timaeus222   Members

Yeah, I think Kris has this right in the end, I feel like this just doesn't strike home enough in terms of the source being recognizable. I think some adjustments could be made to fix this without too much difficulty, and I hope you do so! Other than that, the production is crisp and clear, I enjoyed listening!
 
NO (resubmit)

This had a stronger source connection than the SD3 decision that Emu linked. The arpeggio was used throughout, sometimes modified but always recognizable. If it was just a chord connection, I don't think this would pass muster though. I'm happy to pass this - like usual for Timaeus, the production is pristine. This track glitters and shines. On top of that, it's creative and an enjoyable sound journey.
YES

I've gotta agree with Emu all the way. Reading the timestamped breakdown and comparing the tracks, I was waiting to see where I disagreed with Truong-Son's breakdown, and that never happened; everything matched up as he said. For me at least, both the melody's notes and the sustained chords are pretty simple and upfront in the source, so it was important that the connections to both were constant in this arrangement to keep it connected to the source, and that's exactly what I heard here. No issues with the arrangement, production was on point, and nice work!
YES

Maybe I’m just on drugs, or maybe it’s easier for me to hear because I played this game a LOT back when I was younger, but I’m actually swinging the opposite way on this. I feel like Timaeus did a great job keeping the source recognizable, (if not directly intact) throughout almost all of the song. I think this is due to the way he introduced the melody in plain and simple fashion, but then gradually began to modulate and add grace notes as the song developed. This helps put the original tune in the listener’s mind and then ease them into some of the more liberal interpretations, which I think is a totally valid approach. Call me crazy, but this little experiment is actually working for me!
By this point I shouldn’t even need to mention production or sound design – it’s most clearly on-point here as it is with every one of his Timaeus’ submissions, but the jazzy hip-hop vibe resonated especially well with me. 
I want to take a minute to revisit this vote from a few years ago – if that track was passable, then I think a very strong case can be made for this one, as well. Obviously it was a highly-contested split vote and this is a different track with a different judges panel, but it might provide a relevant precedent here.
Good luck with the rest of the vote!
YES

Preview Shonen ReMix Jump!: https://youtu.be/j1iyovmzrP0 Download Shonen ReMix Jump!: https://remixjump.ocremix.org Torrent: http://bt.ocremix.org/torrents/Shonen_ReMix_Jump!.torrent  
Man, where to start. It's been 6 years since I floated the idea for this album and I'm so ecstatic about its release! Shonen Jump, and anime in general, has always been something I've loved, from watching Dragon Ball Z as a kid on Adult Swim (Midnight Run) to now, where there's so much of a wonderful abundance of different anime.
I deeply appreciate the perseverance and determination from all the artists on this album. This album wouldn't be possible without your creativity and drive to make music. I'm also incredibly lucky to have had great co-directors that have helped to steer direction and vision of the album to what it is today: a loving tribute by Shonen Jump fans to the series that continues to inspire and entertain people. I've been mulling this over for a while now, and I'm absolutely certain that we'll have a volume II sort of thing for this album in the future.
A huge special thanks goes out Theory of N for being a major part in getting this album over the last hurdles toward release, Doulifée for providing the signatures for the album, Sasha Petersen for providing amazing artwork for the album, everyone who helped bring this album together, and Felecia S. (my fiancée) for encouraging me throughout the way.
- Malik Williams (WiFiSunset)

Malcos!! I love it. Exudes DnB all over with them hot drum loops, but maintains an engaging structure and an evolving atmosphere.

This is the first of this jazzier side of Deedubs I've heard, but I like it! It's very impressive that you put this together in a few days. It sounds more like it actually took you a few weeks.

@Chernabogue This one won't be revived, so absolutely, we can proceed with posting the approved mixes. It seems like there are three, total, and we might go for a mini-flood. Thanks for bringing it to my attention. Feel free to tag me directly if you feel like things aren't being dealt with.
We will prioritize this, based on how long it's gone unattended.
I'll be closing the thread; we're working on reviving some other projects, but can't do that for all of them. Thanks to @Chimpazilla & @timaeus222 on the time/effort involved in this - COULD have been awesome, but the disruption w/ Brandon and subsequent loss of momentum mean it petered out.

Necrobumping this one. Dear staff, has anyone expressed interest in reviving this one? If not, would it be possible to have the accepted mixes posted? A bit frustrating to see my mix standing in the judge thread for almost 5 years lol (Same goes with other "dead" projects too.)

Incredible, reminds me of Snarky Puppy almost. I will definitely be song requesting this on twitch streams

This is one of your best works yet! Let's go!

