timaeus222

OOOOOOOOOOOH this is gorgeous! Top-notch!

Once again, thank you for providing source breakdowns, Timaeus!  I find them so enjoyable to follow them along to the music and see how you shaped up the arrangement.  It all handily checks out - evident source clarity, motifs on top of other motifs, grace notes aplenty, adaptations to different chord sequences, and a tight framework that knows when to anticipate which stretch of a source at which possible time.  It's great stuff all around, and I can't expect anything less.
I like your sound palette too.  Keeping the Radical Dreamers backing to bells and e-piano adds a dreamy feel to it, as do every other rhythm and melody part other than one specific lead synth going legato-free.  Yes, it can get busy and overwhelming to the point that I would've preferred some backing drop-outs.  It's nothing too serious overall, though - it's still clean, reverb is used tastefully without clashing instruments together, and all parts have lovely articulations to them.
All in all, it's solid stuff all around - and proof that you're capable of working with whatever tools are available and bringing out their best qualities.  It's an inspiring track for anyone who wants to get started in arranging, but don't necessarily have the budget to invest in much from the get-go.  Great job!

YES

Unsurprisingly this is a very good, very well-crafted arrangement.  Tim does a very good job when he's mixing different sources (guess those Darkesword compos paid off!) and the source breakdown is always appreciated.  There are some sections that get a little too busy but it doesn't detract from the arrangement.  Production is very clean as always.  Really loved the piano on this one, it's very detailed but it doesn't try to take over the leads, and it's very fun to follow it.  I thought the segue into scars of time around the second minute was flawless too.  
This track has a lot of Future Bass elements (and structure) too, just a bit on the mellower side.
Sorry I don't have that much else to say, it's just a very well produced and arranged track, and we're used to getting that from Tim.  I guess that's more of a compliment!
YES
 

radical dreamers is one of my favorite tunes in all of gaming music.
there's a few arrangement missteps like MW mentioned, notably at 2:03 (that chord should be major in both the original and in standard theory due to what precedes it). the section that follows is complex enough that some stuff gets messy - 2:24, 2:38, 2:45 jumped out at me. but the arrangement is dope and the great synth work and especially the percussion is just so great that i don't even care. so many great little things - the fake key change, the dynamic arc of the track, and the way you take such a timeless/sacred-goat melody amd totally chop it up in a great way with new themes are all fantastic.
from a mastering side i thought it sounds great. there's one or two times where i felt that it was too complex and everything lost clarity due to how much was going on, but i'd rather have that than it being super empty honestly.
this is a fantastic track. great work timaeus!
 
 
YES

That's hilarious.  And true to form, Timaeus altered the Chrono Trigger source so much that the connection doesn't leap out at you anyway.  But it's clearly Chrono Trigger and not the PMD theme (which I checked just to make sure).
The opening is lovely, the vibraphone is an excellent choice for the Radical Dreamers lead.  I got one of those goosebumps moments.  The piano gets squashed a bit occasionally, but it's still clear despite losing some resonance.
Some of the layering gets a little crazy, and results in occasional discordance.  Nothing too severe, though.
Basically a classic Timaeus mix all around, with a creative mix of themes and some excellent synth work.
YES

When I listened to the "Pokémon source" that timaeus attached to the sub, I realized very quickly that it's one of SiIvagunner's high quality rips - remaking the theme to Chrono Trigger with the soundbank for Explorers of Time / Darkness / Sky.  I don't know how it happened as the CT theme is a popular source, but there you go.  The submission text is completely unedited, though - and I'll attach the meme to the end of the post.
-Rexy-

Contact Information
Username: timaeus222
Name: Truong-Son Nguyen

http://soundcloud.com/timaeus222
http://tproductions.comeze.com/
ID: 24526

Submission Information
Games: Chrono Cross, Pokémon Mystery Dungeon 2
ReMix Title: Serenity & Grace
Consoles/Platforms: PlayStation (CC) / Nintendo DS (PMD2)
OST Composers: Yasunori Mitsuda (CC), [Arata Iiyoshi, Hideki Sakamoto, Keisuke Ito, Ryoma Nakamura, Kenichi Saito] (PMD2)
Sources: Pokemon Exploration Team Theme (PMD2), Radical Dreamers (CC), Scars of Time (CC)
  Comments: "Right around the time I was asked to evaluate the Chrono Cross album that was in the works (around March 2018 or so), I heard the title track of the album and felt inspired to write this ReMix here over the summer.

This combines 'Radical Dreamers' (CC) with a bit of 'Scars of Time' (CC) and the 'Pokemon Exploration Team Theme' (PMD2). The latter two shared surprisingly similar melodies. Also, some zircon/Jillian Aversa fans might notice a little easter egg I threw in that references a certain song from 'Unearthed' that sounds very similar to a 'Radical Dreamers' motif.

