TheChargingRhino   Members

Very rich interpretation of a pretty empty source. I really enjoy the overall re-interpretation of the chords that's present in this arrangement. Changing things from simple chords to 7ths, 9ths, etc., and reinterpreting just what each chord is allows you to expand on the source beautifully.
The chiptunes and guitar blend quite well together. I'm not sure downgrading your drums through 2A03 was such a good idea - that bass drum has nearly no presence, which does affect the track negatively. The rest of the percussion is alright, but that bass drum is very weak. The end has about ten seconds of silence that should be sliced off, too - no reason to have that, there.
Thanks for providing the sample that you used - I think that should cover you, as far as complying with site policy for SFX usage.
This is a very powerful re-imagining of this source. The faults that this holds are pretty minor in comparison to what it brings to the table. It sends chills down my spine, so needless to say I love it.
YES

hmm interesting use of bitcrushing.  I'm usually not a fan of what seems a blanket usage of the effect (on the intro) but It definitely adds character here.  The bitcrushed triangle wave lead harmonics may be too much for some, I think they're cute.  The guitar lead is surprisingly fitting though, and a highlight for me.  The climax screams awesomeness and power.  I think you did a great job with the arrangement here.  Deftones is one of my favorite bands of all time (white pony is one of the best metal albums ever made, imo) and I loved the reference there.  Overall amazing work putting this together, these different elements could end in disaster on less experienced hands but you managed to craft this with expertise.
YES

Yoooooooo. Fuuuuuuuck. Niiiiiice.

YES

You should try there: http://ocremix.org/community/forum/29-recruit-collaborate/

I'm sorry for the wait, but  here it is. Enjoy!
The Silly Pink Rabbit
 

I'll do these also in the interests of getting the project done(if no one has claimed them):
the Soldiers of Kakariko Village
Fortune telling house
Guessing game house

Plus, Loudr will only be able to license songs that have seen a physical release here in the USA. Something as iconic as, say, even the Punch Out theme doesn't count -- I know because I released an album that had to drop a song before it could be released. It's not a magical, one-size-fits all solution -- you can immediately forget about most of the slightly more obscure games that the OCR catalog is filled with!

It's more about source tunes than even the number of games. Just a rough check it our database puts the current amount of different songs that have been referenced in OC ReMixes at 2,689 songs. We're definitely not going through that.  

Two things: first, you're severely underestimating the amount of work involved in obtaining licensing for the entire catalog of OC ReMix. We have nearly 1000 games represented in the catalog of individually posted remixes. We're well aware of Loudr and what they do, and even relying on an external service would still require too much work to obtain licensing for every last remix. This is not a "moderate amount of effort."
Second, and more importantly: stop invoking the site's mission to make your case. Here's our mission:
Appreciate and honor video game composers and their music Encourage artistic expression and development through fan arrangements Preserve and promote video game music of the past and present Provide resources and connections for the game composers of tomorrow Distribute great, free music to the world The last point seems to be what you're hung up on. But here's the thing:
We provide free direct and torrent downloads of all of our music. We have every individual ReMix posted in full to our YouTube channel (~112K subscribers). We post all of our albums to Soundcloud (~7K Followers) We promote all of our music on Twitter (~28K Followers) and Facebook (~53K Likes). We go to conventions and events throughout the year (upcoming: Otakon next weekend, PAX West and MAGLabs in Sept, etc.) to do panels and give out CDs. We're doing a great job of staying true to our mission. Would Spotify be a nice way to capture more listeners? Sure. But don't pretend for a second that not having the music on Spotify means we aren't doing our job. This is not about us doing our job well, this is about your convenience.
This thread was made 6 years ago. We didn't forget about Spotify. We're not ignorant of the modern streaming landscape and how it's evolved over the years. We've evaluated these venues and made the determination that it's not worth pursuing. There are better uses of our limited time; time that, by the way, none of us are compensated for.

