Chimpazilla

Ladies and gentlemen and judges, the moment you've been waiting for I'm sure, Liquid Metal 2: Even Wetter aka Liquid Metal 2: Liquid Harder aka Liquid Metal 2: It Has Electrolytes ReMixers ----- Brandon Strader - everything but what the other people did Rexy - female screams, as Splash Woman again like from the first Liquid Metal Jivemaster - the rapper for the rap break, as Dr. Wily Games: Mega Man 2, 3, 9, 10 Sources: Wily Stage 2-1 (MM2), Proto Man (MM3), Splash Woman (MM9), Commando Man (MM10) Too many sources this time. I hope I've remembered them all. Title: Liquid Metal 2: Even Wetter (in the absence of a colon, please dash.) This is the third song for the "Going Commando" EP. It is a sequel to Liquid Metal from The Wettening which was also featured on the OC ReMix front page to massive critical acclaim. :'( 'Liquid Metal 2: Even Wetter' has a stronger low end which is downright thunderous on a good sound system. I thought it was a mistake when I was reamping the guitars and they came out so heavy on the low-end, but quickly learned it was not. I brought back Rexy for some BRITISH female screams. She even did some sexy moans, that was awesome. Jivemaster is rapping and brought a nice AUSTRALIAN tint to the song. I had done a full album of metal growls for Zoltan's upcoming first album "First Fantasy". I was at the top of my game while doing that album, and after I was done, I stopped growling. Eventually my voice got really weak again. Lately, it has felt like it is damaged, and I wake up coughing, almost like I had blown it out at some point. Despite that, I tried to "bring it" for my growls on this song. Not as strong as the Zoltan album, but certainly not bad. They're on par if not a little better than the original Liquid Metal. Also I should explain the unwritten joke of the lyrics. If you notice, Commando Man is not featured, this is because from my understanding he is a very large, bulky tank, and as a result would not be capable of any form of undersea travel. Source 0:00 - 0:06 - Proto Man Whistles 0:06 - 0:12 - Commando Man 0:12 - 0:19 - Proto Man 0:26 - 1:02 - Commando Man 1:05 - 1:56 - Proto Man 1:56 - 2:23 - Wily Stage 2-1 2:41 - 3:08 - Splash Woman (on the synth thingy) 3:08 - 3:22 - Proto Man 3:22 - 4:01 - Wily Stage 2-1 4:01 - 4:27 - Proto Man 4:27 - 4:55 - Wily Stage 2-1 Listen for synth or 80s ensemble string lead (also sounds like a synth) for a lot of source usage. commando man: https://www.youtube.com/watch?v=bszIJrNxFQY splash woman: proto man's theme: wily stage 1/2:

This track has some great qualities, and the arrangement works, but it has just enough production issues to hold it back. Larry's right about the plodding snare, it feels plodding because the timbre doesn't really fit, it's too snappy. The kick has too much high-end click also, making the kick stick out too much. The guitars by contrast feel like they don't have enough presence, they are loud enough but somehow don't cut through the mix that well, they almost sound low-passed compared to the synths. The synth work sounds good, it is mixed better and more cleanly than the guitars are. I agree with Larry there are some parts of the arrangement that feel too empty, like 1:35-2:00. The phasing on the guitar at 2:52 seems a bit cheesy, sorry to say. NO (resubmit)

Vocal-hate doods come on out! Haha! I paneled this for a few reasons. The idea is super creative, source a-plenty, and the backing instrumentation is very cool. The piano is a bit mechanical in timing and velocities. The mixing could be a little bit cleaner, but generally it sounds pretty groovy. I think you may have overdone it with the icecubes, it sounds like it was done purposely. Maybe adding a little audience sfx might make it feel more realistic? I think the lyrics are hilarious and the whole concept is cool, but the vocals are just too loud compared to the rest. For kooky vocals like this, the less "in your face" the better! I'd recommend lowering the volume, and taking a bit of the low end out of it, if the vocals fit in better it's going to sound a lot different. edit 9/6/14: Ok so I won't hold this up. The mixing issues and ice cubes aside, it is a fun, creative track. YES

Hi, this is Thaddeus Jaworsky with another Megarockman song for ya. website for song (including lyrics): Remix Artist: MEGAROCKMAN Song name: The Iceman Clubbeth From game: Mega Man From stage: Iceman Inspiration: This theme called for a cool jazz/lounge tune. While singing, I held a glass of half-melted ice cubes that I'd occasionally shake around near the mic to give that cocktail lounge feel... as if the singer were drinking a scotch on the rocks while performing in some ice cave / secret jazz cove. Story: This song portrays Ice Man as a blood/fur thirsty arctic dweller who brutalizes a variety of aquatic mammals... as well as any other creature he happens to come across, I'm sure. Please enjoy! -THAD

