Palpable

People have different ways to motivate themselves, but I tend to practice more by setting a goal for myself. Now that we have an upcoming show for Flickerfall, I've been practicing my guitar a lot more lately. It can also help to have people hold you "accountable". Maybe ask a friend for an idea for a guitar remix, and tell them you'll give them a recording or performance of it in a week. The one-hour compos also work like that.

Sounds good, Stevo! We will be there sometime early evening.

Not a bad idea for tracking this kind of thing. At our MAGFest panel, we mentioned that we want to get more volunteers to do work for the site. We always could have used volunteers for something or other, but it's been difficult to organize. A system like you describe is a step in the right direction.

name - posu yan game - Animal Crossing song - KK Ballad source material this is actually a remix of a remix. i did the original arrangement for joecam's Animal Crossing project, then decided to remix my own remix since it sounded good sped up. the title and content comes from this, one of the greatest videos and greatest drummers ever http://www.youtube.com/watch?v=PC20X0DKsqo --------------------------------------------------------------------------------------------------------------------------- I love the approach taken here, very reminiscent of Pizzicato Five and Fantastic Plastic Machine who were faves of mine back in college. Same sense of random fun with a predilection for bossa and sampling. I guess the issue for me is whether it's cool to do one minute of an arrangement, one and a half minutes of seemingly original material (plus uh Sagat ), then another minute of arrangement. Put me down as a borderline YES - this would have been greatly improved with some Animal Crossing thrown in the middle somewhere. It sounded like at the beginning of the second section you were starting to do some version of the melody in a different mode and that would have been a nice twist if it followed through longer. YES (borderline)

Peddliing Blocks: Korobeiniki for Solo Piano Korobeiniki is Russian for "The Peddlers." Tetris involves blocks. Hence the terrible unoriginal title. Name of game(s) arranged - Tetris Name of individual song(s) arranged - Korobeiniki ("A-Type") Additional information about game including composer, system, etc. (if it has not yet been added to the site) - Traditional Russian Folk Song arranged for Tetris by Hirokazu Tanaka. Tetris was launched for GameBoy in 1989 containing this song, 5 years after Tetris was written by Russian programmer Alexey Pajitnov while working for the Soviet Government (who never really got much money for his creation due to the pseudo-communist government. He eventually ended up working for Microsoft). Your own comments about the mix, for example the inspiration behind it, how it was made, etc. - I became interested in this song after hearing that it was a Russian folk song and not originally written for Tetris. The first thing I did was hit YouTube looking for the original, and I found this: http://www.youtube.com/watch?v=JxlujC8A004 . To my surprise, I found that the Tetris version was actually the complete melody, plus an original phrase. My first attempt at this piece was for Brass Quintet. You can probably dig it up in the WIP forum. Sometime after completing that arrangement, it ended up in my Winamp playlist before Ernesto Lecuona's Malaguena, which is a piano solo (Not the Kenton jazz version, which is an arrangement of said piano piece). I noticed that the Korobeiniki melody would fit into that style pretty well. I also have had a copy of the Garritan Authorized Steinway Piano sample library for over a year that I never really did anything with up to this point. Kind of silly to own a copy of arguably one of the best piano libraries on the market and not use it. So, I decided to make an arrangement of Korobeiniki for Piano in the style of Lecuona, and this is the result. Sheet music will be made available at [url=http://www.corneriasound.com/]http://www.corneriasound.com when it is completed. Your ReMixer name - DZComposer Your real name - Adan Leal Your website - http://www.corneriasound.com Your userid (number, not name) on our forums <http://www.ocremix.org/forums/>, found by viewing your forum profile - 12284 ----------------------------------------------------------------------------------------------------------------------------- I'm not sure if I was really liking the harmonies on the main melody, but other than that, this was a solid arrangement. No big surprises, but well-written. I did feel like this could use more humanization in the more even parts, like the intro. Every now and then you had a cool flourish that demonstrated some fluctuation volume or timing-wise, and that was great. Needs more of that in the other places. There was also something about the piano quality that sounded off to me, it didn't quite fill out the song. The 1:12 section didn't have the same problem to me. Hopefully someone can articulate this better than me, or maybe I'm just crazy. Any case, the lack of humanization sinks this for me. Please give it another shot, Adan! NO (resubmit)