Original track:
 

Surprised there wasn't already a thread for this, but happy 30th birthday, Metroid!!  This series means so much to me, and Metroid Prime in particular is one of my favorite games ever.  Anyone doing anything to celebrate today?  I'm working my way through AM2R, the fan remake of Metroid 2 with my roommate - the full version FINALLY released today after years of hard work and the game is seriously amazing, highly recommended!

Any favorite games from the series, or even more specifically, moments from games?  I probably have too many to list, but a couple for me are:
First stepping foot in the Chozo Ruins in Metroid Prime and having the camera pan around to show the abandoned temple structures Pretty much anything to do with avoiding the SA-X when it's revealed how powerful it is and knowing you're no match If anyone's got any fan works, I'd love to see/hear them!  I've been hard at work myself over the past 6 months or so, putting together a few original tracks to try to capture what the series means to me (made a separate thread for it, if anyone's interested).  If you've made anything to celebrate Metroid recently (or maybe not so recently!), post it up!

My favorite Metroid is... Fusion.
I know, I know, it's the evil bastard child (for some reason) but it's one of the few Metroid games I really enjoyed. I've played it at least eight times since I got the GBA cart back in 2002 and on my 3DS (Ambassador, baby!), whereas the rest of the series is pretty much one playthrough and I'm done with it.
Prime? Completed the first one, almost finished the second never completed the third.
Original and Super? Tried them... never really got into them. Though Super Metroid had some pretty good music.
Metroid 2 on the GameBoy is a part of my collection, even if it's only something I've played a few times. Pretty good for the hardware and the screen limitations, as they used a huge sprite for Samus.
If only one game out of an entire series can make me keep playing it, then that series has done something right, regardless of the rest.
Thanks for some good times, Samus.

Happy 30th, Metroid series. As much as I enjoy this series, I'mma release a relatively unknown arrangement of Sandy Maridia that I did ages ago for some Metroid orchestration project unrelated to OCR. It was made in Sibelius, so be gentle to the instrument quality, lol.
Enjoy the gift.
Also, AM2R is absolutely balls-out amazing, and everyone who enjoys any of the 2D metroid games should give it a go. It lives up to the hype, and then some.

I've been a huge 2D Metroid fan all along.  So many good memories.  Getting horrendously lost in the original Metroid, and my friend getting so frustrated with it that he took out the cartridge and chucked it across the street.  Going back later and mastering it, finally seeing what no-suit, no-Varia Samus looked like.  That moment in Super Metroid when you descend through Old Tourian into Brinstar for the first time, and the whole epic descent into Lower Norfair.  Finding secret areas in bizarre places in Super Metroid, and scouring it with my friends to find 100%.  Finding out what the secret of the space station in Metroid Fusion was, and yeah, the terror of hiding from the SA-X, and then those two things combining in the final boss sequence.
Wasn't that big a fan of Zero Mission--it was solid, but the way you couldn't explore the bulk of the map thoroughly until you reached the very end of the game took away a lot of the fun for me.  And when I first tried Metroid Prime, I was complete rubbish at FPS's, so I found it horribly difficult and quit at the first miniboss, though now I have the Prime Trilogy downloaded and it's fairly high on my to-play list.
AM2R looks amazing and I'm looking forward to it.  Looks like it's already been DMCA'd, but it's not hard to find anyway.

Sorry, I couldn't get to reply. I was at the hospital for the last few days for stomach problems.
I don't know what Morphine is, lol. I paid 128 for WIVI Band for some of the brass and the flute(stupid of me.... Should got it on a student discount) and I used Komplete 10(500 bucks, has a lot of good sounds with a lot of shit sounds) with Kontakt Orchestrated Library(decent but limited) and Sessions Strings(they have a lot of articulations and everything is mostly streamlined). For the guitar, I paid like 100 buck for a sample discount which  had a nylon guitar(I never played a nylon guitar, and I never had the balls to continue with learning acustic guitar, so I can't say if it's realistic or not.)
 
