Sir_NutS

Happy to announce just a handful of features to be included in the upcoming FREE update to Super Audio Cart, slated to arrive before the end of the month! Remember, this isn't the entire list, so if this gets you hype... well, you're in for a treat.
1. New sound sources from the VRC6 and ultra-rare VRC7 Japan-only expansion chips for the NES/Famicom. VRC6 adds more pulse widths and saw waveforms, while VRC7 includes a palette of FM (!!!) sounds. 
2. The ability to use generated ADSR envelopes as modulation sources. Imagine ADSR modulating FX, for example.
3. Filter ADSR and pitch ADSR, plus depths, as new destinations in the mod matrix.
4. 100 new snapshots.

Kris and I sorta co-reviewed this, so her vote falls pretty much in line with my opinions on this track.  I'll add a couple more comments, I think my issues with this remix stem mostly from the way its delivered, it has sort of a hard/classic rock approach but the delivery of the riffs feels lazy and there are some ugly harmonies that work in the context of the original but really don't work in this adaptation.  Kris already mentioned some key points, but I'll also add that the clarinet performance at the start sticks out as something that doesn't quite belong there, and the performance couldn't be more flat.  The solo clarinet section, as sparse as it was, was the one I enjoyed the most as it felt coherent.  That is, until the guitar hits again at 03:20 and the clashing harmonies come back with a vengeance. 04:10 and on the entire mix starts to fall apart, I know you're trying to convey a feeling of disarray or desperation but it ends up feeling very messy, it needed more of an organized disorder approach, imo.
Regarding the source usage, as Kris pointed out it seems fairly liberal, even with the references you offer there are some sections that are hard to justify what they are supposed to represent such as the section with the sirens. I would love to hear other Js opinions on this one as this track kind of puzzles me because the delivery doesn't seem to be working at all for me.
NO

It's not even really just Payload, either. Both Torb and Symmetra are solid picks for defense on any Assault map.

Here's something interesting
http://gamerant.com/overwatch-stats-website-wins-kills/
From a sample size of 800,000 players, Symmetra tends to be on the winning side the most with Torbjorn being 2nd. Mercy and McCree being the lowest.

This.  Mercy is one of the most powerful champions atm, so it's a great pick for beginners.  I think I have one of the highest win ratio with her.  Lucio is a good pick too but his Q is more clutch IMO, so requires a bit more teamwork and knowledge of when its right to use it.  Zarya is good but she's also requires a fair amount of skill to play her well. 

Yes, we're cool with percussive-only music. That being said, listening through I do agree with Sir Nuts that the amount of the track that is recognizable to the source is pretty low, pretty much at the two points he mentioned. Unless someone else has some other sections they can point out then I'm going to have to go with a NO on this. 
I do however want to mention that this is a pretty cool song you've done, and it really conveys a ton of anxiety. Really nice work for 4 days and little experience!
NO (resubmit)

your bnet id should have a # and some numbers in it.

Rock.  Welcome, @aubreyhodges! Like Gario said, we always love game composers being involved in the community, giving feedback to arrangements of their music, or submitting their own interpretive arrangements. Since you're here, I'll just extend the callout window another 6 weeks to give people a fair chance to take advantage of you checking in on this. You can host/link anything you like from your work on the Quest for Glory series or PM me what materials you'd like us to host, and we could take care of that!

Wow, I'm just so happy now.    I just.  Read.  And I'm just so happy   @aubreyhodges I spent so much time listening to the MIDI QFGIV soundtrack... so fantastic.  Thank you SO much !!!
And likewise @midiman369 I really love your site and how it has so many just fun anecdotes (in addition of course to like... 5 versions of the music )
Ahh, I'm just so happy   Er.  I do actually know words besides "so" but I guess I'm blanking on them presently!  Please feel free to substitute in positive superlatives of your choice!