The Final Face Off: Sonic 3 Final Boss Remix Contact Info My ReMixer name: A Emcee Muzik My real name: Allister M. Campbell My website: www.myspace.com/AEmceeMuzik My user id #: 27511 　 Submission Info Name of game arranged: Sonic the Hedgehog 3 Name of song arranged: Final Boss Orginal composer: SEGA sound team My own comments about this remix: Although this is based on a boss battle theme that was first in Sonic 3, the inspiration for this remix is from the boss fight against Mecha Sonic in S&K. This same theme played in that fight. I slowed the tempo down to a club-ish tempo. I tried to go for something that is not as fast as the original, but with more of a laid back vibe. The purpose of this laid back vibe is that, I wanted to let the melodies have more space on the track. Instead of the general fast paced riffs and such, I wanted them to…marinate more. I split the track into three sections, each part represents the “battle” between Sonic and Mecha Sonic. The beginning is the “build up” and “unleashing” of Mecha Sonics power. Its also the only part of the remix that contains the original melodies. The 2nd part, which is the first breakdown (when the melody breaks away from the original) is when Sonic gets the upper hand (hence the robot damage sound effects). And at the end, when the music hits a lull state, with the acoustic piano and such, is supposed to represent the calm after the battle (Mecha Sonics' retreat, Sonics relief). In terms of how I put this together, I learned the original by ear for the first part of the remix. I added a few jazzy chords and slightly switched up the bass line, so that it fit the style of this remix more. The rest of the music after that, sounds related to the original, but is a different melody all together. I didn’t want it to be too repetitive. I pretty much just had fun with it, including 2 “solos”, I just played whatever came to mind (I use a midi interface with my piano). I did mix some drum samples with the manual drum patterns I made as well. That’s pretty much all the insight I have for this remix. I would like to thank you guys at OC Remix for the opportunity to summit one of my works. I hope to hear from you soon. Take Care. - A Emcee Muzik --------------------------------------------------------------------------------------------------------------------------- http://ocremix.org/chip/2387 "Final Boss" Overall, some cool arrangement ideas in this, very different from other takes I've heard. I thought the drums were solid with some cool effects applied to it. Great solo towards the end. One complaint I had was that it started to feel repetitive in the second section before the solo came into it. There wasn't enough direction there to keep this moving, it held the same patterns for a while first with minimal drums, then with heavier drums. More variety would have improved it. The mixing was rough. There's a lot going on and the parts mush together, and the drums sounds like they are missing something. Also sounds overcompressed, the way the synth lead playing the quarter notes remains loud for so much of the song. The dynamics should have been more pronounced. A lot of good, but some big problems. NO (resubmit)

Artist name: Flexstyle Real name: Mike Birch Email address(es): theoriginalmike@gmail.com, djflexstyle@hotmail.com Website: http://flexstylemusic.com Userid: 22246 Game remixed: Dark Cloud 2 Song remixed: Intro Link to original: http://www.youtube.com/watch?v=U_QNJT24Dnw This came about after a request in the forum. Some newbie (who, I don't believe, ever posted again) requested that the intro song from Dark Cloud 2 be remixed. I took a listen, and loved the original. I decided I must do a remix of it, and this is what came out. If it sounds similar to any of deadmau5's work, this is entirely intentional! I was trying to throw a nod to Faxing Berlin here, with the intro piano and the stacked chords. However, I tried to take it and make it my own, too. I've never played Dark Cloud 2 (or any related game, for that matter), but I thoroughly enjoyed the intro music and I hope this remix does it justice! Thanks for your time! -Michael (Flexstyle) ----------------------------------------------------------------------------------------------------------------------- Dark Cloud 2 Intro

Your ReMixer name: Rick Fusion Your real name: Sascha Grotz Your userid: 21679 Name of game(s) arranged: Monkey Island Name of individual song(s) arranged: Title Theme System: DOS Name of the Song: Caribbean dreams PS: sry i m not good in english --------------------------------------------------------------------------------------------------------------------------

I'd rather not do Medieval Times, though I did enjoy it last time I went. It's expensive and not that easy to talk to people. I'd rather just hang out at a random restaurant or jam at someone's place if it's all the same.

Sure, why not. It'll help you save on the shipping.

Oh whoa, SSB original? If I had known you guys were playing that, I might have tagged along. That's the game I have put the most time into playing in my life.

I realize you're temp-banned, but c'mon dude. How do you possibly organize something to make sure all ~60 OCR folks don't get left out? It doesn't even work logistically, for things like Jamspace, eating meals, etc. We all missed out on a ton of the things mentioned in this thread, it's inevitable. Pretty much at MAG, you find people, you figure out something to do on the fly, and almost always have a good time doing so.