Lastly, this is something that I wrote entirely with what I'd call 'budget' sounds (no sample libraries, nothing pulling from massive external storage). The bulk of the instruments used are just drum samples, u-he Zebra2 patches (plus some Xfer Records Serum), and 4Front TruePianos. This encouraged me to focus on cooperation between harmony and melody, and just trying to make the melodic phrasing and chord choices completely intentional. Yup, for me this time, production was secondary to arrangement!

- Truong-Son"

Extra Info:

Source Breakdown:
0:00.0 - 0:05.3, 0:07.0 - 0:12.2 = Radical Dreamers (0:00.0 - 0:26.4)
0:13.9 - 0:19.2, 0:20.9 - 0:27.9 = Radical Dreamers (0:00.0 - 0:26.4)
0:27.9 - 0:52.9 = Radical Dreamers (0:26.4 - 1:19.1)
1:09.6 - 1:17.4 = Radical Dreamers (1:19.1 - 1:44.5)
1:23.5 - 1:37.4 = Radical Dreamers (1:19.1 - 1:44.5) layered on (0:00.0 - 0:26.4)
1:37.4 - 1:42.7, 1:44.4 - 1:50.5 = Original Melody + Radical Dreamers (0:00.0 - 0:26.4)
1:51.4 - 2:04.8 = Scars of Time (1:32.6 - 2:07.2) layered on Radical Dreamers (0:00.0 - 0:26.4)
2:05.3 - 2:15.7 = Pokemon Exploration Team Theme (1:13.6 - 1:40.4)
2:19.2 - 2:32.0, 2:33.1 - 2:40.0 = Pokemon Exploration Team Theme (1:40.4 - 1:54.2)
2:47.0 - 3:12.6 = Radical Dreamers (0:26.4 - 1:19.1) [new key?! Psych!]
3:28.7 - 3:36.6 = Radical Dreamers (1:19.1 - 1:44.5)
3:42.7 - 3:56.6 = Radical Dreamers (1:19.1 - 1:44.5) layered on (0:00.0 - 0:26.4)
3:56.6 - 4:01.8, 4:03.6 - 4:15.4 = Radical Dreamers (0:00.0 - 0:26.4)

5.3 + 5.2 + 5.3 + 7.0 + 25.0 + 7.8 + 13.9 + 5.3 + 6.1 + 13.4 + 10.4 + 12.8 + 6.9 + 25.6 + 7.9 + 13.9 + 5.2 + 11.8
= 188.8 secs
188.8/256.6 = 73.6% source overall

Scars of Time (SoT):
13.4/256.6 = 5.22% SoT

Pokemon Exploration Team Theme (PETT):
30.1/256.6 = 11.7% PETT

Radical Dreamers (RD):
73.6% - 5.22% - 11.7% = 56.7% RD
 
The meme:

Hey, thought I'd chime in with some second judge feedback.

I've seen your form letter in the inbox and while I disagree with the minimal source connection - in fact, the bass and synth strings carry it all the way through - I do however understand your critique for the bass connection getting pushed under.  Perhaps doubling the bass riff (but not the repeated non-source notes) onto another instrument, preferably an octave higher, can give it another boost.  The arrangement structure itself is solid though, going through one variation of the theme with textural variations between similar parts - even with a fun solo for the last minute.  For what it's worth, the transformations are reasonable, though as mentioned, layering your parts can help bring out the source more.

Addressing the other production crits - sample quality here spawns more from your individual instruments sounding like they've only got one VST per part, meaning leaving an exposed impression on the mastering.  It is possible to import non-Propellerhead VSTs into Reason whether you decide to invest in some or find some freebies, and it's not impossible to get a mixpost done with just the defaults (but it takes a lot more work).  Whatever direction you go in, if the sample itself doesn't have more than one layer, it's best to layer it with some other sounds.  Like, if you want a bass to have more sub-bass, find something that has a square or triangle tone and cut all frequencies above the highest note your bass ever plays.  If you want more air in a synth, use a harsher saw tone and cut all frequencies from the lowest note the synth plays.  Here is a chart with every frequency on all notes on an 88 key piano - that should help with figuring out where to make cuts.

Another way to give your instruments life is to take a look at envelopes.  Bear with me, as it's been years since I've last used Reason for anything - but I believe you can set envelopes for certain parameters within a VST, and not just volume and panning.  You could use it to manipulate cutoff, resonance, modulation, the wet mix of an external effect, or even bending the pitch if you want to get that creative.  It would make your synth solo sound more like a lively synth rather than something that gets tapped multiple times a second.

