Palpable

I can't make anything this good now. Awesome mix, I'm glad we passed it.

With three borderlines, I'd like to keep this open longer, get at least one more YES.

Did you not see my ? The stopwatch is satisifed (I'd post a funny gif here if I could find one), but I don't think it's lazy to YES it. To me, there's not a lot to think about - the matter is only whether the source/original/source thing is acceptable. Do we have any precedent of stuff like this getting passed? It'd make the YES easier in my mind.

Another chord-y remix - palp Kento Khromatic Kento Watanabe http://www.youtube.com/kentokhromatic User #: 29757 Remix Name: Report From the 20's Remix of: Report from the destroyer From game: Omega Five Composer: Hiroyuki Iwatsuki (moniker: Iwadon) This was originally a remix for the Iwadon remix compilation project at iwadon.com . I really tried to focus on development on this song, using a short victory theme and expanding it as much as possible while still making it sound unified and not "blocky". This has a jazz and ragtime-related rhythm feel to it but the feel and accompaniment changes itself up more like in sonatas. - Kento 渡辺健人

The ending still sounds like a weak spot to me, but it can't be said enough how much of a joy the rest of this song is, layers of melody built on a rush of awesome beats. I love those little details like the three-note vocal hook. This is the epitome of PW mixes for me.

I'm pretty ambivalent here. I love the textures and the set of instruments, very well chosen and blended. The first minute was too directionless, very little build-up or much happening. Eventually a pan flute came in and from there, it started to go somewhere, though it only really took off at 1:40, when the bass regions that Shariq noted as missing were filled by pads and kick. That's this mix's weakest aspect IMO, the first half is only OK. There's also an overquantized feel to this, but I didn't feel it hurt this too much. The reverb settings are good, and the blend of electronic and natural elements downplays the stiff timing. The pan flute is the worst of it. Overall, I'll give it a borderline YES. The second half really comes through and offers a great arrangement of Fear Factory, the first half has some good ideas but the execution could have been improved. YES (borderline)

ReMixer name: Hylian Lemon Real name: Benjamin Hoffman Website: http://hylianlemon.googlepages.com/ Forum userid: 7304 Game arranged: Seiken Densetsu 3 Song arranged: Angel's Fear ReMix title: Angel's Tear (because I'm that clever) Comments: Since I've never played the game, I don't know about this song's context, but I tried to expand on it while preserving its sort of sad beauty. During the process of remixing, I kept picturing a sparkle of light in the midst of blackness. Admittedly lame, but that's what I saw. Anyway, I'd like to thank Rozovian for being a big help in the development of this remix. Also, please note that this is part of the SD3 project and so should be put on hold if accepted. --------------------------------------------------------------- http://ocremix.org/chip/6693 sd3-312.spc "Angel's Fear" A very artful remix, with some gorgeous sweeping strings, plenty of orchestral instruments to fill in the spaces, and an inspired bass thump that backs it up beautifully. Great partwriting, and for the most part, the execution delivers. There are a couple things that stick out production-wise. The vibe-like instrument that starts at 1:50 seems a little upfront, and in that section and the next the rigidity of the piano and the vibe stick out. With small fixes on those, this would be an easy pass, but as is, I think it's just a regular pass, on the basis of a great arrangement. Top-notch writing, Ben. YES

ReMixer: AeroZ Name: Sebastian Freij E-mail: seb@freijman.com Homepage: freijman.com ReMix: Agahnim Arsenik Game arranged: The Legend of Zelda: A Link to the Past Song arranged: Hyrule Castle Own comments: Those haunting strings... the pouring rain sfx... entering the castle... These are all memories that never will go away for me. With this ReMix, I try to share with you the energy I felt as a kid while playing this game. This is a tribute to the game The Legend of Zelda: A Link to the Past. I thank it for an awesome childhood. / AeroZ ---------------------------------------------------------------- http://ocremix.org/chip/6670 loz3-05a.spc "Majestic Castle"