We registered a whole bunch of our songs for copyright a while back, and I would advice against it for smaller musicians (such as ourselves). The fee was $65 for us (though much cheaper if you do it electronically, which wasn't available to us at the time) and it took, no joke, almost two and a half years for them to process it. When we finally got the certificate, I was dumbfounded, having totally forgotten about it. What I have realized since we submitted our form is that a) if part of your song is ripped off and makes someone else a lot of money, chances are you won't see a cent. It's very hard to prove those kinds of things, you need to demonstrate that they had access to hear your song, etc. And it's very unlikely someone will make a lot of money off your recording that they ripped off. That would just be moronic for them to do, because even without a registered copyright, you are likely to sue them and they'd be much better off using a song they can pay the royalties on. Most likely, if anyone does rip off your song, it'll be something small-time that earns them almost no money if any.

diotrans and I are in the area so we'd be around for hanging out! The evening of the 9th would be best, I think. I should also mention that our band Flickerfall is gonna be in Jammin Java's annual Battle of the Bands on January 12th, so if you're sticking around that long, that's certainly something we'd love to have people come out for.

diotrans and I were calling this PMD (Post-MAG depression) as we were leaving yesterday, unfortunately unable to come back to MAG today because of work. I gotta say that while I enjoyed M7, this year was unreal. So many damn people made it out, so much fun was had. I could walk around the convention and find someone to hang out with pretty much 24/7, it reminded Amy and me of high school. Anyway, awesome seeing everyone. It's crazy to think I must have met up with like 50-60 people and still didn't see everyone from the site. Hope everyone makes it home safe.

Soitenly I will be downloading and hearing this in the next few days. (BTW, you were missed at MAG. I think Sebastian has a video of us for you.)

I have a video of about 100 people swaying to a chiptune version of Auld Lang Syne at midnight. And technically, Magfest hasn't even begun yet!

My vote is somewhere between Vig's and Larry's. Excellent intro, really got my hopes up, but the electronica part was bland in comparison. The piano and sitar-ish leads seemed flat and really would have benefitted from the same level of expression that was used on the synths. There just wasn't enough going on there to make up for how simple they sounded. The drums weren't bad, but something heavier would have filled it out better. Also, more importantly, definitely too liberal. Larry, I don't know how you counted the bassline as deriving from the (awesome) voice bit, sounds totally different to me except for the first note. I think the YES votes should reconsider or point out what we're missing, I put this at something like 30% usage. I think all the right elements are in this somewhere. With some finer combination of the DKR melodies and the lovely Indian-ambience of the intro, this would be great. NO

Not a straightforward call, but I'm typically in favor of expanding the scope of what we take when it doesn't scream out "reject me!". This doesn't scream out to me. It's chippy but the piano and drums give it a distinctive, updated sound. Pitch bends help too. I would have preferred to have more non-chip elements in the first half, but wasn't a dealbreaker. There's so much pep and detail packed into this little nugget, as if you're pushing the limit of the old classic soundcards. One could call it a true overclocked remix. YES

Damn, five years. You didn't even get to hear my song on the panel that was influenced by your style. But I think you made a tough, right decision in stepping down given how your setup at home wasn't conducive to judging, and you're always welcome to return should that change. Thanks for the hard work, and I hope to still see you in #ocrjudges!

The simplest way to put it: Mix X gets subbed on 12/29 and gets 2Y/1N Mix Y gets subbed on 12/30 and gets 3N X stays open even though it's older, Y gets closed. There's other reasons mixes don't get closed chronologically too.

Rather than let this drag out split between conditionals and NOs, I asked Ben if he can make the volume fixes.

Have to admit, I was not that crazy about the arrangement, especially compared to the great stuff Ben has given us in the past. The source melodies played straight, backed up with some standard backing synths and beats. It was catchy but felt somewhat simple and not that interpretive overall, reminiscent of old-school subs. The chord changes to the fairy melody were a good idea to add some interpretation, but one of the chords came off unmelodic to me. The arrangement meets the criteria, but it was hard to get excited about. However, this is definitely too loud/compressed. That definitely needs to be fixed, and you'll probably be hearing it from Jimmy too cause he chewed out another sub for that same thing recently. The high-end also gets really piercing from the get go. I think you can fix some levels; the open hat, for instance, sounded louder than it needed to be. Overall, very close to a pass, just need to fix the production. NO (resubmit)

A cool approach to the source material, more regal and grand than the dance-pop source that diotrans accurately thought sounded like Ace of Base when I played it just now. I liked the flute trills and bells you added. The production has some way to go. The string ensemble has an attack that makes it sound extremely fake, and I think that might have thrown off your mixing too. It gets too loud towards the end of the envelope, starts too quiet. The flute lead pierces a little and sounds very upfront, you might need to use EQ to rein that in. The percussion is quiet comparatively, and should be more powerful. Hope these tips get you going in the right direction. This shows promise. NO

The problems are covered pretty well at this point. This is better than the older versions and don't lose sight of that, but this still has no breathing room, it's crammed end to end. The hi-hats take up a surprising amount of the mid-range, and that's the first place I'd tone it down. Less compression is probably a good way to go too. Keep at it, man, you are improving with each version of this! NO (resubmit)