase some actual samples packs in addition to the one you recommended, so I am no longer forced to work with lousy free samples. I've also upped the production and actually figured out how to clean up the soundscape a little. Enjoy! PS. As of right now, this remix is no longer part of the Crash Bandicoot Warped Album. (the project fell apart I think?) -Arceace --------------------------------------------------

No, not an error. Remixers are welcome to submit their mixes for projects just as normal submissions. If you look at the front page now, you'll see a couple songs from previously released projects that were submitted this way. The standards for individual mixes are higher than for what can be on a project, so it's not guaranteed to pass, but if it does it means it will show up on the front page ultimately.

ReMixer name: Amphibious Real Name: Jordan Michael Reed Website: http://amphibious.bandcamp.com/ Userid: 44489 Name of Game: Streets of Rage Name of Arrangement: Streets of Rave Name of Song Arranged: Fighting in the Streets Comments: At MAGFest I was in a room with some cool peoples, Nathan Becker (ectogemia) being one of them. One day we decided to start a random song in FL on my laptop. It was pretty fun, and I learned a bunch of cool tips for mixing and sound design from him. This mix used that project file as a basis, so he certainly gets an honorable mention. I've learned a lot of things from a lot of different people on OCR in compos and just general conversation as well, so I have a lot of people to really thank. I was originally just trying to make a pumping dance track, but as I started fiddling about I played the Fighting in the Streets lead overtop of what I started and I thought to myself "Oh damn." So I reworked it, expanded the arrangement and eventually ended up with this. It felt like a very convincing and logical style for a Streets of Rage remix. I layered a lot of percussion samples, worked with way more automation than I'm used to, layered tons of other sounds. I did a lot of new things with this and it was a pretty big undertaking, but in the end I think it turned out to be one of my best works yet. I've tried to do harder electronic music before but nothing has turned out quite like this one has. I hope you all enjoy it! (If the name is too cheesy I can change it, but I hope its fine!) ------------------------------------------------------- The rhodes introduced at 0:16 was a little muddy each time it was in play but when the beats kicked in, it was easy to focus on other things. It still would have been nice to get that cleaned up. Otherwise, this is a great arrangement, lots of crazy synths and fun drops. Great stuff as usual from Jordan. YES

Hi, I just joined ocremix and have a remix of the GALCON Theme. The game's creator Phil Hassey gave me permission to remix the song and post it online. The theme is by Chris Inge. Direct mp3 download of the remix: Soundcloud: Here is the original song, for reference: Thanks, Zweiforce -------------------------------------------------------------------------------------------- The intro to this is pretty badass, building into something really exciting. Unfortunately, that energy doesn't really lead anywhere. At 1:24, the meat of the track kicks in and it's quite reserved, not matching the energy of the intro. It also keeps very close to the original song and from that point on, the remix is fairly conservative. Definitely some neat production tricks, but this needs to differentiate itself further from the original, and needs to maintain the energy of the intro. It's also pretty repetitive, reusing some of the same patterns again and again, and changing those up would do a lot for holding the listener's interest. NO (resubmit)

Hello Please take this to the track. I would be very grateful if this work falls into one of your projects. Thank you. flashvanslyer feat. Provaider TH & Fennec TF Tatarov Igor flashvanslyer.ru 51190 ------------------------------------------------------- This has got some cool instrumentation ideas but suffers from a lack of change-ups in the beat and backing parts. The lead guitar parts have some very nice writing to them. The track has a great, space-out quality to it, but ultimately is too repetitive. The guitars also don't slot into the trance beat as nicely as I'd like, sounding overly filtered, but it works decently. This remix is a great start but it's underwritten. NO (resubmit)

