Chimpazilla

I agree with Deia that the middle section feels awkward, the writing there is rambling and aimless, and it makes an odd transition. I also agree with her that the orchestration is gorgeous. The sounds are perfect together and things are well balanced. You set up a lovely soundscape right away. The humanization of the strings is not great, though. The string attacks are all the same. I would prefer a bit better humanization on the strings than this, since this is a 100% orchestral track. It sticks out on the cello lead and on every string part that follows, and is particularly noticeable during faster passages when each short note has the same too-long attack. My other issue is that the instrumentation is so similar to the original, other than the piano and guitar in the original, the vibe with the strings is basically the same. The opening cello is the same. The writing is also quite conservative, with the exception of that unique original middle section. The jury is out for me. Whichever way I vote is going to be borderline, due to humanization issues primarily, but also due to that middle section's odd writing. edit: Thanks Mike for helping me clarify what was in my mind. I have to vote NO, but I really hope the artist will revisit the issues and resubmit this because it is gorgeous. NO (resubmit please, borderline)

This started out so similar to the source that I had to check if it was a midi rip. It sure isn't! Those wubs, what a cool idea! I have to say though that this mix overall is too sparse. If you filled out the soundscape with pads and countermelodies and sequences and drum fills and stuff, this would rock, but I'm only hearing one instrument and drums sometimes, and it really needs to be more full. The drum patterns and all the writing is quite simple. The dubstep parts could be so excellent, but you've got to make those wubs really shine. I recommend putting a little bit of reverb on them, on a short echo preset. Also, you need to have some bass playing at the same time or give the wubs some lows! I paneled this because I really love the approach here. It needs a lot of work but I'm hoping you will put in the effort and send this back. Throw this into our wip forum and see what other advice you get! NO (resubmit)

Remixer Name: SadJack Real Name: Jack Lebersfeld Email Adress(es): and Forums Name: SadJack Game Arranged: Shovel Knight Arrangement Name: Poison Flowers Original Song: Flowers of Antimony Consoles: Wii U, 3DS, PC, PS4, PS Vita, XBox One Composer: Jake "Virt" Kaufman

remixer: Brandon Strader Hi! Well this feels weird... I haven't submitted a remix in what feels like 6 months or more.. Not even sure if I remember how to do this (remix OR submit one!) Game: Kirby's Adventure (NES) Source: Grape Garden https://www.youtube.com/watch?v=B92TnpK1_dE Title: Silver and Gold Link: I made this last night (8/27/15) between 7pm-9pm and 12am-3am to finish it off. If anyone's really interested to know, I would say 7pm to 7:30pm was loading instruments, 7:30pm to 9pm was writing the structure.. then midnight to 2am was recording the live instruments, and the last hour or so was finishing the mix/master. It came together really quick because of the source being really good and memorable, been listening to it for years. I was originally just gonna have it be a meaty bass and lead electric guitar, but things changed on the fly around midnight. I made this as a tribute for Satoru Iwata, and submitted it to DoD's Iwata month. The goal was for it to be a lot more minimalistic than it ended up being, mostly due to the acoustic guitars adding too many details. It has been a.... challenging..... remixing year for me, but it felt like old times and was really refreshing to do this just like I used to.