And let's go back to the last statement you received - the "needless sizzle", or the mastering being way too bright.  If you air the track in a music player that has a visualizer, you can see that the higher frequencies are pushing as hard as the bass and low-mids, which isn't normal.  Higher-pitched instruments are there to add some sheen, but definitely not too much.  Assuming Reason comes with a decent EQ plugin, it's best to make mid-high EQ cuts from instruments that don't benefit from it (bass, lower synths, strings) and let those higher-pitched instruments just shimmer.  If the problem still persists, consider bringing down the volume for your hi-hat, cymbals, bells and rhythm parts in that range.

Anyway, I hope these critiques can help you out.  It's frustrating to push yourself so hard and get a DR, but don't lose heart over it.  The fact here is that you're willing to improve yourself, and whether you decide to refine this track or work on another, it'll be cool to hear from you in the inbox again.  Keep at it x)

A pleasant surprise! I like the 'desert' feel in the middle (2:02)!

Mind Flip~, mind blown. It's hard to find anything to say about it other than "excellent." Now you just need to make a version that combines parts of this with Flight of the Peacock. Thanks for making this piece.

SUBMITTED \o/
Also, there is easter eggs in the track, I explain them here: https://drive.google.com/open?id=1B4o86pP--KYy7mTOpKp7JxvTTCMjK1vY
Thank you everyone, and see you soon!

This is the OverClocked Podcast, a regular dose of video game music and conversation from OCReMix.org. This week we bid the podcast (and all of the good listeners we’ve met along the way) a fond farewell. Join Patchpen, FenixDown, Stephen, Bryan, and Rexy as they bring a final Playlist to the table to close out the show. And what a show, what a show it is!

The Playlist: Final Favorites
Encore - Soulless (Eino)
Camrade - Originally from Animal Crossing, ReMixed by Diggi Dis (Rexy)
Crash Test Dummy Man - Originally from Mega Man 2, ReMixed by A-Rival (Stephen)
Drusera’s Theme \ Our Perception of Beauty - Wildstar (Bryan)
Terra in Black - Originally from Final Fantasy VI, ReMixed by Ailsean (FenixDown)
Main Menu Theme - Destiny (Cameron)
The Monsieur’s Tea - Rakuen (Patchpen)
France - Originally from Outrunners, ReMixed by the Super Marcato Bros. (Rexy)
The Last Scene - Sonic Adventure 2 (Stephen)
Maker of Worlds - Beyond Skyrim: Bruma (Bryan)
Tidal Tempest Zone: Present (US) - Sonic CD (FenixDown)
Up the Spirit Caverns Walls - Ori and the Blind Forest (Cameron)
Pax Eggmanica ~ Sear & Reave - Originally from Sonic the Hedgehog, ReMixed by HeavenWraith (Patchpen)
How Many Heavens Are There? - Originally from Final Fantasy VII, ReMixed by XPRTNovice and Wiesty

Credits:
Hosting: Patchpen, FenixDown, Stephen Kelly, Bryan Kelly, Rexy
Editing: Cameron Nutter
Release: Stephen Kelly
And a very special thank you to everyone who gave us feedback, submitted Playlist recommendations, and encouraged us throughout the years!
Bumper music: WhACKASS WORKShIFTS (Instrumental) by Sir Jordanius and halc from Temporal Duality - http://soniccd.ocremix.org/#disc4
Twitter: @OCRpodcast
Discord: https://discord.gg/KJfvAuF
Email: podcast@ocremix.org
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OverClocked ReMix is dedicated to the appreciation and promotion of video game music as an art form. Learn more at http://ocremix.org/info/About_Us!
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I think I remember having a hard time understanding the vocoded vocals, and maybe the very end could have trailed on for a little longer, but that aside... Tuberz did a great job on his lead vocals. The funk guitar riffs were a nice subtle touch, and the slap bass and drums playing off each other throughout helped keep this arrangement engaging!

yes! i have always wanted this. that way in iTunes i can just press "o" and it jumps directly to the album. 
...not that itunes is really a relevant thing anymore

Wow, this is so beautiful. Reminds me of the style used by one of my fave VGM composers, Yasuhisa Watanabe (Border Down, etc). Excellent work! This went straight to my fave mixes playlist.

This is a great sounding track as I have come to expect from timaeus.  The source is simplistic, and I'm finding that the remix interprets the source a little more than I'm comfortable with, so that other than the chord progressions, I'm not really hearing this as a remix of the source, despite timaeus's extensive source breakdown.  The track sounds great and is an easy pass given enough source, but I'd like to hear a couple more opinions on this before deciding.
edit 2/5/16:  If the source use is ok with Wes (who played the game a lot) and with Larry, then it's good enough for me!
YES

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