*Edtit*
 
I've made the Treasure Found jingle(sorry, cant find the offical name). Will be posting Secert soon.
 
*Edit*
I also claimed  Turned into a Rabbit!
 
*Edit*
Here is Secret Jingle.
 
 
 

I've always thought Tamriel would be a better fantasy land to live in than most others. Is isn't as depressing as some others, I really like the races, (mostly the Argonians,) and it seems like the kind of place where any peasant could go out and have an adventure. The downside is that there's a lot of things that could kill me; the world is overrun with bandits.

Yeah, I did personally think that the arrangement for the track was enough to pass the bar. That was my own opinion. But as I said, this mix is where the standards got clarified, with Dave making it clear in the last post that this wasn't enough. An example of a mostly chip mix passing would be Dueling Consoles.

OK, let's clear some things up here.
They've been well-established for years, and yea, they are treated like any other minimal ensemble. If you're going to intentionally limit yourself then we believe you need to make up for it proportionally with arrangement. We're not making an exception for chiptunes. GrayLightning made a compelling argument for this; paraphrased, he said "What if someone were to make a remix entirely using wind chimes? Would we make an exception because of the limitations the artist placed on himself? Or would we say that there is only one kind of very basic tone used, which severely limits the remix, and judge it accordingly?"
We're not "against" chiptune production (see below). What does this have to do with consistency, and why would that be an argument in favor of us changing the standards? Gregorian chant hasn't changed in 700+ years, does that mean we should give Gregorian chant remixes special attention or make exceptions for them? It's a silly point.
That's like saying "How can you celebrate vgm as an art form while not allowing people to submit covers?" We're not claiming to be the be-all end-all of video game music remixing. This is Dave's site. He believes, and many of us agree, that doing fleshed out arrangements with NEW material, variation, and varied production is more meaningful as tribute/homage than simple covers, or downgrading the original instrumentation to a set of just a few chiptune tones. That doesn't mean we don't like or enjoy chiptunes, it just means that in the majority of cases, a pure chiptune mix is not in line with the goals of the site (much like straight covers, or tracks that use extensive direct sampling, etc.)
As with the rest of our standards, these things are highly subjective and we don't quantify them. Everything has to be evaluated on a case-by-case basis. Even things like the famous "50% rule" (at least 50% of the remix should have an overt connection to the source material) is just something a few judges do, NOT something codified into the standards.
Sure, but by that same reasoning it takes some interpretation to take an NES track and arrange it for guitar, bass and drums for a simple cover.
Lastly I encourage EVERYONE to read the decision thread for Espergirl 2a03 which pretty much defined/clarified our standards:
http://ocremix.org/forums/showthread.php?t=4024&highlight=espergirl

in 70 years or so, when chiptunes are regarded as a medium on the same level as other relatively minimal forms such as a string quartet.... if OCR is still around then, they will accept chiptunes.
So given the current length of the queue you might as well submit one now

It's ironic that the site is against chiptune production when chiptune production is just about the only type of production that is fairly consistent over time. Recording quality of organic instruments degrades the farther back you go, and even people who remix on OCR can make huge strides in recording quality over the course of a year or two. I'd point at myself as an example. z_z And Guifrog's recent mixpost is great but is lacking in a lot of sample/production areas.
Whereas Espergirl 2A03. Still sounds incredible. Stands the test of time.
Also how can you celebrate vgm as an art form while barring the format it is derived from?
This thread is now about OCR Standards.

Halc / Ben Briggs / ProtoDome = YES
Normal chiptune = NO
Normal chiptune combined with solo piano = N... wait, what? YES?
OCR has yet to really establish chiptune standards.

Whoa. Happy to see an authentic chip track with next to no post production on the site. Congrats RushJet1! 

We have to go deeper. 1-Bit single channel chiptunes.

