TheChargingRhino

Depends. Am I visiting as a NPC or as a player?
That makes a big difference. For example, if I chose Pandora from the Borderlands series... I'm utterly fucked if I'm a NPC. In that game world, if it isn't the Skags/Spider Ants/other wildlife, it's the psychos that wear your face during their pizza parties (fun fact: 72% of Pandoran pizzas are also made from someone's face). If it ain't the psychos, it's the killer Hyperion Loader bots with rocket launchers for arms. And even if you manage to avoid all of those things, you still have all those fucking Vault Hunters (the players) gunning every thing down the instant they think it can drop loot.
Now, as a player (Vault Hunter), I would be nigh unstoppable. I get infinite respawns, can buy guns, shields, grenades and ammo all I want, or just blow up a herd of innocent animals until something drops a gun I like. If I want to go somewhere, I have access to planet-wide teleportation (Fast Travel stations). If I feel like just relaxing, I'm the only person of the planet that can play the slot machines in the various bars around the world. If don't want to do any of that, I still get the option to actually leave a town by walking out the front gate, unlike all the NPCs who have to stay there, behind the desk or on the road, forever. Never moving, never leaving, never doing anything.
See? The difference is important.
 

If you know the principles behind how to make the lead, you should be able to make it. The main difference between synths is the approach to making certain sounds, except for sounds that are particularly complicated (such as some FM sounds, or metallic sounds).
Try going for a detuned saw lead with multiple voices, and a slight envelope depth on a low-pass filter's cutoff frequency. Further tweaking would be needed to get it exactly, but that should get you most of the way there.

Yessir, that would be a particularly sharp/dirty sounding Saw Lead with some monophonic glide and vibrato modulation on it.
A lot of major synth VSTs will have something like it - Synth 1, Zebra 2, Omnisphere, z3ta 2... Particularly, I think you'll want to get Zebra 2 for that because someone here made some Zebra 2 presets that were based on some of the later Mega Man games and one was a particularly dirty bendy Saw Lead that sounded pretty close to what you're looking for there.
Not the pinpoint answer you deserve, but hopefully that will get you closer to what you seek.

I mean, I've basically got perfect pitch, so if I listened to the track I could get the notes down accurately and send them in a MIDI to you

I'll take a listen to the track at some point this week and see if I can figure out the scale and what not with my midi keyboard. I assume you're needing the scale?

For your listening pleasure(coming to ITunes June 2017): (Chiptune tracks Created with Super Audio Cart (thank you Impact Soundworks)