ReMixer name: P.M. Crockett (I have a previous ReMix posted as Peter M. Crockett; if it's easier administratively to use that existing name, then go ahead. P.M. Crockett is just what I use professionally now.) Real name: Peter M. Crockett Email: User ID: 15994 (Moseph) Game: Double Dragon 2 (NES) Arrangement name: Heliportation Song arranged: At the Heliport (Mission 2) -- https://www.youtube.com/watch?v=Dw0DsmMvu1k I'm going with the naming used in Larry's YouTube link; Wikipedia lists different track names for the game, so I'm not sure what's up with that. Comments: I managed to use both of my kazoo sample libraries on this. I consider that a victory. Also tried mixing on headphones with frequency spectrum correction software (Sonarworks Reference 3) and monitor virtualization (Waves Nx), so if the mix is bad, it's, uh ... not my fault? Got some more comments here since I was kind of in a rush with the original submission email. You know how it goes; I was trying to hit a deadline after spending most of the day dealing with software problems. Without going into too much detail, I was on a temporary replacement audio interface that wasn't working out too well and wrangling a VST-dense project that was bringing my CPU to its knees, and this resulted in both driver problems and show-stopping Kontakt crashes. On two separate occasions, I thought my project files were too corrupted to continue, and the final drum mix isn't exactly ideal on account of my not being able to unfreeze that instance of Kontakt without Sonar hanging indefinitely. It's enough to make you want to just record your kazoos to tape rather than use sample libraries and computers. I chose this source because I liked the bassline, and this is probably evident in my treatment of the bassline in the arrangement. I'd already committed to using the aforementioned kazoo libraries (why do I even have kazoo libraries?!) before choosing the source, but the slap bass element is really what the arrangement was built around. The original idea was to spastically cut back and forth between the slap bass and other bass instruments -- like what happens at 0:49 with the piano -- but as the arrangement progressed, that got reined in, not so much because it wasn't a good idea as because by the time I actually turned my attention to it, the arrangement was in a state where it no longer seemed necessary. The upright bass, which ended up having its own distinct material, was a holdover from this early phase of planning. (And there was going to be a tuba, too.) The entire arrangement can't decide whether it wants to be swung or straight. I initially recorded the bass straight, but when adding in leads and such, I found that I was often unconsciously swinging the rhythm slightly. The A sections mostly live in that weird in-between space between swung and straight, but the two statements of the B melody (1:14 and 1:35) are deliberately swung and straight, respectively, with the hi-hat emphasizing the distinction. The glitch effects in the bass and lead instruments are a direct result of my having recently played Remember Me. Olivier Deriviere's score makes extensive use of this sort of glitching in an orchestral hybrid context, and I find it extremely effective both thematically (the game's about glitching people's cybernetic implants) and artistically. In the case of this particular mix, deliberately glitching my audio was somewhat cathartic, as I had to unintentionally listen to that repeating buffer error sound far too often as my computer went to pieces during mixing. As mentioned in my original submission email, I mixed on headphones with Sonarworks Reference 3 (to correct the headphones' natural frequency imbalance) and Waves Nx (to simulate the sound/positioning of actual monitors). This is the first full mix I've attempted with these plugins, and I've been pretty impressed with them. At very least, I've been able to quickly achieve a mix on headphones that I'm still happy with two days later -- even when played back on cheap computer speakers -- and I think that may be a first for me.

Needs a real title if this passes. Your ReMixer name - DaLift Your real name - Daniel Ramos da Silva Your email address - Your website - dont have one Your userid (number, not name) on our forums, found by viewing your forum profile - I Really do not found my userid in settings or profile Tittle: Game arranged: Megaman 3 arrangement: Uplifting Trance / Orchestral Trance individual song arranged: Tittle screen Theme Due structure of trance and progression, it got longer than 7 minutes length (8:13 to be exact) Here is link of MP3 hosted in zippyshare: Megaman 3 - Tittle Theme (DaLift Uplifting Trance Remix)

WOW. I think you win the award for most improved in production in the shortest amount of time. But your piano playing has ALWAYS been phenomenal, even in your first remix ever.

Nice arrangement. Luscious soundscape. The reverb and delay are heavy indeed. My suggestion is to tame the delays, and reduce the tails as Wes said. For the reverb, there are lots of things you could try. You could just lower the mix of reverb overall, eq the lows out of the reverb, sidechain your kick to the reverb (I fully recommend this!), sidechain a silent kick to the reverb (when no kick is playing but you still want that effect), or automate the reverb mix knob during the different portions of the song. You could do any or all of these things! You might find some of these techniques interesting too. As for the kick, it's really thick and meaty, but for this soundscape I think you could lower the click and bring up the low thump, as Wes suggested, because it sounds a little out of place like it is now. The piano isn't bothering me as much as the other two Js but I hear what they are saying about it, it almost gets lost in this soundscape. You could experiment with a more expressive sample if you want to, or eq this one to make it sound a bit more full. Please fix this up and send it back! NO (borderline, please resubmit)

^That^ is excellent Will! Does a remix of a mashup count? Here is a remix that bLiNd and I did of an existing mashup of the Mario theme with Nine Inch Nails' 'Closer' Here is the original mashup that we made the remix from (bLiNd and I did not make this mashup, just the remix):