Happy new year! Gonna take a listen.
My first impression is that the arrangement is really solid. There isn't really much I would change in terms of the notes written or the structure. The mixing is definitely where I would take another look. Some mixing references I would be comparing this to:
https://www.youtube.com/watch?v=EAjIbPJ_dt0 (overall)
https://soundcloud.com/isworks/shreddage-2-some-other-song-by (the kick doesn't have to be as strong as here though)
What comes to mind:
Minor nitpick, maybe the bit reduction went a tad far around 1:36. Not a big deal, but I thought I'd mention it, slightly bothers me because in general it generates harsh upper frequencies.
  I'm guessing you're actually using Shreddage, but (like at 1:48) the guitar seems to be very thin, lacking frequencies below around 300 Hz (to the point where it sounds like FL Slayer?). Also, it appears to be sequenced with fairly unchanging, high velocities so that you're mainly getting the hammer-ons/pull-offs instead of palm mutes. I get that it's playing fast, but it's sounding more like a distorted electronic arpeggio than an actual electric guitar. At the very least, I would not high pass the guitar nearly that much (if you are), and I would also try using MIDI CC automation to turn on Tapping Mode so that it's hopefully more smooth playing that fast.
  The kick drum is clicky enough, but I'm missing that low end thump (around 40~80 Hz). Try layering on another kick sample that has those frequencies. (I'd recommend using the Layer tool for that.)

If you're worried about the kick clashing with the bass, that's where sidechaining comes in. I think you know how to do that, but in this case just a little bit is fine, just so that the kick and bass can play at the same time but the kick still can be fully heard. (Maybe you're already doing it, if it's as subtle as I'm suggesting.)
  At 2:57 - 4:14, you have a very busy, cluttered soundscape, definitely overcompressed. I think compared to version 1, you did improve this aspect, but the issue still remains. As far as the instruments go, the bass, guitar, and kick drum interaction with the Limiter is the main culprit. The default Fruity Limiter, if that's what you're using, is hard to work with if you want to write music where you could end up with a waveform sausage. I think you have two major options.

1. If you want to keep using it, I'd recommend lowering the Release a bit so that the compression doesn't stay too long, and maybe raising the Ceiling a bit so that you aren't running into overcompression as much. In this case, consider checking the sidechaining of the kick with the bass to adjust for this change in the Limiter settings.

2. Or... I don't know how much this will make you go back to check the mixing, but I've been using TLs-Pocket Limiter for years, and it's a free soft-knee limiter which has not given me any overcompression issues since I first used it back in 2012-2013. You would have to be careful about clipping, but it will let you basically hear what you give it at face value. I think that about covers it. The guitar is missing low end frequencies, and has fairly unchanging, high velocities, making it sound more electronic than electric (if that makes sense), and would benefit from Tapping Mode over just playing the notes without prior UI tweaks, just so it has smoother note transitions. The kick is also missing low end thump. And then at 2:57 - 4:14 the soundscape is super cluttered because of the kick and bass competing. The arrangement itself sounds good to me, and I'm behind that.
End of Mod Review

Looks like Gibs lended Mordi some free energy.
...Get it? xD
Fantastic, sounds like something I would do.

@Deedubs was one of the first onboard with the album and this was the first track he picked and finished. He immediately went gung-ho on his idea with little input from me. He finished it in a few short weeks. However, it went through a crazy polishing phase where we handed it off to the faux-judges (since it wasn't supposed to be an official panel critique) of @timaeus222, @Gario, and @Chimpazilla(at the time, she later dropped out due to real life). I do believe it went back and forth between @Deedubs and judges at least three times with not so minor edits, but all that hard work and touching up on this track turned it into something very strong, powerful and memorable. One of the first tracks to be completed for the album and one of my personal favorites!

This is the OA content I came here for!

Pretty straightforward, for a Timaeus mix.  The muted trumpets sit a little strangely in the mix, but otherwise this is spot on.  A beautifully smooth integration of the themes, as usual.  Great work all around.
YES

First, really appreciate the source breakdown.  Analyzing a multi-source remix is very time consuming when we're not familiar with the source so this is a big help.  
The primary source here is pastoral excursion, with some bits and pieces from the other sources.  The arrangement starts straightforward but does evolve over time.  Introducing the other sources helps making this a unique interpretation.  I think this one stays pretty close to the original though, but enough is done with instrumentation/harmonies/variations to bring it over the bar arrangement-wise.
The production is great as usual, very clean and warm, with some real instrumentation woven in with the synths which makes for a very organic-sounding remix.  The percussion is not your traditional drums, as it incorporates many percussion elements other than just a drumkit, and it's all very detailed.  Distorted guitars are used to accentuate the climax and work surprisingly well in such a mellow remix.
High quality stuff here.
YES
 
 

I undoubtedly see it as a more unusual Timaeus arrangement.  There's more of a focus on subtractive arranging with additional instrument layers under the primary source, which even goes as far as keeping the 6/8 time signature and general atmospheric feel.  I also like the impressive tricks with the integration of other Tangledeep BGM (and the occasional riff from Dungonmans), as well as adjusting the source to a Persian scale on a couple of occasions.  It matched the goal of a more calming mix that evolves as time goes on.
The production is also very charming.  All the instruments are well mixed, the percussion sounds gorgeous, and the pitched percussion (harp, bells, piano, etc.) had proper attention paid to dynamics.  And as an added bonus, the synth leads combining with the soundfonts generate a unique timbre that respects the pseudo-SNES nature of the source material.  The stated extra time spent mixing the track to this meticulous detail paid off, that's for sure.
It's an easy decision here - it's a lovely crafted arrangement and an equally thorough presentation.  That means a spot on the front page -  great work as usual!