First of all I'd like to apologise. I never wanted to even insinuate that you guys aren't doing a great job. Because you guys _are_ doing a great job. I probably should have formulated that differently. (Or not at all.) I also realise that you're all volunteers, and I respect the effort that you're putting into this (or the fact that you're even taking the time to read and respond to my posts, since I'm a relative outsider).
What really gets to me, though, is the apparent "all or nothing" mentality of these responses, as Liontamer mentions. (Thanks Liontamer!)
It's been stupid of me to not point this out specifically, but I never intended for _all_ of the OC Remix catalogue to be put on streaming services. Maybe some day, if possible, yes. But surely not initially. I was mostly considering the album projects. I mean, albums like Voices of the Lifestream would be pretty safe bets as they are easily licensed through, for example, Loudr (only one game per album for most of them), and from what I've seen Square Enix doesn't really make a big fuss about fan arrangements.
I mean, OC ReMix could start out posting just the albums on streaming services every week or month or [insert random timeframe here]. Starting with either Kong in Concert, which, from what I gather, would be easily licensable, or Relics of the Chozo if it's possible to license it. Or, of course, if you're feeling adventurous, just upload it rogue. (There are plenty of Super Metroid fan arrangements on Spotify already, so either they got successfully licensed or Nintendo just doesn't seem to care. But I assume OC ReMix respects the original copyright holders sufficiently to not post unlicensed songs.) From there you just continue on, trying to get as many albums on there as possible. That _would_ constitute a moderate amount of effort.
So yeah, baby steps. Just having a handful of OC ReMix albums on there would already be awesome. I would never expect anyone to undertake a complete "get all OC ReMix songs on streaming services"-project in one go. That's would be an insane amount of work. But I can't stand it when people just write of an idea all together without exploring all the options. There is almost always room for concessions. Just keep in mind this is not a black or white situation. I still believe OC ReMix could and should extend their songs to Spotify.
Also, let me make this clear: this has nothing to do with convenience for me personally. I have both an iTunes Match and Apple Music subscription. So every time new songs or abums come out on OC ReMix I just download them and drag them into iTunes and I'm set. I have all OC ReMix songs available to me where ever I go and I can listen them alongside all the songs on Apple Music, so I don't even need to switch app to listen to one or the other.
The colleagues, friends and loved ones that I wish to share music with, however, aren't all as proficient with their computer or smartphone as I am. Neither can I expect them to pay for an iTunes Match subscription, or set up a Plex Media Server, etc. Practically all of them use Spotify, however, so if I just send them a link to an album on Spotify the barrier for getting them to listen to these songs is greatly reduced. Also for a lot of fans like me it serves as additional confirmation of their music tastes not being just this obscure underground thing. This may sound ridiculous to some of you, but I am sure others can understand. 
Anyway, I really think we're getting off on the wrong foot and that is too bad. Part of this is obviously my fault because, frankly, yeah I have a big mouth and I can come across as quite arrogant when talking about subjects I'm passionate about. But I always try to push my vision of the best solution for a problem, until someone corrects me, then I re-evaluate, and push forward again. Being passionate like this works better when in personal conversation because people can better judge my reactions and I can quickly correct myself, but on forums I tend to get a hard time. So _please_ take my comments with a grain of salt. I'm not really as arrogant as I seem to be.
And I really admire the artists and volunteers that put their free time into this community. So keep up the awesome work.
 

Just so this doesn't turn into a total dogpile due to the initial tone of the complaint...

To defend Yogarine's overall intent, I don't react to his suggestion as if it's an all or nothing scenario required; if there were some way that could work out to get some OC ReMixes on Spotify, that would be great, and we've thought about it. However, like DarkeSword said, it's still time and energy we collectively don't have. Also, I believe that many VGM arrangements available on music services are actually unlicensed and there just isn't enough oversight.

I personally vouch for someone developing another streaming service that's dedicated to OCR music, so that we don't need to deal with the legal stuff involved in streaming.
qwertymoto, come back, plz...

1) They are full of licensed fan arrangements. Just because the distinction doesn't cross your mind doesn't mean there isn't a clear legal difference.
2) Loudr does not have the resources to license the entire catalog of source tunes that OCR pulls from in any reasonable timeframe, assuming it was even possible using their methods, which it isn't as @Flexstyle said. Loudr is run by like 20 people. And they're not gonna dedicate their company's resources for the next few years to getting all of OCR's catalog able to be streamed. They would get nothing out of it.
3) There is no will, nor are there resources or infrastructure, and there is no way.
4) Unlicensed arrangements aren't a "legal grey area", it is copyright infringement, and when monetizing for commercial profit has 0% chance of being defended as Fair Use (this is according to the SCOTUS). No one's "flying under the radar", and we're not trying to "prevent being noticed". Everyone (nintendo, square enix, sega, capcom, etc.) knows about OCR, and they let us continue, because all of our community output is free and voluntary.
5) Generating revenue based on the work of hundreds and hundreds of artists and putting it "toward the site" is one of the most terrifying recipes for legal nightmares I've ever heard of.
If you are so certain that you have the right answers on how to benefit the community and are so sure that setting up the required financial and legal infrastructure for all of these efforts is "moderate effort" (it's not), then stop whining and contact DJP directly to talk about getting involved with the community and get these efforts going yourself.

Well, although the "mission" is partly to promote VGM, it doesn't seem worth it to try licensing literally thousands of source tunes to publish OC ReMixes on commercial streaming services. Plus, OCR has been known as a non-profit organization. Even when the money goes towards managing the site and so on, that appears less clear when money is involved.