Impressive piano playing, but I'm hearing a ton of noises in this recording, some I think are keyboard clicks or something coming from inside the piano, and the rest of the noise is straight-up distortion on the rendering where you're hitting the limiter ceiling hard. Looking at the waveform, those loud segments are completely squared off. I wonder if you can master this better to eliminate both the noise and the distortion. This isn't the best sounding piano I've ever heard, but I think some improved mastering can improve the sound. Right now it sounds like both the highs and lows are cut off. On a cursory listen I think there is enough source and the two themes are well integrated, but I am not familiar with these sources so I'd want to listen to them more thoroughly, but at the moment the noises and distortion are blowing the deal for me. NO (resubmit)

Contact Information: Forum name: GamesDoneLegit Artist: DrJonnSokol Jonn Sokol & Chris Hatala chris@GDLent.com http://www.jonathansokol.com/ (UserID: Cannot find -- is this requirement outdated?) Submission Information: Game Title: Lufia & the Fortress of Doom OC Remix: Lufia: The Island Appears Name of Song(s): Last Battle, The Battle of the Island in the Void Dropbox Link: Artist & Co-Producer DrJonnSokol: Along with film scores, videogame scores are among my first engaging musical experiences. I arranged and played music from various games throughout my youth, and now, with over a decade of education and experience, I'm thrilled to approach the music I love from a new angle. Co-Producer Chris Hatala: To celebrate the Cleveland Gaming Expo Oct. 10-11 and our panel discussion on Ludomusicology, pianist/composer Dr. Jonn Sokol and I co-produced a free studio piano album for Expo goers featuring his talents and passion through game music we all love. As an OC Remix fan since 2000, I absolutely cherish each OC Lufia arrangement, and he ablidged with this opus, creating in my opinion one of the highlights of the album. It's been a dream to come true to bring something of our own to the world of game-music remixing! A huge thanks to our sound engineer, Bryan Wolbert, and Kopperhead Studio! Chris Hatala Event Director / Final Boss, Games Done Legit entertainment Director-at-Large, International Special Events Society, Cleveland chapter p:216.505.0435 (216.5050.GDL) | e:| w:GDLent.com | a:Northeast Ohio

edit: I need to redo this entire vote, Cubase messed the track up for me, my stretch setting for wavs was hosed up. Ok, gonna listen to this correctly this time. Yeah it's pretty energetic! Guitar performances (leads and rhythm) are great. Arrangement is conservative yet personalized. The mix does sound like it could have a bit more sparkle in the highs, and the kick could have some more impact. I'm not in love with the pad timbre (choir?), it has a slow attack making it sound pumpy (as if it were sidechained) during faster passages. From 2:23-2:33 the mix sounds distorted, is there some phaser effect here, along with a roaring lion? Perhaps this is overcompression, as Mike mentioned the busier passages have an odd amplitude envelope (which I'm hearing as pumping). I'm pretty borderline here. edit 4/6/16: I won't hold this up. I think it's close to a pass with a bit of cleanup. NO (resubmit)

Hi dear Judges! I hope you're all doing well. Following djp's announcement about BA3's evaluation, I decided to submit our Machinedramon collab. Pieter/pu_freak just told me the track didn't need any changes for the album, so let's see if it can make it to the front page Contact Information Chernabogue, AngelCityOutlaw, Furilas Alexandre MOUREY, Chris SCHMIDT, Mac HUNTER fflproduction.fr Submission Information Digimon World (PS1) The Metal Emperor Wild Battle! Machinedramon Koji Yamada, Yuko Ishii I'll try to go a little deeper than for my album notes: I came up with an arrangement for this track, but it was too quirky for the album. So Chris (AngelCityOutlaw) decided to go full power-metal, I quote, "rainbows and riding on unicorns made of fire whilst wielding Excalibur on an epic quest to slay the metal dragon". Yes, that's about it. He then wrote a new arrangement I really like, a la Rhapsody of Fire/Gamma Ray. He recorded all the guitars and synths, Furilas did the bass, and I mixed all of those. Big thanks to Chris and Mac for lending me their killer skills, and to Pieter (pu_freak), Eino, and Tim (timaeus222) for the feedback! Remixing a track from the Digimon games, which are a big part of my childhood, was a dream, and I'm glad I could do it for this album. Chris' notes: Alex wanted to do a metal remix of Machinedramon's theme. However, the original concept wasn't metal enough (for my tastes anyway) and so using magic wands made by Jackson and Ibanez, I re-arranged it into an attempt at European power metal of proportions so epic that playing it has the power to summon Kai Hansen. Alex took the stems and then, via alchemy, dark magic, and a touch of Furilas, he made it all come together in his cauldron of metal. I had oodles of fun arranging notes in different places so that they sound cool together and making noises on a guitar so that Chernabogue's dream of digi-speed metal would come true. \m/ Mac's notes: It was a pleasure to form the butt, or perhaps left shin, of this 100-odd ton killing machine. Hope it's all good -- have a nice day!