YES

What's this doing here?

Git.

YES

This track is an excellent treatment for a 10-second loop!  The combination of retro and modern synths sound clear and engaging, there's a healthy balance to all instruments, and no doubt the source material is present almost all of the way through.
That simple melody has also been altered and twisted in so many ways that the only way to make a case against repetition is to dissect the track part by part.
Obviously, no set of 8 bars in the chiptune intro (0:00-0:48) are identical, with the first four variations building things up slowly - drums and backing melody, a more active bassline, harmonies, then the fifth repetition had the source material mostly played straight with the drums and bass muted for the last two bars. 0:48-1:07 has the groove's foundation with the more modernized synth work coming in, with this measure of 16 bars having the first half dedicated to the melody repeating the first four bars of the source before doing the entire thing in the second half.  Also, that same melody has harmonies riding over the top. 1:07-1:26 has the harmonies of the previous section replaced with a new original melody riding over the top, and the percussion has an additional meatier hi-hat over the top of the previously established beat. 1:26-1:45 has the bass changed back to the triangle wave as heard in the intro, the secondary melody part has changed to a sweeping arpeggio, and the beat has open hi-hats brought in. 1:45-2:05 has the melody restored to the variant as already heard in the intro, with a cool call-and-response between solo voice and harmonies.  The bass is back to what it was in the central groove, but the drums instead were changed to a break to add tension for the next segment. At 2:05-2:24, the melody is almost entirely new with only the last beat of the fourth and eighth bars mirroring the source material.  It's the only segment in the track that is like that.  2:24-3:02 sounds almost just like the 0:48-1:26 section before it, but there are a couple of subtle changes.  The fill at 2:42 is a new addition that relies on open hi-hats to segue to the melody part, and the harmonies had extended over to the second half of the section rather than staying with the first. And of course, 3:02-3:23 has the previous part, but with the backing rhythm muted and the drums calming down for the ending. From what I've witnessed, I can conclude that no two variants of the theme are indeed identical and it's all of these details together that have proven the source material has had a substantial amount of arrangement.  Combined with the robust framework and clean production, it's one I can easily see on the front page - so good job with handling something so short!
YES

A very refreshing Chrono Cross ReMix! Fittingly puts me in a good mood.

Finally, this sees the light of day! One of my favorites from this remix compo, and it exemplifies your jazz theory background (iirc).

We're proceeding with this action for all videos and will see how it goes; we are equally concerned about diversifying support for the site AND also the promotion/marketing angle, since we believe YouTube highlights monetized content more aggressively (or, if you prefer, tends to de-emphasize non-monetized content)

Oh, you're not in America, my apologies. Yeah, the law is different in different places (with, for example, Article 17 floatin' around in the EU placing copyright adherence on the shoulders on the webhosts along with those uploading the material themselves). Well, one bright side with all y'all people in Europe, Article 17 is something that you wouldn't need to concern yourself with, unless you were a web host, so if for example you had an arrangement posted on OCR and the copyright holder had issue with it that would become OCR's problem and not necessarily yours. It's a part of the whole non-exclusive publishing agreement you (supposedly) agree with when you send stuff to us, after all.
I did a touch of homework on how copyright works in the EU. They establish a few exceptions to copyright laws, which unfortunately does not include artistic interpretation. However, they DO allow each country to include their own separate exceptions to copyright law, of which in the Netherlands (where you're from, I believe) they include another exception saying something altered for artistic purposes (like, say, arranging VG music) and distributed shall not be considered a violation of copyright law, unless the original artist explicitly pursues the artist (and now distributor, under Article 13) staking claim to their work's copyright claim.
So for you, I believe you're legally in the clear, if you want to go arrangin' VG music, as long as the original artist doesn't come after you themselves. Hope that helps!

Well to get started, you may look into the US legal system's definitions of "Fair Use", which allows for the use of material if it's used for educational purposes, parody, or sufficiently transformative, AND if there is no profit involved in redistributing the material. It's not a bulletproof, anything-goes silver bullet for all things remixing, but it is often the justification used for the distribution of rearranged music on OCR.
If you have questions about the whole process, the basic wiki for fair use (and it's links) are a fair place to start, as well as looking at OCR's FAQ section and our content policy section (OCR has a lot of experience dealing with this very issue!).
Again, there is no silver bullet, and honestly things are resolved on a case-by-case basis, but in general that's the blanket justification for arranging VG music, which most companies understand and silently comply with.
As far as the asshat who is stealing YOUR music, there is no fair use justification for stealing your material and claiming it as their own. You made it, you have a defacto copyright on the material, so if you want to go through the effort you could get Soundcloud to remove it. Up to you, but yeah, that guy has no right to take your music as-is and simply claim it's his.