The yin-yang of the Ansari brothers on perfect display

Sure there is. Here's the excuse:
OCR's catalog is primarily comprised of unlicensed fan arrangements. Spotify doesn't allow unlicensed fan arrangements.
Our Submission Agreement is an agreement made with people who submit their music to us. It means that artists are okay with whatever distribution channels we decide and are able to pursue, like physical CDs, Soundcloud, or YouTube. The Submission Agreement doesn't protect us from a company like Square Enix or Konami looking at all of the unlicensed Final Fantasy and Castlevania remixes on Spotify and saying "shut it all down."
In a perfect world we'd be able to distribute OCR's catalog on every streaming service under the sun, but that's not really the case. OCR is unlicensed fan work. The only way OCR gets on Spotify is if we're able to obtain a license for every track in the catalog. That's just not going to happen; that's literally years of work that is quite honestly not worth the return on investment.

I guess we're just plain lazy.

Here's a complete list of Brandon's remixes that were removed from OC ReMix's catalog.
Like Gario said, it's a shame, but given the circumstances, it was an inevitable outcome.

There was a dispute between Brandon and OCR, which led to him requesting the removal of his solo tracks from OCR and the YouTube channel of the site.
It's a shame, but we honored his request. Sorry. For that particular song at least, I think it's still on the Maverick Rising album (that goes under a different contract, due to affecting all those involved, not just OCR), so you can still access it there. His other tracks you'll need to find using any other hosting method Brandon himself has (like his YouTube channel).
Sorry that it's a burden on you, but it's not going back up in the foreseeable future.

Hey, DS, is this the version you're doing for the album? If so, AWESOME! 

I don't really have a lot in the way of critique, but I just wanted to say you did an amazing job with this track! I love how clean the instruments sound, and I'm always a sucker for jazz arrangements. I can envision myself kicking back on a beach sipping on fruit smoothies to this track.

(As a side note this sounds way more amazing on my nice headphones, I don't regret checking it on them)
To be honest, I thought there might've been some production heat on it, but it was actually my piss-poor headphones at work. This sounds pretty darn good, actually, on my decent set-up.

So I sent the latest version to a very small music promotion just to see what the spectrum would look like on a DubstepGutter-type setup, and I'm pretty happy with it (aka I can't stop watching it XD)

Dubstep doesn't have to be that rigid. I write dubstep every now and then (mixed with other genres, but still), and I don't make myself have that kind of structure. So maybe you oughta broaden your interpretation of dubstep; don't you get tired of following set formulas for it?

I have to say this is actually pretty damn cool I am not going to lie! I wish there was more of the original melody but I can dig it! This is actually giving me some inspiration for my Brinstar remix but anyway good job!

Mmm hmm, I certainly do see your point, on the one hand - the builds and drops throughout are inherent to the genre. On the other hand (because I have two hands, see? Haha... ha... bad joke), your builds and drop aren't devoid of music - they're devoid of melody. There's no rule stating that source melodies and themes can't be textures and background elements instead of melodies and themes in an arrangement. You've got arpeggios and such in the background that could as easily be source themes transformed into background elements instead.
It sounds great either way, so you don't have to do more to the track, but I do want to point out that putting source into something isn't impossible to get close or past the threshold I'm thinking about. Trickier, due to genre limitations, but not inherently impossible.

Heh, yeah putting the amount of source necessary for OCR would basically violate the laws of dubstep, as most songs are 25% melody, 25% build, and 50% drop (and that's being very liberal with the melody and build). Unless of course you wanted to go for melodic dubstep (which I did have some ideas for a melodic drop at one point), but that would necessitate a whole 'nother remix. Maybe if I have a lot of time again a while after this...
Thanks anyway for constructive critiques and comments  

As I tend to say, I am by no means an expert and do not profess to be a master mixer, so thank YOU both for teaching ME something. LOL
 

I'm not familiar with the source but this sounds promising. I like the orchestral part in the middle, works pretty good. For me, the ending was a bit abrupt, guess I like to be eased into it more. Overall I'd say the track flows well and kept me interested despite me not being a full on dubstep fan. My biggest remark would be that the snare sounds pretty dull and I'd appreciate some more snap in it.