Hi DJ.pretzel and folks at OC-REMIX, I hope things are well. Here is yet another submission for the OC-remix, it’s a remix I did yesterday evening of the song “Burden of truth” from Final Fantasy VII. This time I tried to keep it as close to the original as possible since you don’t want too much original stuff in the remixes. =) *hint hint* Your ReMixer name : Mattias Holmgren ’aka Starfall Your real name : Mattias Holmgren Your website : www.morningdewmedia.com Your userid : 4464 · Name of game(s) arranged: Final fantasy VII – Crisis Core. · Name of individual song(s) arranged: Burden of truth · Original composer is: Takeharu Ishimoto · Background and inspiration: The other day it was raining outside…actually it was also the first snow here in Skellefteå (Sweden), so I sat there in the sofa thinking…what to do. Well as usual when I’m a bit bored I sit down with the piano or keyboards and then suddenly I started playing a song I had heard a few days before, the song was “Burden of truth” from FF VII. Since the melody and theme was so memorable it was obvious that I had to make something with it, a new OC-remix maybe. So I started arranging the song and three hours later it was done. I hope you enjoy this piece. Let me know if you accept my submission as soon as possible. Thanks in advance, Mattias Holmgren / Composer Morningdew Media www.morningdewmedia.com ---------------------------------------------------------------

Weird ass arrangement. I guess Mazedude has given the site some mindbending stuff over the years, but this really was hard for me to enjoy. I don't feel that it's unmusical, but there's too much going on sometimes and too many volume changes. Not my thing. I can hear how the pad in Chris's mix is based on the 0:32-0:34 pattern in Safari, but it's too altered to carry a connection. The melody stuff is all well-and-good, but that means a minority of this mix comes from Safari by a sizable margin. It's pretty much been pointed out already, I couldn't find anything to change that. NO

Hmm, I don't remember hearing this one before. Either it changed a lot or my memory is going. Well, my memory is probably going no matter what. I didn't like what was done to fill this soundscape out. The piano and lead should be taking up more room rather than the hi-hats and shakers. Treble is definitely too hot, and those crashes get annoying to hear. There's a real problem with the drums sounding of a different quality than the rest of the instruments, it doesn't mesh. Larry pretty much called this stuff in his vote. I also wasn't that hot on the arrangement, a little unfocused and jumpy, but it's good enough. General vibe is very cool. Sorry John, not much to say except keep working on your production. NO (resubmit)

Remixers: Tensei-San, DragonAvenger, OA Real Names: Joren De Bruin, Deia Vengen, Andrew Luers Game: Xenogears Song: Star of Tears Tensei asked me if I was willing to work with him on the Xenogears project around the end of '07. When I heard his track I was blown away from what he'd done to the original. It was the first time that I really felt like I had to step up my game to meet the quality of the track. Sadly Tensei's original guitar solo was lost due to having to change keys on this and the original files being lost, but the change was far better for my range (as it is it's still quite high up there at times). I probably rerecorded this 8 times, doing one final recording this past summer after Otakon to finally get this finished for the project release. Unfortunately, Tensei had stopped responding to people on the project in terms of having this finished, so I was forced to ask OA to help put on the finishing touches (and awesome guitar solo). Here's what OA has to say: "I processed DA's vocals and recorded a guitar solo. I love guitars, Xenogears, and also redheads." Very short at to the point he is. Thanks for your time! ~Deia --------------------------------------------------------------- Stars of Tears

halc mentioned to me that Ben will hook us up with a new version. Edit: He sent it, volume sounds good now. I'll replace the old version.

ReMixer name : StarLyte Name of game arranged : Sonic The Hedgehog (2006) Name of individual song arranged : Dreams Of An Absolution -------------------------------------------------------------------------------------------------------------------------------- Vocals sampled from this remix: Dreams of an Absolution (Nightlight Remix)

An older remix of the 'Machine Base' music from level six of Sonic 3. I simply couldn't resist that bass line. I'm not sure why I sat on this for so long; I may have been worried about sound quality and reverb issues, but I don't remember. Either way, I'm doing some game remixing after a loooonnngg break, and I thought this might be a good knock on the door. The file can be found at.... For the record, my name is Quinn Fox, the remix is titled, 'How Machines Fly,' and the source material is level six from Sonic 3 on the Sega Genesis. Liberties were taken, mostly with the electric piano, but it's otherwise rather faithful. Thanks for your time! Quinn Fox www.quinnfox.com www.quinn.50g.com --------------------------------------------------------------------------------------------------------------------------- http://ocremix.org/chip/2387 Launch Base Zone 1