Remixer Name: urdailywater Real Name: Aaron Corbitt Game: Mahou Shoujo Madoka Magica Portable (http://wiki.puella-magi.net/Madoka_Magica_Portable) Name of Song Arranged: Cubiculum Coniecturae Name of Remix: Meus Caligo Hora (which should mean "My Darkest Hour" in latin if it was translated right. If not that's gonna be embarrassing) Composer: Zizz Studio (this was actually hard to find, but most any source that mentions the composer says it's Zizz Studio, so I'm going trust that) Source: Remix: The music from this game sounds a lot like the music from the anime in some cases, but the compositions are completely different. The soundtrack from the anime has to be without a doubt one of my favorite soundtracks / albums / anything to be heard within the last few years. It is literally impossible not to love the music. so I sort of tried to borrow from the anime soundtrack when arranging this in terms of soundscapes. Bringing in an acoustic drumset this time.. this sounds a bit different than my other stuff. Much more natural you could say.. but it still has that freaking bell and chiptune synths that I love using so much, so yeah. It gets pretty busy towards the end. I tried separating the parts so they're not jarring frequency wise.. but it's kind of supposed to be cluttered as a climax sort of thing if that makes any sense. I like that stuff at least. And also this has a lot more noise. I'm going to try and get harsher with sound design and noises in the future, because it's really fun to do. Hopefully ya'll will enjoy that : D Source Breakdown: *pretty much using source all the way until 1:02 while arranging the flute section and also providing some xylophone in the background that wasn't in the source. Going into 1:03 this section is original writing with the bells and synths keeping the sources chords though. *bringing the source back in at 1:37 with what i think are original chords until 2:00 where it goes to an original section again. *2:21 and here comes the source again with that flute lick from the source... seriously it sounds so good. Original solo'ing behind this section, which eventually becomes the forefront. and the song contains source for the rest of the song. Yeah, it's kind of average arrangement wise. I didn't want to go to crazy because I thought the source could stand out in this kind of arrangement. Enjoy! -------------------------------------------

Remix Title: Hot Air Penguin Game: Kirby Super Star - http://ocremix.org/game/199/kirby-super-star-snes Project: Heroes vs. Villains - http://hvv.ocremix.org/ WAV: Description: "Given the craze of Kirby lately with Milky Way Wishes finally being released, here's a Kirby track NOT represented in that project for folks to enjoy. Honestly this is one of those tracks that I worked on to the point where by the time I was done, I didn't enjoy it anymore... so I stopped listening to it... and then a while later, I listened to it again fresh, and really liked it again. :)" Description from HvV: "This one went through quite a bit of evolution. My first pass was a Miles Davis-esque jazz thing... which didn't quite work, so then I decided to do a genre I've rarely tackled: jungle jazz. And, it worked! Making it piano-centric was a strong point from the get-go (and I thank Bladiator for his input), and then the introduction of the trombone was something else I hadn't done in a long while. Yes, that's me playing... pretty rusty, I know. That, and the mix by Insert Rupee inspired me to get some 8-bit goodness going on there too, so... all in all it may be a tad bit messy, but still tons of fun in a chaotic way. I'm also a fan of the Kirby games, so the nostalgia there added to the experience." - Mazedude -----------------------------------------------------

This is a gorgeous track from Callum - well-written, performed, and recorded. It's a touching tribute to the composer of the soundtrack. The bass got a little loud at moments, particularly with the hammered chords, and I also heard some clipped notes that sounded like playing mistakes. Neither was too big an issue. The only major concern I had was whether the source was used enough. Here's what I heard: 0:13-0:43 Bottom strings play something loosely based on the left-hand part of the original, but the notes have changed. Too liberal. 0:43-1:18 Chords have changed the melody is close to verbatim with some added notes. The source track doesn't have a super strong melody, but the first three notes of each phrase are strong in both the original and remix. 1:18-1:36 Different chords and different melodies. Too liberal. 1:36-2:23 Original. 2:23-2:58 Last chord is different and melody is mostly there. Would probably count this, it seemed recognizable. 2:58-3:28 Same as first section. 3:28-4:04 Starts with the melody but deviates pretty far. 4:04-end Original. In the end we're looking at about 70 seconds of material that is close enough to count. I can see how this was inspired by the original track - it uses the same sparseness of notes to convey a mood, and some of the rhythms are the same - but it's too far away. NO

