Chimpazilla   Judges ⚖️

REMIXER INFO Remixer Name: XPRTNovice Real Name: Joseph Zieja Email: Website: http://josephzieja.com Twitter: @JosephZieja Coat Size: 40R REMIX INFO Games Arranged: Final Fantasy VII, Crazy Bus Name of Arrangement: The Rules of the Road Name of Individual Songs Arranged: "Crazy Motorcycle Chase" https://www.youtube.com/watch?v=NCNPpYAkNKA "Crazy Bus Intro" https://www.youtube.com/watch?v=sC0cvwnG0Ik Remixer Comments: Whichever kickstarter backer from Final Fantasy VI requested this: I hate you. I hate everything you stand for.

I've heard this track several times as it has developed and I love it. Great sound design, great energy. I love Joel's vocals, I think they fit into the soundscape nicely. The arrangement is pretty conservative but the remix provides some really creative interpretations and the track is mixed really well. Fun listen, recommended! YES

Production checks out for me, everything is crystal clear, the trombones may be a tad resonant in the higher notes, but overall this production is working really well. I'm loving this dissonance. Great dynamics throughout the piece. Great track, I love it. I'm not familiar enough with these sources to say if there's enough, so I will need to revisit that. Any J who is familiar with these sources that could check source use would be appreciated. edit 4/8/16: Thank you Mike for the source confirmation! Easy yes now. YES

THIS MIX IS FREAKING HUGE SO MUCH PLENTY SOURCE MANY VARIATION WOW DAYUM HYOOOOOJ YES

Haha those captions! I submit that no one should attempt to pee in a tsunami. I'd be more likely to try to FLEE in a tsunami. But I digress. Filtered intro, cool, but I keep hoping the filter is going to open more fully, the whole track sounds muffled. Those DnB drums and glitches are very cool. Seriously is there a high cut on this entire track, where are the highs? The strings don't feel like they fit with the rest of the soundscape, somehow you've got to mix them so they sound like they are in the same space. At 1:02 the lead synth cuts through so well that it really sticks out from the rest of the muffled soundscape. That lead could also use some vibrato or filter movement, it is very plain. When the soundscape gets dense, the strings seem to make everything sound midrange-muddy. The piano sounds very mechanical, especially when it is exposed at the end. I like this arrangement. I don't know this source so I'm not sure if I recognize it here or not. On a cursory listen it seems to be represented well enough, mostly in the strings as Wes mentioned. Regardless, the mixing issues are dealbreaker for me. NO (resubmit)

I like the sound of these guitars, but I don't like the hard panning. I agree with Deia, some panning is good, but not this much. Scale back the panning somewhat and use eq to make room for each guitar to have it's own space. From 1:13 to 1:20 there is some kind of harsh resonance going on. I think the trumpet could be louder, and with less panning on the guitars it may have to be a little louder. Otherwise I think the mixing is nearly there. The arrangement is quite nice. I'll be honest, I can't hear the source at all, because the remix is in such a different style, different key, and with a 100% different vibe. I'd really need to see a timestamped breakdown to even know this was a remix of that source. NO

That's one beefy kick! The track goes on until 1:23 only playing one note (F#) , I get that it's trance but that's a bit too long. Then from 1:23 until 1:51 there's just that F# and minimal harmony. This intro would work if there was something more interesting to hear like some filter movement or little arps or something. There are only vague hints at the melody until 2:45, when as Mike pointed out, the source is played verbatim on a piano, and wow is that piano quiet and distant compared to the beefy section that preceded it. That whole middle section , what the heck happened for it to be this quiet? Dynamics are a good thing but this just feels wrong. At 4:08 the buildup begins and the melody is still playing there, I like that. By 4:35 though, the soundscape is so dense and I'm looking at a waveform sausage. I think you could sidechain many more elements during this second verse, including pads and (to a lesser degree) leads, to gain some breathing room. I'm not hearing any distortion, but I'm also not hearing any dynamics, this section is just too dense. Trance outro with just the single note again. The ending cuts off cold. I like this idea and your approach here, it just needs some more finesse to pull it off properly. NO (resubmit)