Your ReMixer name: Slimy Email: Website: https://soundcloud.com/slimy-4 User ID: 51975 Submission Information: Game: Super Castlevania IV (SNES) Name of Arrangement: Dracula's Secretaries Name of Songs Arranged: Room of Close Associate (less prominently:) Beginning Links to Originals: Room of Close Associates: https://www.youtube.com/watch?v=JYm6N5aM2wI Beginning: https://www.youtube.com/watch?v=WYunQCkW8HQ Comments: Of all the songs I could have remixed for Vampire Variations III, the climax of "Room of Close Associates" caught my attention. When I heard it, I knew, this one was the one. "This needs BIG! LOUD! TROMBONES!" Oh, right, that's only 15 seconds out of the entire source. So, what do I do with the part of the song that equates to musical gibberish? Eh, I'll throw some woodwinds at it, they can handle it. Everyone else can play whatever. Chord progression? What? Whoops, I didn't mean to put the drum of impending doom in there. Actually, he can stay. He sounds like he knows what he's doing.

This is fascinating to watch and so well performed, but ultimately it's a one-after-another medley, and really quite long. Not really a fit for OCR. Impressive though! NO

Contact information ReMixer name - Bubuliboo Real name - David Paterson Email - Website - davidpaterson.net Submission Information Name of arrangement: The Legend of Nintendo (for String Quartet) Name of games arranged: Metroid - title theme Double Dragon - title theme Dr. Mario - fever theme Legend of Zelda - title theme Tetris - Korobeiniki Mario Kart Double Dash - Baby Park Super Mario Bros. 1 - overworld and underground theme Super Mario Bros. 2 - overworld theme Super Mario Galaxy - Gusty Garden YouTube link: My comments: This is a tribute to the Nintendo composers that provided the soundtrack to my childhood. Given how many "tributes" of this kind there are in the world, I decided it was time to do a decent and musically accurate one! Should you require any more information, please let me know. Sincerely yours,

First shameless self-panel, congrats on that milestone! NO (first shameless-self-panel NO, congrats on that too) Ok, for realz. Whoa, what you did to that melody! I'm insanely loving the personalization here, this is an easy-peasy-breezy 6/8 stroll through a lovely field of mushrooms. The track is produced really nicely, great bouncy timbres. My only gripe is I think you could push your master limiter just a bit more as it's coming in at -12db RMS, that's some pretty safe mastering, but that's such a nitpick and this is fine. YES

The intro is way too simple and sparse. Whoa, French rap! My mind is melting. I think this is such a cool concept, and the vocals are very cool. The sounds are very generic though, and the soundscape is pretty empty and the sounds are dry through most of the track. I think this could work if the soundscape felt more filled out, and with some reverb and/or delay on things. You could do so much with those vocals with the right effects! The ending is also quite abrupt. Cool start though! NO (resubmit)

Remixer names : - Koncorde - M. Connard - MisterJDay Name of game(s) arranged : Super Mario 3D World Name of arrangement : Les analyses de pubs Name of individual song(s) arranged : World Bowser

This is creative. The synths are fairly vanilla and the mix is really dry. The open hat is too loud. Arrangement is conservative and so is the soundset (similar to Danny's), but I do hear personalization. I dislike panning like this, especially in an electro mix. The faux-metal section at 1:44 is a highlight. Gonna vote later. *later that same day* Ok so it's later. Larry is right, it's too conservative and needs to be more varied from Danny's version in both writing and sound choices, and the soundscape needs to be filled out. It does need some reverb and/or delay. I agree it's a good start. I still like the faux metal part! NO (resubmit)