Wow, I'm loving this arrangement, it has great flow and dynamics and a nice mix of instrumentation, lots of attention to detail. Really nice blending of the sources. Hats are a little loud (and machine-gunish at 2:34), snare is a little weak. Mixing is just a tad indistinct, could stand a bit of cleanup but it's workable. Synth work is really great with some really fun soloing. Overall, this is a winner! edit 9/22/14: I won't hold this up. I really like this track. Do the eq cleanup and humanization tweaks mentioned, get the production sounding really tight, and resubmit it please! NO(resubmit)

Wow, only 1:48, it feels much longer because it's action-packed. I love the genre adaptation. I agree some of the stereo separation is a bit too wide, the violin is all the way to the left, just a bit too far. I have to agree that a little bit more arrangement development would be great. Some kind of breakdown or original transition section would add some length to the arrangement and vary the mood and dynamics as well as add some interpretation to the source melody. I'm sort of on the fence with this one, it's really cool, love the concept, performances are impressive, just needs a little bit more work. NO (resubmit)

Well this is soft and lovely, but I think there isn't enough source use. (I haven't done a breakdown but I can if needed) In between the motifs, there is an awful lot of empty-ish space, the chords seem to drag on forever. The strings have an unnatural attack. Most of the track is extremely quiet. Maybe this is a matter of taste but this song really drags for me, at least until the brass swell at 5:06. I don't think I can get behind this one, but I will consider what the other judges have to say. I looked up LindsayAnne's posted mix, it was posted in 2004 and the production sounds exactly the same as this track. NO

I really like the idea of putting this melody over such a different chord structure and groove! But yeah the production needs some more development here. That drum groove is way too simple, claps are super dry, kick is weak, and the shaker is much too loud. The sitar is indeed a highlight. I'd love to hear some extra synth detail (arps, sequences, etc.) and/or sfx to keep things interesting, especially given how simple and repetitive the bassline is and how the underlying chord structure never varies (this can totally work if there is SUPER interesting stuff going on on top). I agree with Justin that the main synth is a bit underwhelming, but again, with some additional fun details and/or modulation, it could be perfect. (the glitching at 0:51 and the reverb automation at 0:58 are wonderful) I always think it's a great idea to use a different lead here and there to keep it fresh. Bass could have more presence and more lows. The Mario "let's go" is too loud. This arrangement has great promise! Let's hear it again with more attention to detail. And yes, some kind of ending please! NO (resubmit)

Fantastic arrangement! Great choice of instrumentation, very cohesive, exciting solos, really fun and well executed track. Nice job guys!

This. This. THIS.

This one is a collab: ReMixer name: jnWake. Collab ReMixer name: Ivan Hakštok (User ID = 43292). Name of game(s) arranged: Mega Man X2, Mega Man X6. Name of arrangement: Forever a Sponge. Name of individual song(s) arranged: "Wire Sponge" (from MMX2), "Infinity Mijinion" (from MMX6). LINK TO ARRANGEMENT: Mix comments: I made this mix for Round 1 of last year's Grand Maverick Remix Battle (took me a while to submit it!). In that round, I had to mix Wire Sponge (my choice!) against Infinity Mijinion (picked by Zerothemaster). There are a couple of Mijinion mixes here on OCR that focus on the 80's sound of that song, so I tried to stay away from that in my remix. Instead, I only focused on blending the two sources as well as I could, so this mix is actually quite representative of my "natural" style, which is some kind of piano/synth heavy rock thing... Or something. Source breakdown: To make this easier, I'll show some important stuff of both sources! First, Wire Sponge ( ):0:00 - 0:11: Intro (ignored in the remix!). 0:12 - 0:21: Section 1 (used a lot!). 0:22 - 0:30: Section 2 (also used a lot). 0:31 - 0:37: Transition (ignored). 0:38 - 0:50: Section 3 (used once). Now, Mijinion ( ):0:00 - 0:13: The Final Countdown... uh- Section 1/Intro (used in the remix). 0:14 - 0:30: Section 2 (also used). 0:31 - 0:46: Section 3 (also used). 0:47 - 1:13: Solo! And finally, the remix! 0:00 - 0:28: Intro. Based on Mijinion's Intro. 0:29 - 0:35: Sponge's Section 1. 0:36 - 1:03: Sponge's Section 1 on piano and Mijinion's section 2 on ac. guitar. 1:04 - 1:24: Sponge's Section 2. 1:25 - 1:48: Violin plays Mijinion's Section 3. End of the section uses a transition from Wire Sponge. 1:49 - 2:21: Mijinion's guitar solo played by a synth. A violin plays Sponge's Section 1. 2:22 - 2:53: E. Piano plays Mijinion's section 2 and synth plays the lead from Sponge's section 3 (chord progression is also Sponge's section 3). 2:54 - 3:06: Guitar plays Sponge's Section 1 melody. 3:07 - End: "Epic" outro with Mijinion's melody. Hope I didn't mispell Infinity Mijinion's name too many times there!