*revisits previous vote* Ah yes, I remember, it was too short. I agree with Mike that now it's too long! The arrangement definitely works now, that's the good news. But the sections are repetitive, with the same writing and instruments. I agree with Deia that the main motif is overused, and the writing in between iterations of the motif is random and noodley, and also very quantized and simple. The hats get repetitive since it's the same toploop again and again, with no other drumming most of the time. When the kick comes in, I don't hear any sidechaining, and the kick is timid. By contrast, when the snare comes in briefly at 3:12, it is much too strong compared to the kick. The bell timbre is too sharp compared to everything else. A lot of your lead writing is very mechanical and depends on a lot of simple, quantized quarter notes. The gated strings are nice but they feel very weak and dry, you might try layering those with another pad without gating but with some filter movement, and some reverb. Without any effects it just sounds like a very plain pad with FL's Gross Beat thrown on there on a simple preset. The pad would come alive with some layering, some reverb, and some filter movement. I really think you could keep the arrangement just like it is now, but you will need to put in some work to get your sounds rich and full and varied, and spiff up the writing too, maybe throw in some kind of solo, or have a friend who does solos do one for you. NO (resubmit)

I'll pretty much cosign with my fellow judges here. The writing is much too similar to the source material. The synths sound pretty generic, as Mike said the sound design isn't bad but also isn't great. Everything sounds very dry. The kick sounds flat but also too thick, as if the sample has too long of a tail, it goes on too long after each hit, taking up a lot of sonic space unnecessarily in your mix. The arrangement is the bigger deal though, we need more interpretation than what's here. NO

I like the orchestral intro, although the strings would need a bit of humanization. When the electronic portion begins, I like the synth playing the lead and I can envision this track as a trance track, but the drums are so weak and repetitive, and the same is true of the bass. The drums and bass here are very weak and repetitive, and this is the type of track where drums and bass can make or break the track. That tempo change, Mike is right that it isn't signaled or built up at all so it feels odd and jarring. The orchestral outro is quite nice. I agree with Mike that you may want to focus on one style or the other. Your orchestral work is definitely the stronger skill at the moment. Join our wip forums and get some further advice. NO (resubmit)

Bump for the 4th NO vote. It's close though.

The track is definitely repetitive, you might consider adding a second source to add interest to the arrangement. You've used some interesting sounds, but the stiff sequencing is really distracting. In the first half, the bell timbre has a ton of resonance, and everything is washed out with reverb. The piano chords are so mechanical and there is something strange with the envelope on the sample. When the piano arp comes in, the writing is such a simple arpeggiated pattern. In the second half, there is a lot of harmonic dissonance between the pads and chords and leads. I'm not a fan of the hard panning in the second half either, but that's my personal preference. Drums are also very repetitive. As Deia said, there's a lot of work to do here. I recommend joining our wip forums if you haven't already. NO

I'm not sure how I feel about this yet. The remix appears to be in 7/8, and occasionally in 15/16, or am I crazy? I like odd time signatures. The source is well represented, as I would expect from a M&P entry. The track sounds somewhat lo-fi, but I see that this was a stylistic choice. I'm going to let this one percolate for awhile.

