Palpable

This is pretty much the same question as came up for this sub: http://ocremix.org/forums/showthread.php?t=32570. Song is remixable but only the original parts. Public domain or not doesn't matter with our standards. I would be surprised to see a passable arrangement of the Gyruss song, most of it is Bach. Track names can come from the game itself, OSTs, names the composer has provided some other way, or sometimes fans will come up with names. I think we use names in that order.

I'm very very slow, I think it takes me about 50-60 hours per song? I usually try to do at least one thing I've never done before in each song, so that takes time, plus I tend to play around a lot with instruments and melodies rather than hearing something in my head and putting it down. With the exception of the DKC2 track, I think each song I've done for OCR has taken me longer than the last.

The issue is how much it uses the folk song. Sorry if I was confusing by pointing out the Sakura usage vs. Dodge Ball usage, I was doing that to show that the Dodge Ball song has a good deal of original material. But the relevant part of the standards to me is: What was used wasn't limited, not to mention, if you remove it, the song probably doesn't have dominant source usage. I'm not happy that it doesn't meet the standards, it's an amazing song and it does the song in the game justice. I think probably all of us weren't aware this would be an issue until now or it would have been brought up earlier. Here's hoping you can pull it off, although one part of me thinks that the song in the game will get less justice if you take out the Sakura melody. I hope you keep the current version as a part of the album too.

I like the arrangement, it's a really good concept. It's a little on the coverish side, but there was enough going on dynamically to make it stand apart. The mix of Deja Vu also added. The song is definitely clamping down, so bringing everything back down is the first order of business. The mixing is pretty muddy which might be the culprit for the clamping, and the vocals got lost in a sea of guitars and drums. There's no separation at all, and you'll need to make some EQ cuts to get everything to show up. Possibly some rerecording too, there sounded like there was some noise on some parts. Your intonation is also an issue, though in this song you've kind of got that rock "don't-give-a-shit" snarl going on, and intonation is less of a deal with that style. Still, some light pitch correction or additional takes would probably help here. Did you cut and paste some vocals? Some of the takes sounded very identical to me, and if it is separate takes, it could use some change-up in delivery. Some of the vocal lines come across kind of flat and those would be good to redo. I won't lie, I think this would take a fair amount of work to get to a passable state, but IMO it would be worth it. The arrangement is very cool and I'd love to hear a polished version of it. Also, diotrans got excited about this and urges you to resubmit. NO (resubmit)

Reminded me a little of the New Tetris soundtrack, the modern drum/traditional instrumentation blend was a very cool idea. I have to say the melody sometimes wasn't working in a major key. The A-section phrase always ended badly - it'd be better to change that last note rather than have it sound like it doesn't belong - but I think the entire second phrase of the B-section never really worked that well. There are also some mixing problems that OA and DA noted, and for the most part, the drums and the other instruments sound as if they are in different spaces and should be more integrated. Dunno if I see myself passing this without some major revisions, but I do like the really unique style you've got going, and I'd like to hear more of your stuff. NO

I wouldn't say this is a super clear-cut NO Override. The Dodge Ball song is based off , but has some original sections to it, which Jordan uses. In fact, there's more usage of the original sections than the Sakura melody:Dodge Ball sections: 0:00-0:15 2:09-2:22 3:35-4:21 5:07-5:21 =88 seconds Sakura sections: 2:39-2:54 3:09-3:35 (with Dodge Ball hook at the end of some phrases) 4:41-5:07 (with Dodge Ball hook at the end of some phrases) =67 seconds I would say that the Dodge Ball song has enough original parts that it is its own song, just like certain songs from the TMNT games that incorporate the TV show theme. If Jordan had shied away or minimized the Sakura melody this would be fine for OCR. But 67 seconds is definitely not an "extremely limited" use of source material not originally from a game. By the way, this song is amazing. NO OVERRIDE

Yikes, those guitars could kill an elephant. I think the balance could have better here, the melody and drums are so secondary to the backing guitars. In the 0:26 section, I wanted to hear the drums carry the song more, it ended up being more like a drone with some percussion over it. Apart from that, I couldn't find anything I didn't like with the song. The arrangement was really sweet, and I dug the brutal guitar tone, and the drum sounds used. It's a toss-up whether to pass this or not since everything but the balance is clicking, but I think it will be enjoyed. YES (borderline)

Used to play MOO2 a lot back in high school. I've forgotten most of it but I think it would come back to me if I picked it up again. I recall Creative being really really strong. I played MOO3 for a bit but it didn't grab me at all.

Interesting. For me, it would have to sound recognizable in some way, it's not enough that I can compare it note-to-note and see that it lines up backwards. But I don't think we've ever had a sub that did that, so I can't tell you how others would approach it.

^^^ Happy birthday man!

Happy birthday. I got you some synchronized eye-rollers. :roll: :roll: :roll:

Happy birthday! Really liked your Yoshi's Island mix.