Hello, My name is LindsayAnne Pepper (formerly Klemm), and I currently have a song posted on ocremix as "A Fate PreOrdained." I have a new song that I would like to submit to you for your approval. It is called "Fortitude," and is a rendition of both Zelda and Link's theme. It is meant to portray Zelda's farewell to Link as he heads off to war. I hope you enjoy it! Sincerely, LindsayAnne Pepper ---------------------------------------------------------------------------------------- Zelda's Lullaby - Zelda Main Theme - Kakariko Village - Song of Healing -

You are right, it isn't acceptable. The process is too long, but we are actively working on this issue. Resubmissions do not wait in the inbox like new submissions, they go right back into the judging queue.

Excellent track! Great combination of timbres, I love that mallet, awesome concept and really adds to the evil. Very exciting. I'm a huge fan of including game sfx in ReMixes, this track is a winner!

Happiest of birthdays to my dear friend Will. I hope you have a very Rocky Birthday!!!

Ah, 100% orchestral mixes are a bitch to get right! It takes a lot of humanization and layering of articulations and automating of CC11 or volume to get string and brass lines to sound real. The xylophone also needs humanization as each hit is the same velocity. The snare rolls sound quite mechanical. As for the mixing, the high strings are much too loud. The snare and xylophone are also too loud. Orchestral tracks should kind of sound like a "homogenous wall of sound" and nothing should really stick out volume-wise, if you think about it, picture a live orchestra, no one runs up to a microphone in the front to play a solo! The arrangement needs to be written so that some parts are "wall of sound" and other passages contain just the solo element(s), which will be somewhat soft, giving the piece a lot of dynamic range. But no way will the xylophone be louder than the entire brass section. I like this arrangement but there needs to be much more attention to the humanizing detail and balance/mixing. Also there are areas of the arrangement that feel strangely empty, for example from 1:44-2:15, something like a harp gliss or glock pattern would give focus to those empty passages. The ending is much too abrupt, it feels like it needs one more resolving chord or something, also make sure your render captures the final reverb tail. NO (resubmit)

What a fabulous track. Emotional and brilliantly produced. I have one small nitpick and that is the bass sounds a little too loud when it plays a G. Other than that I'm loving this.

I hear zero source and only pads and atmo until 0:55, at which time there is a complete silence. The piano that follows, playing the arp from Bad Future, is very quantized, dry and unhumanized, even through the glitching effect. At 1:24, the soundscape is much fuller and sounds very muddy. I still hear the Bad Future arp in the background. The first saxophone, starting at 1:59, as far as I can tell is not playing the Present source, but seems to be harmonizing that melody (if it were there). Here's what I hear: vocals from Present: G,A,G,D C,A#,G sax from remix: D,F,G,C,F,G,A#,D#,G,D#,A# The second saxophone bit (3:37-4:34) sounds completely original, and starting at 4:34, the sax again plays the notes I laid out above. The backing vocals at 2:24 sound like source 0:35. Very cool vocals by Damashii!! in this track. Breakdown at 2:28 does sound like the Bad Future source with the arp and the breathy vocals, but unfortunately it is very muddy sounding. I definitely do not hear enough source in this track. Also the mixing is quite muddy and indistinct. I can hear that some cool ideas have been added here but they aren't enough to overcome the muddy mixing, and more overt source use must be present for this to be considered for a pass. NO (resubmit)