ReMixer & real name: Eino Keskitalo e-mail: forum id: 20708 Name of game arranged: Xenon (Atari ST) Name of Arrangement: Hajonta Name of song arranged: Level 1 (?) MP3: FLAC: Source: https://www.youtube.com/watch?v=BoFM66LW-SU This is a slightly tweaked version of my entry to the Meat and Potatoes compo round 37. Let's see if I can pass the panel with two days worth of work. It was cool to see Binster getting a ReMix of the tune posted just around the compo. The compo source was the Atari ST version. It's the same composition as the Amiga version, but has a different feel to it. I guess the power chord guitar sample in the Amiga version makes it some difference compositionally too. I have actually played the Atari ST version a bit, too! Ingredients: live bass, live guitar, a couple of breaks from the Renoise sample library, a short sample from the very beginning of the source tune (used as the instrument for the riff at 1:26-1:51) and a simple synth sound for background arp & melody (also from the Renoise library). I worked the bass/guitar riffs into arbitrary time signatures, which is something I kind of seem to fall into as a way of personalizing the source. I worked the oddly-syncopated hits into the rhythm guitar, not exactly like it's in the source I suppose, but painful enough to play on time, ha. The economy of the source is interesting. You can tell it's put together from blocks of musical elements/riffs, especially the melody/arp. Then the tune changes key a couple of times, with the blocks staying the same, but shuffled around a bit, which is a nice touch. I just recently read Game Sound by Suzanne Collins, where she explains this sort of thing was often done on 8/16 bit platforms to conserve the limited space/memory resources. Pretty cool! I followed the key changes at 0:42 and 1:08 but without repeating the whole structure. This isn't super polished, but I like the overall raw aesthetic that came together. It reminds me of a cassette recording of a garage band jamming. Used to play in bands quite a bit you see, takes me back, all nostalgic, so it's in a good place for me. Hope you enjoy too! cheers!

This is actually really cool. I like that the remix is a little slower than that frenetic source! I can't even imagine trying to dance to that. The remix actually sounds pretty dry. The shaker could use some velocity variation as well as a bit of reverb. The snare sounds too heavy for the soundscape (I love the rimshot though). I like the vocal bits, they could use some delay. I like the breakdown with the piano and plucked instrument. My biggest issue with this track is it's overall volume, it's smashed to smithereens. In the densest parts of the track, such as 3:05-3:40 I hear some pretty heavy distortion. You definitely need to revisit the mastering and/or the mixing/balancing to get this distortion eliminated. I'd love to hear each element in this mix occupying it's own space in the soundscape. Other than those issues, this track works for me and I like it. NO (please clean up mix/master and resubmit)

ReMixer Name: Tonalysis Real Name: Jeff Morrow Email: User ID: 31683 Name of game(s): Beatmania, Dance Dance Revolution Name of arrangement: Epic Steps Name of original song: Sync Composer: Outphase (Taku "TaQ" Sakakibara and Takayuki "dj Taka" Ishikawa) Link to original: https://www.youtube.com/watch?v=_-UxUJ6P8nU Link to remix: https://soundcloud.com/tonalysis/outphase-sync-tonalysis-mix Comments: Frequently, fans discover artists through OC Remix. In my case, I discovered OC Remix by first discovering zircon through Pandora. After learning the basics of how to use FL Studio, and taking a few lessons from zircon himself, I decided to try my hand at remixing. I'm a long-time DDR fan, so I decided to pick my favorite DDR tune as my first submission. My goal was to take the track and make it even more epic. Thanks for considering my remix.

I think the video I just linked is the actual original source, as far as I can tell. I have to say I find this source horrible! But I digress. There is no way this mix can pass our panel as it currently stands, but I've paneled it anyway because I think you can use the feedback. Once the mix gets going, I hear what you're aiming for. I think Sir_Nuts in particular will have some good advice, this sounds like his style. The soundscape is lush and full. There's too much reverb though and it washes everything out. In contrast, some of the chippy sounds are painfully dry. The intro is dealbreakingly sparse. The rest of the mix is pretty repetitive, both in writing and in sounds. Although, you've added a breakdown and a few extra timbres. The wubs near the end are surprising and they aren't mixed into the track well at all, they are jarring. The drums are fairly repetitive throughout the track. The end cuts off abruptly. I paneled this because I have the sense that with some direction and advice, you can get good at doing this style of music. I suggest joining our workshop forums if you haven't already, put this track in there and you'll get further advice. NO