Contact Information - Your ReMixer name Tansunn - Your email address tansunn@gmail.com - Your website ( http://robocoon.net/tansunn but it's not active yet ) - Your userid on our forums 64 Submission Information - Name of game(s) arranged Uru: Ages Beyond Myst - Name of individual song(s) arranged Badlands - Additional information about game including composer, system, etc. (if it has not yet been added to the site) Composer: Tim Larkin System: PC - Link to the original soundtrack (if it is not one of the sound archives already available on the site) (Pulled straight from the game itself.) - Your own comments about the mix, for example the inspiration behind it, how it was made, etc. The inspiration for this mix comes from PAX when I got to hang out with some of the OCRemix crew. After the OCRemix panel, I tagged along and we eventually ended up going for dinner at Gameworks. DJ Pretzel was kind enough to pay for it, and I wanted to pay him back by making a new remix for the site. I already had it set in my mind that I wanted to cover a game that wasn't already on the site, and since I had recently gotten back into the Myst series, I thought that would be a good place to start. Since there were already entries that covered 4 of the 5 main-series games, and Riven is more ambiance than music, I went for the spinoff series, Uru. As I was listening through the game's music, I kept finding myself drawn to the Badlands themes from the desert Age, Minkata. It has a nice, slow, driving beat and it's not quite as ambient as some of the other tracks. The game actually uses three different tracks and I wanted to incorporate different parts from each. In addition to the main melody, I wanted to incorporate the cellos from the quieter middle section, and from there I just kept building until we got what we have now. Sequencing and effects were done in FLStudio 9, synths were Sytrus, Morphine, Zebra 2, and 3xOsc, sample sets are QLSO Gold, Stormdrum, and Ecstatic Grooves. ---------------------------------------------------------------------------------------------------------------------------- Mink Badlands Cave Music, Mink Badlands Middle, Mink Badlands Reprise Tansunn's (LousySpy) mixes were a little before my time, but you gotta love when classic remixers get pulled back into the fold. It was great meeting up with him at PAX. Great approach to these songs, and this is IMO masterful in the way it weaves the hooks of the originals into one totally cohesive song. The vibe is more mysterious and synthy than the originals, and I love the way it unfolds. It would have been cool to tweak the lead when it gets repeated in the second half so that it doesn't sound so copy/paste, but I wasn't too bothered. Sometimes the lead got in the way of the background writing, but I thought the levels were mostly where they needed to be and the production was good. Overall, really diggin' this, definitely worth more than a meal at Gameworks. YES

I guess I'll just list exactly what it says from the Submission Standards page: Remixer name: Atma Weapon Real name: Trevor John Evens Website: none yet, will have one soon Userid: 30536 Name of arrangement: "It's So Dark", a medley of three classic songs from the Lufia RPG series. Names of games arranged: Lufia and The Fortress of Doom, Lufia II: Rise of The Sinistrals Names of individual songs arranged (in order, might not be exact titles): "The Fortress of Doom" (it's the music from the first game when the original four characters led by Maxim begin their assault on The Fortress of Doom), "Sinistral Battle Theme" (Lufia II), "The Mystery Lady" (Iris' Theme from Lufia II) Comments: Well, I created this on a whim--I'm an amateur recording artist recording out of my bedroom using a laptop. I don't have the best equipment but I don't think the quality is too shabby. I've gotten nothing but compliments, and I was just recently suggested by a friend to submit some tunes to OCRemix. The RPG soundtrack covers I've been recording (this is one of several, more to come) are part of a larger project between my brother and I called "Atma Weapon"--which I guess will be some kind of live VGM cover band focusing on classic RPG sountracks. These are just demos I've culled together to help us jam them out. Hopefully they meet the minimum quality requirements--more exposure would be wonderful! Even constructive criticism would be great too. Again, I'm definitely an amateur producer, and I was never taught how to do it at all (I basically just experimented until things worked). ------------------------------------------------------------------------------------------------------------------------- http://ocremix.org/chip/6176 2-16 "Last Battle", http://ocremix.org/chip/6546 2-9 "Battle #3", 1-14 "The Prophet" Not a bad arrangement. It was fairly conservative, largely just a sound upgrade in some sections, but I did like the dynamic changes in The Prophet, the few chord changes thrown in, the new drum parts, and the transition to Battle #3. Maybe with an original intro to kick it off rather than just throwing us right into it, this would stand apart from the originals more. Also, I didn't like the awkward transition to The Prophet, that should have been smoother. This is roughly mixed though. Sounds very compressed and doesn't fill the soundscape, and the instrument levels are off too. Very focused on mids. You might want to do some comparisons with metal/synth songs and see if you can get the levels and frequencies of your instruments more in line with a standard production. I also hear some pretty noticeable distortion starting around 2:20 that you'll need to resolve. Though this needs some major work, I'd say stick with it in order to improve your production. It's a skill everyone who makes music can use! NO