What a kickin' source! And this is a groovy remix! Fun filtering and effects. Dat bass. Production is super. Drums are sounding good. The sub bass could use just a teeny cleanup in the lowest end. Unfortunately Larry is right about the source use. There are large sections which only vaguely reflect the underlying chord progressions of the source, and you've got some supercool noodling on top but no source melody. I don't think it will take much to get this track OCR worthy, as the source has so many little motifs going on, just throw some of those motifs in during the source-less sections (like 0:32-2:06), use a little sine timbre or bell or something that will cut through the mix even with everything that's already there (i.e. please don't remove anything, it's all cool!). Just needs that better source connection. While you're at it, I'd love just a bit more differentiation between the two samey heavy-sidechained breakdown sections starting at 1:03 and again at 3:06, it wouldn't take too much to give them each just a little different flavor. (this is not a dealbreaker issue, just a thought) I can't wait to hear what cool things you do with this to add that source. NO (resubmit soon, plz)

I'm a huge fan of Jake's music and this track is no exception. I love the interweaving of sources here, quite impressive. The detail work in the track is really nice as usual from Jake, and Ben's and Nathan's solos are really fun and add tons of personality. The track has *almost* too much reverb, even by my loose standards, but the combination of heavy reverb elements with more upfront and drier crunchy synths and percussion elements/reverses makes a wonderful contrast. Great listen, nice work. YES

Ok I'll try. remix 0:00-0:43 arpy original intro remix 0:43-1:02 is 0:06-0:34 of Main Theme source remix 1:02-1:18 is 0:41-0:57 of Cave source, interpreted yet identifiable remix 1:18-1:34 is 0:41-0:57 of Cave source, mainly chord structure of source with original piano arp added remix 1:34-2:01 is 0:41-0:57 of Cave source, piano playing somewhat identifiable interpreted source, synth lead added remix 2:01-2:28 is 0:41-0:57 of Cave source, SUPER heavily interpreted source chord structure, piano and synth original soloing remix 2:28-2:56 is 0:41-0:57 of Cave source, piano playing somewhat identifiable interpreted source, synth original soloing remix 2:56-4:00 is 0:41-0:57 of Cave source, sped up chord structure and heavily interpreted with original piano soloing remix 4:00-4:03 original bell outro First, this mix is amazing, I love it. Beautifully produced. But I only hear identifiable source from 0:43-1:18. The Main Theme is readily identifiable imo. The first interpretation of the Cave source is unique and nice, yet identifiable. After 1:18, he introduces a piano arp that doesn't seem to exist anywhere in the source material, and although it is beautiful, it begins to go off the rails away from source. After this point the remix progresses and introduces the synth lead and more piano soloing, all over a somewhat interpreted version of the Cave source's chord progression and partially identifiable source played by the piano. This continues all the way until the brief outro. As far as I can tell, no other portions of the Cave source were used. Some of the piano soloing is following the original line in that short portion of the Cave source, but it's really heavily interpreted. Someone please point out if you think I'm wrong. tl;dr - I think this is lovely and fun but too liberal. Ow, my brain. NO

I would have preferred the dark version. This is too light and fluffy. I feel uplifted after listening to this. You couldn't have added some low notes? This really could have used some cowbell. I kept waiting for the technomanga part. I'm not gonna fuck around though. Killer Studio Chops indeed. This track is excellent. And I judged as hard as anyone. YES

That's one slow-burn intro. Just... two chords... and pad... until 0:34. I think that background arp pattern is the most repetitive element, if that were altered somewhere, it wouldn't feel so samey. Even when played by different instruments (bells, harp, some other plucked thing), it still feels samey. I agree with Larry and Vinnie, there's lots of nice personalization. But wow it's repetitive. Very cool bass drop at 1:06. I want more of that. I'm not a fan of the lead that enters at 1:23. It seems so lifeless. That first lead should really shine and stand out, and this one just leaves me flat. It's kind of faux-trumpety. It could be a really nice sine/saw/triangle thingy with some fun modulation and delay, and it could play an octave higher. Same crit for the lead that begins at 2:47, it could be so much more. And again at 3:56. Drums are basically copypasta all the way through. I would love to hear some additional drum elements at some point. I feel like there are large sections of this arrangement that are basically empty (like multiple 8-bar sections), with just that arp pattern and bass and drums, and no lead or super minimal lead. This track is produced very well, but I'm just finding it too empty, lead-wise. Too much missed opportunity. If this doesn't pass, I'd recommend just doing some cool soloing over what you already have going here, and/or spiff up some of the lead timbres, that would pep it up. Also, some drum variation. Also, blarg, abrupt ending. NO (resubmit)

Happy birthday, guys! Haha Larry that's a good one, I've got one that's similarly creepy:

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