Contact Info:ReMixer Name - Ginjabreadman17Real Name - Avery WaddellEmail Address - My website - https://soundcloud.com/averywaddellSubmission Info:Name of Game arranged - Crypt of the NecrodancerName of arrangement - Dance No EvilName of individual songs arranged - Konga Conga KappaAdditional game info - Composer - Danny BaranowskyMy own comments about the mix:Firstly, I just want to say that I've been a long time fan and supporter of OCRemix and it has always been a dream of mine of being able to be apart of all of the amazing talent that is present in this community. I figured if I'm ever gonna get to that level of professional quality, I might as well put myself out there and start getting the constructive feedback so that I can improve my craft. This is my first time ever arranging a remix and while I feel I have the creativity, I'm lacking the know-how of the do's and don'ts that can add some real weight to my ideas and take me to the next level. Good thing I set my bar high by tackling a creation by the great Danny Baranowsky right? A part of the reason I chose this tune is because I noticed that there has yet to be a submission from Crypt of the Necrodancer which I find to be some of Danny's best work.On my end, I'm working with some very low grade tech and elementary audio knowledge. This was also a chance to test my own abilities to see if I could make a decent mix regardless of the technology or reliance on the most expensive gear. I arranged this in Mixcraft 6.1 with my fairly decent studio headphones and later checked how the mix sounded using some smaller speakers, earbuds, my car stereo, etc, just to see how my mix was affected in different settings. I sort of took a lesser of evils approach as the low end was a bit too much in my car, but sounded a lot weaker when I played it everywhere else, so I guessed at what level seemed appropriate. I was happy with my arrangement and being able to come up with something that maintained the high energy of the original. It was 40 seconds worth of material so I explored lots of different interpretations that hopefully positively contribute towards my interpretation. Eventually, I felt I was at the point where I was too close to the mix and wasn't quite sure what to do next. Overall, I had a lot of fun with this endeavor and hope you get some enjoyment out of listening too. I look forward to this learning experience so please BE BRUTAL.

The high bell timbres starting at 0:48 are piercing. The hand drums are just the same two samples over and over. And they are loud, and so dry. (Heck, even the ocean sounds dry. Is that possible?) Until 3:09. At which time suddenly this track is... reggae? With staccato strings? The bass at this part is too huge, it's booming, taking way too much frequency. The bass needs to come down in volume and be tamed in the mid-lows (200-300ish Hz). All the sequencing in this track is really mechanical. That backing arp with the sampled guitar sounds so repetitive by the time I've reached the fadeout. The melody line, when it repeats, is exactly the same as the first iteration. The drumming during the reggae portions is very simple and the drum timbres are weak. The transition at 4:23 is weak, and you've transitioned into... just sub bass and mechanical piano. There are a lot of very cool and unique ideas here, to be sure. It's not all clicking for me though. I think the elements need quite a bit of humanization (winds, guitar, piano, drumming). Adding some further texture to the soundscape would help to hide the super-quantized sequencing and the overused loops. Some reverb or delay on the hand drumming loops and the guitar would help a lot. The bass boominess needs to be addressed, and the drums in the reggae parts need to be cleaned up or the samples replaced. Also, I suggest sidechaining your kick to that bass for more groove and a cleaner mix. NO (resubmit)

You guys, this is a resub. I remember the original version of this track. Unfortunately most of what I said in my first vote still holds true for me. This arrangement is just too repetitive. The voice clips are used just as much as before. The beats are varied a little, but not enough for me. I don't hear any sidechaining on that rolling bassline, making it sound less groovy than it could be. The rolling bassline is the same pattern all through the track. The piano still sounds so stiff and mechanical. Also, this track is soooooo reverby, and I LOVE reverb, so if it's too much reverb for my ears, that's really saying something. I don't recall the mixing from version #1, but in this version the mixing is muddy. I'm very sorry, but I'm still a NO

@Manji That does sound like too long for a resub. Send me a PM with the relevant information so I can look into that.

^THIS^ Also, I learned how to make music here on this site. All my motivation and a lot of what I've learned and certainly all of my music friends and contacts came from here. Recommend 10/10, would OCR again.