Hi guys, So, here's my third (I think) attempt at getting a song on your site. Let's see how this one goes! Remixer Name: VikingGuitar Real Name: Erik Peabody Email: vikingguitar@email.com Website: http://www.myspace.com/vikingguitarmetal http://www.soundclick.com/vikingguitar UserId#: 25242 Game Arranged: Ghosts 'n' Goblins Song Arranged: Level 1 music So, this was done using Reaper (http://reaper.fm) as a DAW, Line6 TonePortUX2 and PodFarm for guitars and bass, EZDrummer for drums, and various plugins, VST's as effects, etc. Let me start by saying that the sound quality is supposed to sound exactly like it does. I usually do more high-quality sounding metal stuff, but I really wanted to emulate the old '50's surf-rock feel on this, so it's got that more of the upper/mid range thing going on, and I added just a *bit* of vinyl hiss and clipping to replicate that old record sound. Also, reverbed up the guitars like no one's business. Thanks for giving it a listen! -Erik --------------------------------------------------------------------------------------------------------------------------- http://ocremix.org/chip/1647 - Track 02 The style is cool, and overall the remix is decently put together, but this was split between sections that were very conservative and sections that were very liberal. Some in-between is needed to meet our criteria. Also, even though you're going for a 50's surf-rock sound, I think it oughta be crisper and less reverbed than this. It's pretty muted, think you might have overdone it. Hope this helps you improve, Erik. NO

Like I said, voted 13th-16th, but summer would be a lot easier to plan around, if it would be considered at all.

Voted 13th-16th. Really I'm cool with any time that not New Year's. We often do family trips around that time of year, it'll always be a gamble whether I can make Magfest or not.