Hi all,
This is Andrew from midimusicadventures.com / The QuestStudios Archive.
I would have loved to try my hand at making a proper remix to send in for this callout, maybe I'll submit something in the future.  Unfortunately, I also only found out about this the other day.
I do however have an ancient crappy 'cover' of Erana's Peace I once made a long time ago (early 2004).  At the time, I was only first tinkering with and learning to use FruityLoops 3.0 (Which then updated to 4.0 and they changed the name to FL Studio) in an effort to see if I would like it more than an ancient (even then) version of Cakewalk I was using for MIDI compositions/remixes up until that point.  I don't think it's up to the standards to be submitted to OCREMIX so, with some trepidation, I have linked it above just for fun.
Aubrey's new official soundtrack is much better, we should all listen to that instead.  It really is great!
I'm glad to see that QuestStudios is still a valued resource for DOS Era adventure game soundtracks.  To try and make a long story shorter:  The original QuestStudios was an amazing resource for Sierra game soundtracks and MIDI's among many other things.  Not terribly long ago that site was hacked, and the backups were also corrupted.  The original site owners' Tom and his wife Dianne had decided to retire from the site at that point for a multitude of reasons.  I offered to rebuild "The QuestStudios Archive" from my own downloads from the original site and accumulated libraries in an effort to keep that great content, and in my possibly biased opinion, a part of PC Game Music and Internet history, online.  With the helpful submissions of some other former QuestStudios site message board members, things are coming along nicely.  Though a bit slower than I'd like due mostly to my other life responsibilities.
Anyway, I just wanted to say thanks for linking my little site.
Also, if anyone has a need for the complete MIDI file soundtracks for QFG1-4 they can been downloaded here.
I look forward to seeing what people come up with here!  Personally, I love hearing the remixes on the site here where a song's melody is taken to a completely different music genre than the original.
~Andrew

Hi everyone...this is Aubrey Hodges and I am the original composer for several Quest for Glory titles as well as many others over the last 3 decades. I have recently released the soundtrack for Quest for Glory: Shadows of Darkness http://aubreyhodges.bandcamp.com/album/quest-for-glory-shadows-of-darkness-official-soundtrack and thought it may be of interest to this site. I would be willing to provide a few of the newly recorded and arranged versions if that is something you would appreciate. I am not really sure if the original composers are supposed to be involved in the site or the remixes as I am new to ocremix. (I found out from a fan who sent me a link to the forum). Almost all of the new versions of the songs included are played with live instruments and are now what I had envisioned when I composed them originally. I do plan to release 3 more of my Sierra titles as well: Freddy Pharkas Frontier Pharmacist, Shadows of Yserbius (working on currently), and Robin Hood: Conquests of the Longbow. I have also release a 20th Anniversary Edition of my Doom Playstation Soundtrack that includes a ton of new material, longer tracks with new arrangements and 8 brand new bonus tracks. http://aubreyhodges.bandcamp.com/album/doom-playstation-official-soundtrack-20th-anniversary-extended-edition I sent a message to one of the staff but have not heard back yet. With the deadline approaching so quickly I thought I should post here to try and get an idea of whether or not I should provide a few tracks for this and if so, how exactly to provide them. Thanks for your help and thanks so much for your appreciate and support of game composers!
-Aubrey Hodges
 
aubreyhodges.com (info, blog etc.)
http://www.aubreyhodges.bandcamp.com (album streaming, sales)
 

I don't know about puns but I called dibs on the stupidest names.

Stop being a dummy.

Yeah I remember this.  These guys spent the whole competition rickrolling people.

Not a big fan of some of the wubs, which felt a bit out of rhythm at several points, which is a symptom of songs that just throw them around to get "dem dubsteps for the kids" in.  I also think they were too prevalent throughout the song and they got old after a while.  I did like the use of vocoding to add some flavor and the synth soloing was great.  The two themes were fused pretty well into a natural-sounding arrangement.

I'm not feeling this one as much as I'd like to, because of the issues above, but I can't disagree that it's a solid offering.  Definitely some creative usage of both melodies, which is what pleased me the most.