Your ReMixer name: Tuberz McGee Your real name: Callum Kennedy Your email address: Your userid: 44165 Name of game(s) arranged: Heavy Rain Name of arrangement: A Father Too Name of individual song(s) arranged: Painful Memories Your own comments about the mix: This is a ReMix I put together for a fantastic man. A composer. A Father. Normand Corbeil. He died at age 56 from pancreatic cancer. He wrote the soundtrack to Heavy Rain. A soundtrack which instills heavy emotion within me. I hope you enjoy this rendition of the piece. Normand. You will be missed greatly. The title is a quote from Ethan Mars. I thought it fitting. Breakdown from Callum: ------------------------------------------------------------------ http://www.youtube.com/watch?v=VxIbIkycXwU

Let's start with your YES so that you don't sweat it. YES Everything I have to say on this track is just to help you improve your already good production. The track has great energy overall and I preferred the frequency balance on this song to last few songs of yours I heard, which I found a little grating. That said, this still felt on the crowded side to me. The backing part that opens the song takes up a lot of room, and I would cut that some - it's most problematic when the main melody comes in. The part also has slightly too long of a release for such a fast repeated pattern IMO, so shortening the release or maybe quickening the reverb decay will open up some more space. The guitar-ish synth lead that takes focus at 1:15 is a little dull and doesn't cut as well through the mix. By contrast, the square lead at 0:54 sounded excellent and really cut through nicely. Again these are nitpicks, but since you submit so often, I want to see you get to that next level of music-making. Ending was really sweet btw.

The revised version of the track still sounds a little bassy to me - the thin leads are crowded out by the bass region. It's not a huge issue, more of a minor one. Things can still be fairly clearly heard, but it could be better. The harder thing to judge is the arrangement. The source is really short and frankly even having played MMX many times, I barely knew this song. You only hear about ten seconds of it in the game. It's a very repetitive source and it really needs a lot added to it to stand alone as a remix IMO. I don't think Shaun added enough. My first time listening through, I was impressed by how Shaun was able to change the timbre and dynamics of that riff, but on my second time listening, I was just focused on how overused the riff is. In the first half on the song, there are some hard-to-hear synth patterns accompanying the main melody but otherwise it sounds like everything else is doubling the riff. The bridge section was a nice addition and it flowed well from the source material, and after the bridge the additions of harmonies and countermelodies are more substantial. It's almost a 50/50 call but my gut says NO. NO (borderline) (resubmit)

AWESOME band name. Now that that's out of the way... This is the kind of arrangement I could see getting carried by the energy of a live band in a club, but this is lacking hard in a couple areas in the recorded version. The arrangement doesn't take a whole lot of risks with the source until the solo section in the middle, at which point it gets more creative. But even beyond usage of the source, the parts that the backing instruments play are very static. Drums are decently varied, but the strings tend to stick to whole chords, or a rhythm that can't be heard because the instrument has such a long release. The rhythm guitars also stick to a very standard rhythm. I don't think any of these things on its own is a problem, but over the course of a 5 minute song there's not enough movement overall. The lead instrument is the only really dynamic part. In addition, the strings are taking up too much of the soundscape. They need a drop in volume and have their bass cut, and the rhythm guitars need to be raised to fill that gap. Even that switch alone will add a lot more energy to this. Drums and lead instruments sounded pretty solid, but I heard some timing issues here and there, like the drums cutting in early. The timing is somewhat minor but noticeable. Sorry guys, it has potential but I'm not feeling it yet. With more interesting backing parts and fixed production, this would probably pass though. NO (resubmit)

I'm glad you're not calling it a failure. I've found the best way to get over anxiety is to just keep putting yourself in the situation that causes, starting easy and eventually doing tougher and tougher things. I have this problem too to some degree, but mostly when I make mistakes. When I mess up, I tend to mess up pretty badly and find it hard to recover and I get wracked with anxiety. When I've done performances for OCR and other shows, I practice a TON to avoid that scenario. The first time I played guitar for an OCR panel, which was my first public performance, I literally couldn't remember the experience afterward. Since it was my first time playing, my anxiety was so high that I probably repressed the experience, but I had practiced so much that I autopiloted my way through. (I think there's a psychological term for that.) By contrast, I played one time at Jamspace on the spot and effed up royally. Wanted to jump out a window.