OC ReMix & Impact Soundworks are pleased to officially announce the release of SUPER AUDIO CART, the definitive retro game instrument and a project eight years in the making!
Instrument Page: Read More & Purchase

Super Audio Cart features eight legendary video game systems recorded in exhaustive detail using a slew of specialized cartridges and hardware:
Atari 2600 Commodore 64 Sega Master System Game Boy Sega Genesis (Mega Drive - Model 1, naturally) NES Famicom (w/ VRC6, VRC7, FDS) SNES (Super Famicom) These samples combine to form more than 630 multisampled sound sources: everything from pulse oscillators and noise generators, to essential FM patch layouts, true lo-fi PCM drums and hacked/circuit-bent setups. When you play a Commodore 64 PWM patch or an NES drum kit, you aren't hearing an emulation: these are the real sounds coming straight from each console.
But Super Audio Cart goes far beyond authentic game sounds. We created an incredible KONTAKT PLAYER engine (with full NKS compatibility) pushing Kontakt to its limits to provide a huge range of sound design features and 1200 factory presets in total. This engine lets you transform simple pulses, saws, and 10kb samples into monumental pads, dirty EDM basses, hip hop leads and anything else you can think of.
SAMPLE CONTENT
Over 5,800 meticulously edited samples in total All-new bank of custom SNES samples (400+ instruments) 120+ classic FM instruments from the best Genesis soundtracks Hundreds of sound effects, both sound sources + presets Synthesized and DPCM sampled drumkits Tons of waveforms and circuit bent oscillators ENGINE FEATURES
Up to 4 simultaneous and independent sound source layers Five total FX racks (one per layer and global) with a custom "SNESVERB" module Independent arpeggiator/sequencer & gate, including wave sequencer Full control over envelopes, mapping range, keytracking and tuning Customizable portamento (including poly portamento) Over a dozen filter models (LP, HP, BP, notch) MIDI learn / CC links to any parameter or control XY controller for layer blending or modulation (also MIDI learnable) And the crown jewel, a 64-slot custom mod matrix built from scratch. We'll be making a video just for this since it can do so much - create and assign custom LFOs to virtually any parameter, use MIDI CC, random numbers, velocity, key position, and aftertouch (to name a few), modulate FX and controls globally or per-layer... etc. And you can bet the factory library makes great use of it!
AUDIO DEMOS
https://soundcloud.com/isworks/sets/super-audio-cart-demos
Super Audio Cart was produced as a collaboration between Impact Soundworks and the OverClocked ReMix video game music community, and is available now for the MSRP of $149 with FULL Kontakt Player and NKS compatibility!
Get the library here!
Let us know what you think!
VIDEO TUTORIALS (Playlist)
https://www.youtube.com/watch?v=n_kB2z4rCmo
QUOTES
"Super Audio Cart is so much fun, and absolutely spot-on for simulating retro game sounds. This is absolutely a fantastic sample library for all game music fans."
-Yasunori Mitsuda (Chrono Trigger, Chrono Cross, Xenogears)
"It's extremely convenient to be able to create arrangements with such diverse sounds so quickly, just using MIDI. Of course, Super Audio Cart isn't just for 'retro' sounds - it's also very useful for modern music as well."
    
-Yuzo Koshiro (Streets of Rage, ActRaiser, Revenge of Shinobi, Etrian Odyssey)
"Super Audio Cart is without doubt the best plugin for all your chiptune needs, it's got the lot and they're all glorious!! Having all these authentic sounds in one place is the best idea since someone said, 'Let's put a rap in Donkey Kong' ... oh wait."
    
-Grant Kirkhope (Donkey Kong 64, GoldenEye, Banjo-Kazooie, Civilization: Beyond Earth)
"Super Audio Cart fills a niche in my chiptune arsenal that has been sorely lacking. The SNES-style patches sound so authentic, and the multi-chip patches bring usability and versatility I haven't seen in a chiptune instrument before."
    
-Danny Baranowsky (Crypt of the NecroDancer, Binding of Isaac, Super Meat Boy)