tl;dr - palp OCRemix Song Submission: Notes: First, this is our DoD submission for the month of September, so if by some strange chance this gets put on the judge’s queue please do not formally announce who did the song. Actually, it might just be best that, if it gets to that point, to wait until after that DoD month is over. Also, please leave in the links to both the high-quality and OCR standard version of the song if this doesn’t pass. Thanks! Song name: Fossil’s Oasis Contact Information: Your ReMixer name – LuIzA & Level 99 Your real name - Luiza Carvalho and Stephen Bortz Your email address – lu_carvalho177@hotmail.com & level99remixteam@gmail.com Your website – uhh, what’s a “web-site”? Huh?! What’s an “in-ter-net”? Your userid – 6052 & 13318 Submission Information Name of game(s) arranged – Star Fox Adventures Name of individual song(s) arranged – Early Thorntail Hollow Day/Night As of this submission, it looks as though there are no other Star Fox Adventures remixes, so I’ll include kind of information there games include in OCR game profiles: Game name: Star Fox Adventures Published 2002 by Nintendo, Developed by Rare, for the Nintendo Gamecube Composer: David Wise Songs can also be found on youtube: http://www.youtube.com/watch?v=7he9YgTX5AY http://www.youtube.com/watch?v=fZdFxfiQRCI Comments on the song: Note to the judges/inbox reader: I will not be offended if you tl;dr any of this, but I'd rather be over-wordy than under-detailed. Oh, where to begin…well, first, David Wise’s soundtracks usually get a lot of love, but one in particular has been overlooked for a while: Star Fox Adventures. The almost-Zelda-type game Rare put out on the Gamecube in 2002 has a great soundtrack that is currently being under-represented on OCR. Step in LuIzA and Level 99 to take a shot at it with rock guitars in tow! LuIzA approached me about a month ago talking about DoD, a competition I have attended the MAGFest listening parties for but never entered, asking for my opinion on songs she selected to do for that month’s theme (Rare month): either a combination of Forest Frenzy from DKC and Forest Interlude from DKC 2, or Thorntail Hollow Day/Night from Star Fox Adventures. Well, I picked the combination, and a day later she said “Nah, I think more can be done with Thorntail, wanna do DoD with me with month?” The next three weeks were an intense back-and-forth of ideas and composition, and the result is an almost-six-minute-long acousto-electric rock piece that switches back and forth between styles and embellishments. I’ll start with the song breakdown. Our arrangement, while including a few all-original sections, is primarily based off of the common melodic progression present in both the Day and Night versions of Early Thorntail: 0:00–0:35 - Four Acoustic guitars begin by playing the main progression and melody in a slight interpretive style, still maintaining clear relation to the source 0:35–1:14 – Cue rock guitars to come in with drums and bass, with acoustic backing playing part-melody, all following the Thorntail Hollow Night chord progression. 1:14–1:40 – Verse 1, just like 0:00-0:35, a direct main progression and melodic lead with slight interpretive styling, only…well, it’s rock. 1:40–1:53 – Hammond distorted organ on left as the main progression is let out and resolved before the switch… 1:53–2:18 – More acoustic guitars, tambourine, shakers, darburka, and a bunch of other stuff come in for an acoustic breakdown of the melody, much more rhythm-focused than the intro guitars. Distorted guitars usher back the return of rockage. 2:18–3:10 – SOLO GUITARS!!! First half is LuIzA on rhythm and Level 99 on leads, second half is switched where Level 99 takes on the rhythms and LuIzA cuts loose. Rhythm guitars following main progression. 3:10–3:42 – Verse 2. Added effect guitars and the rhythm guitar (which turns into two guitars right near the end of it) again follows main progression, rhythm-modified a little more. This rounds out again for another dip into less aggressive musical waters… 3:42–4:21 – Synth break. This was modeled to sound a lot more like the original Thorntail Night track, but added drums, guitar, and an overall-varying of sounds is presented. There’s some added backing noise that you may notice that has been added to sound like an Arwing landing, though it isn’t intrusive but very, very subtle. The choir increases in volume as the progression reaches resolution here again, and again it switches right after it does. 4:21–4:49 – Original section. This is an original section that was jammed out when the song reached a point that we didn’t know where to take it. The main progression needed a little rest, otherwise the song would have started to feel more repetitive. Two rhythms and four leads, each with their own effect, gives a breath of fresh air before plunging back into the depths of… 4:49 – 5:14 – The original rhythm rock guitars cue. Still following the main Thorntail progression, but this time with some more drum syncopation and a little more wankery. 5:14 – 5:55 – Even more acoustics play the last 1/3 of the progression twice over with some original melody on top before slowing down and ending the song. The rock guitars were divided between the two. LuIzA also did the bass, the drum-sequencing, the darburka, the heavy FX guitars, and all mixing and mastering. Level 99 handled the majority of the acoustic work, all the synths, the shaker and tambourine, and came up with the original section and melody in the outro, while LuIzA came up with the intro riff. This was an absolute blast to collaborate on, and you can hear it in the song with how much fun we had doing different things guitar-wise and writing-wise (no pun intended, Mr. Wise). Star Fox Adventures received its much-needed loving; I hope more people take a look at the soundtrack too. Just a small note: this was a song LuIzA mentioned she wanted to do something with before even getting into remixing, so this is sort-of a milestone in her remixing life. I’m glad I could be a part of it, and I hope you all enjoy the result of this collab. ----------------------------------------------------------------------------------------------------------------------------- Early Thorntail Hollow (Night), Early Thorntail Hollow (Day) Very nice rock collab that shows off the benefits of cooperation. The acoustic bookends give a good contrast to the rawk proceedings, like an appetizer and an after dinner mint. There's also a cool synth-y section that sounds more like Early Thorntail Night. Combined with some different-styled leads in the solo section, this mix really lets them highlight their strengths. Only concern I'm seeing is the source usage, though I'm personally cool there. Here's what I would count straight-up: 0:13-0:40 0:55-1:05 (arpeggio from Early Thorntail Night buried in there) 1:20-2:23 3:15-4:25 4:55-5:07 (arpeggio from Early Thorntail Night buried in there) That's 49.9%, there might even be something I missed. Almost the rest of the song plays off the chords, the second part of which is a unique enough progression, which puts it well over in my mind. Rock over London, rock on Chicago. YES

This is a pretty cool vibe, decent concept, but all of Anosou's criticisms apply. This is very very stiff and undynamic. I don't get the toy box argument, first, because this doesn't sound like a toy box (sounds like a vibraphone), and second, because a real toy box DOES have some variation as it's mechanical. Maybe with some reverb, that instrument might sound a little more natural as stiff as it is. But then you add the fact that the drums and bass are totally flat, and it's way too problematic. The guitar was cool. NO

I'm cool with this. It's not the most inventive remix, but it's solid. The 0:31-1:19 section is good riffing on the source, and the original section in the middle uses similar chords which is why the transition seems so natural. The sampled dialogue went on a little long, that was my biggest gripe. JA

I guess you didn't count on zircon stepping down or this might have been a fair bet.

Thanks to Stevo for hosting the final night of MAGFest for us* last night, which was totally awesome. We've got a set of pics and videos that probably won't be making it onto Facebook. Speaking of which, I left my sweater there in a fit of passion. I'll have to trade you your hat back for it next time I see you, Stevo. *is it truly gone if we remember it?