Hm interesting idea, Brandon. I don't usually ever go back to these: Yes! Not really Yes! Still possible but unlikely Haha no Yes! Very much so! Half credit. Minor playtesting, no publishing It's better than it was at the start of the year, but I'm convinced now that it's never totally gonna go away

There's a shuttle that runs from the airport to the closest WMATA/Metro stop, which gives you a lot of options as far as getting to the Gaylord. It's the cheapest option but it takes quite a while. You're definitely best off if you can find someone to give you a ride.

If the other person is making you feel like a dollar sign, then they are doing business wrong. They should be helping you and providing you with something, and that should be the reason you get their card. I've certainly met my share of people happy to hand me a card, tell me to check out their stuff, and end the conversation there, and those end up in the trash. But if you talk to someone, establish something in common, and you find yourself interested in what they say/do, a business card is a good way to get in contact again later, for advice, partnerships, sales, whatever. Especially since at a convention, you tend to lose track of who you talked to. In any case, I think your instincts are right, just that the business card has nothing to do with it.

This isn't true at all. Business cards are mostly for making contacts, and that doesn't have to result in any kind of sale. I've exchanged business cards with people just because it's an easy way to get their contact info so we can hang out or chat. While the shirt is a great conversation-starter, the card serves a different purpose - giving them the card means at some point it might stare them in the face at home, when they can actually check the website out. And god knows ocremix.org is not the most memorable URL for people who haven't been to the site, so it's also a way to remember it later.

We've got a whole forum for you! http://ocremix.org/forums/forumdisplay.php?f=12 Make sure to check out the stickied threads in there, lots of advice for newcomers.

Yeah I'll put the capping vote on this. It got way too far off the source material as it went along, though it had a good flow to it. I also thought the drums were too repetitive and weren't integrated into the soundscape well enough - it was as if they were floating on top of the other elements. I did enjoy it for what it was. NO

The intro is great - well played/sequenced guitars, lots of space in the mix to create an airy feel. When the track gets to the meat, the drums don't hold the rhythm as well as I would have liked. It seems like you have too many elements fighting and the distinctness is lost a bit. It's not awful, but just not as good as it could have been. I would have played with the balance and EQ a bit more to get each element showing up in its own space. That said, it's a great arrangement and I think it's good enough to pass. YES

Great opening - well-produced beat with little details here and there. The snare was strangely panned across the sides but not too much of a distraction. When the Harley riff came in, it sounded like it became the big focus, and I was disappointed that there wasn't more development in the track until 1:32. That chorus section at 1:32 follows the original pretty closely, more akin to a sound upgrade than a rearrangement. Following that is a low-key but interesting section, and back to an AFAICT verbatim repetition of the chorus. The vocal section at 3:22 was not expected but was an OK fit with what proceeded it. The Joker theme started to come in afterward and was a cool way to mesh the two themes, but it was an awkward transition back to the original key at 4:21. Think this section would have worked much better in the same key as the other sections. The super gating/panning bit at 4:21 was tasteful. It's very easy to make things like that too annoying (especially on headphones), but you hit the sweet spot. The ending was odd though. You've got a build up section like it's going to lead back into something, but it just dies. I've heard that kind of thing in music before so maybe it's just not my cup of tea. Close call overall. The conservative nature wasn't an issue for me - while it's similar in instrumentation, I think there is more additive writing baked in to this than some of the other judges are giving you credit for. Your production is excellent, but I had a harder time getting behind the awkward flow of the bridge and the repetition of parts like the main Harley riff and the drums. I'll go ahead and hesitantly pass this. I liked the treatment for the most part, despite the issues I listed. YES (borderline)

Very cool track, Brandon. It's not far outside your wheelhouse, but you've crafted a very wistful track out of your standard instrumentation and singing. It's a quick-moving six minutes. Great use of flute and theremin. I think this is a pass, but I thought there was room for improvement. The vocal threatens to get drowned out at many points, especially when the lead acoustic guitar is in play. In general, I think you should have pushed the lead and backing acoustic guitars back some; they sound too far forward. In those moments, you had different parts fighting for attention. Honestly, the essing didn't bother me much, but it's possible you pushed that range in order to get the vocal to show up when really you needed to cut other things. Keep it in mind for next time. YES