We basically got seven people saying the same things. I'll e-mail him. EDIT: I fixed up a new version of this that's normalized and has reverb. Linked in the first post.

Let's send this back to him rather than wait on more votes. E-mailed him.

Previous decision Okeedokee, So this is a reworked version of the remix that got a No-Resubmit from the judges not too long ago. The two main gripes everyone had with it were the earpiercing leads and overcompression. I do admit I went overboard on those, by cranking treble way too high on the leads, hats, and crashes, and by overcompressing the whole mix a bit too much. These issues are now fixed. In addition to the fixes, I have also made some small tweaks to the arrangement. One more thing - I forgot to mention in my previous submission that some percussive elements in the mix are a tribute to Gecko Yamori's version of this track. Love his stuff. Since I don't have dedicated hosting, I am putting it up on fireslash and attaching the file to the email. Remixer: ambient Name: Alex Gventsadze Game: Streets of Rage Song arranged: Keep the Groovin' (Round 4) Remix title: Groove on -----------------------------------------------------------------

Just noting to everyone that the Tetris theme is the singular exception to our policy of not allowing remixes of VG songs based on non-VG songs. We've even got that listed out in the submission standards. I will check this out soon to see how much the folk song is used, but saying "because Tetris used a folk song, this is ok" doesn't jibe with the current standards.

The 4-player adaptor for Game Boy was utterly worthless. There were only a small handful of games for it, and to use it you needed the adaptor, four link cables, and four people each with a copy of the game. This last part is especially stupid because it came packaged with F-1 Race, so in order to play that game with four players, you'd have three more adaptors than you needed. One time my three other friends and I who had bought F-1 Race decided that even though the game was awful, we were gonna play it with four players just to say we had. We set it up and it was really uncomfortable because those link cables are so short - I think the adaptor was hanging in midair in the middle of us. We also had some initial connection problems, possibly related to the hanging adaptor. We did one race then called it quits.

There's very little arrangement in this, aside from how good or bad this song is. That's unfortunately enough of a problem that we can't accept this. I also think the piano is too mechanical for a song that features it so prominently, and some of the lead synths are questionable. NO

Very much liking the JM mood here, but the autopilot drums are so disappointing. This could have used some more significant changes in patterns, and also some subtle variation in volume. I thought the leads had some cool moments and the sequencing there was pretty good. Samples could be better all around, especially the snare, which had no crispness. I agree that this is a good resub candidate, there's some great expansion going on here. NO (resubmit)

Though the track was promising, I gotta agree that it felt empty. The orchestration was cool, and the moments where everything came in were excellent, but there were disappointingly few moments like that. Where's the background strings and brass to fill in the gaps? I'd also like to second Deia's suggestion of letting some other instruments take lead. Finally, the ending just... happens. It'd be cool to have one final swell after that to end on a bang. Hope you come back to this one and give it some more time. NO (resubmit)

I liked it, but too much of this is independent of the source. The part that arranges the source is cool, but only lasts about a minute. It's enjoyable, but we're looking for something more interpretive and expansive. On the production end, this was good but the part with the drums sounds like it could have used bass to fill out the gap. NO

Very odd arrangement. I can't say I was digging all of it, but I did love individual pieces, especially the drums, the accordian, and Christian's bass and guitar. On the other side, the orchestral pieces were kind of stiff and the transitions were weak. That hurt the song a bit. It's sort of moot anyway because outside of a section or two, the connection to the source is too loose. It definitely comes across as more "inspired by". Sorry, Kunal. NO

Yes! So glad you stuck this one out so long, Nathan. The instruments sound much improved and the soundscape is cleaner. Though it could still use tweaking of mixing to improve the dynamics, I think this is definitely the best version so far and now over-the-bar. Here's hoping you pull that last YES. YES

I'll go contrary to my fine fellow judges and say I liked the arrangement. The source melodies aren't too prominent in the original and as such, the connection isn't obvious. I thought it was strong enough however, and I was able to feel the tie. I will agree with them in that the production is generic, and there were some issues too. The snare was not good, it sounded like a low quality sample. The sequencing on the harp synth and especially the piano wasn't cutting it - that sequencing needs to be a lot more subtle to contrast the rigidness of the rest of the track. The repeated cymbals weren't working for me, and the ending also got a little too overlay happy. I know it's hard to resist the temptation to overlay different melodies, but it made that section lose focus because there were too many competing elements. A lesser concern was that some elements were a little dry and some delay on those might have been nice. Good start, but I think the production needs to improve. I guess including more source wouldn't hurt since you've got two people telling you that as well. NO (resubmit)

Not enough arrangement here, and the song is really overcompressed. Those are dealbreakers right there, no matter how good the rest of the song is. OA's ketchup comment is hilarious but unfortunately accurate. You've got way more ketchup here than burger. Those snare rolls and reverse whooshes should not be happening every two measures. Sorry man. NO