J. Yarmosh - Evgeniy Yarmosh - - https://soundcloud.com/j_yarmosh - http://ocremix.org/forums/member.php?u=53448 (53448) Sub info: - SUPAPLEX - Supaplex2016 - unknown - http://mirsoft.info/gmb/game_info.php?id_ele=MTg2MTQ= (full game info) - https://www.youtube.com/watch?v=J13y92m6zB0 (original music)

Oh man, this is a tough call. I've listened to both versions now, and the wide-panned version #2 sounds SO MUCH BETTER to my ears... except for the LEADS being on the right, and the whole mix is overcompressed. Version #1 does indeed have crowding issues caused by everything being center panned, and on this version I'd need to ask for a ton of mixing fixes. In version #2 however, everything is so nice and wide, making version #1 sound like the mix was recorded in mono by comparison. If I could ask for perfection here, I'd ask for version #3 to sound exactly like the wide-panned version #2, with the following changes: 1. Center leads, but give them a bit of stereo separation so they sound full. Not so much separation that it sounds super-panned, but full while still being center-panned (being careful to check the entire mix in mono for phase cancellation). 2. Keep every other instrument nice and wide, no panning changes from version #2. Keep drums where they are, too. 3. Bring up the volume of the kick, I can barely hear that. 4. Lower the overall compression. The current version #2 is clearly overcompressed, as the rhythm chugs, strings, and especially the snare sound distorted to smithereens. Just lower that final limiter. I'm going to be picky on this one, since the artist seems willing to make changes for the better. With the above changes, this track will go in my favorites folder. NO (borderline, please fix up and resubmit)

There are aspects of the mixing that don't work well. The mix feels empty a good part of the time. Reverbs don't match so instruments don't sound cohesive. The soundscape fills out quite a bit when the big timpani comes in, but the lows and mid-lows of that timpani feel out of control and this gives a muddy wash over everything else. The timpani writing is quite repetitive. The writing of the lead gets noodley sometimes, and the backing chords are indeed static and repetitive. The drum groove plods along at the same pace throughout the track and the drums are mixed in a very distant way. The transition at 1:15 is abrupt and unsignaled; this is a lost opportunity to prepare the listener for the next section. Instrument balances are odd throughout the track. The guitar volume jumps up drastically at 1:50, although the section from 1:50-2:25 is the section that I feel is mixed/balanced the best in the entire track, except the drums could be louder. The backing chords are bothering me a lot since I don't feel like they fit the lead writing as well as they could, it almost feels like two different songs are playing instead of one cohesive arrangement (almost like a mashup). The drums sound so static and looplike. I love the concept, but I feel like these issues need to be addressed before this can be posted. NO (resubmit)

Thank you, it's too funny to delete

I think Deia is struggling with autocorrect. But I suppose she's right that the counterproductive was a good start, and I also like the contentedly at 1:11. I'm not sure I agree about the Abby of the faster movements, though. Interesting idea to open with the theme coming in on a radio, then transitioning into the mix! I like it. Once the mix gets started though, it sounds quite repetitive. I feel like you are trying to vary the writing from the source, but the writing ends up sounding noodley and random even while sounding repetitive and too conservative to the source tune. If you changed up the drum groove at some point that would help a lot. You could add/replace new instruments or sounds as you go along too, switch up the lead or backing elements, throw in drum fills or little solos, to add interest to the arrangement. The mixing needs to be cleaned up too. I can't hear that you've done any sidechaining with your kick to the bass and/or pads, so the track lacks groove as a result, and that also causes the soundscape to be overcompressed on each kick hit (since everything hits full force each time). I suggest eqing each instrument so there isn't so much overlapping of frequencies, and also cut lows out of your reverbs. If you haven't already, I suggest you visit our workshop forums for further advice! NO (resubmit)

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