YES

Yeah I remember this.  These guys spent the whole competition rickrolling people.

Not a big fan of some of the wubs, which felt a bit out of rhythm at several points, which is a symptom of songs that just throw them around to get "dem dubsteps for the kids" in.  I also think they were too prevalent throughout the song and they got old after a while.  I did like the use of vocoding to add some flavor and the synth soloing was great.  The two themes were fused pretty well into a natural-sounding arrangement.

I'm not feeling this one as much as I'd like to, because of the issues above, but I can't disagree that it's a solid offering.  Definitely some creative usage of both melodies, which is what pleased me the most.

YES

I'll mention this in the write-up. In fact, I'll probably quote myself. Hello, future me!
S'good stuff; obviously plays it a LITTLE loose with sources, but I didn't have to work too hard, plus the breakdown helps.
Also obviously a different style/sound for timaeus, which is by & large done quite well, with an emphasis on the agile & delicious fretless bass.
If I had to nitpick, I'd say the only weakness might be the snare part, as it pertains to the overall drum part - would have liked more dynamics on the snare, more accent & grace notes, to really give it that shuffle & syncopation, beyond what's present.
As it stands, snare sits at the same velocity for most of the track and doesn't vary much, and the drum part could have a little extra pizzazz/humanization/panache, and I think the way to achieve both those goals would have been weaker accented snare notes filling in some of the gaps with extra syncopation.
That's my VERY specific criticism, but it's easily outweighed by all the other righteous & highly enjoyable stuff going on, so....
YES

Stop being a dummy.

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)

I enjoyed this, specially since I played tons of pw64 back in the days, but this had a lot of missed potential.  So I would say to YB to push the personalization a bit further next time.  Nice work regardless.

Enticing.

Showroom Dummies is a Kraftwerk song, Kraftwerk is my favorite electronic music group of all time, and I'm a huge geek about them.  They have been a huge influence in my music and srd's style was pretty much Kraftwerk derived at the start.  The founders and original members of Kraftwerk were  Ralf Hütter and Florian Schneider.

Showroom Dummies is a Kraftwerk song, Kraftwerk is my favorite electronic music group of all time, and I'm a huge geek about them.  They have been a huge influence in my music and srd's style was pretty much Kraftwerk derived at the start.  The founders and original members of Kraftwerk were  Ralf Hütter and Florian Schneider.

In theory, we're supposed to judge every ReMix in a vacuum and completely ignore any knowledge about the artist, what he/she is capable of, etc.
That's a great goal, and we strive towards it, but it is sometimes difficult.
Case in point: this submission. We know Brandon is capable of great things, but something is very wrong here... even if this had been submitted under a pseudonym, with zero biases involved, I can safely say that the criticisms would have been the same. The production here is muddy, details get lost, and while the arrangement is *nice*, it's not inventive enough (nor would ANY arrangement potentially be) to turn a blind eye to the whole thing teetering on the brink of incoherence. I dig the idea of an orchestral rock arrangement of this theme, but somewhere on the road to that dream, things got compressed/mastered to hell, with none of the individual parts playing nice with one another. It's a hard genre to mix because of the twin terrors of getting the rock/metal mastering down and THEN getting the orchestral bits down and THEN making sure they complement one another, but it NEEDS to be done well. I've heard Brandon do it well, too.
I wouldn't approve this mix if it were from an unfamiliar artist, and thus I won't approve it from Brandon, either.
NO

Ok I just literally voted on another Jorito mix of this same source.  Ok then!
I have the same complaint on this one as I did on the other, and that is that the mixing isn't that clean, even on the updated version.  There is a lot going on in the mids and mid-highs nearly full time.  Whatever happens with this track, I recommend you spend some time really learning mixing, that is what I have recently done.  I have been studying with bLiNd and also researching techniques and practicing on my own, and it has made a HUGE difference in my production.  I recommend this for you (if not paid lessons, at least do some online training with youtube or whatnot), because your arrangements are quite good!  Learn how to process lows, how to emphasize highs, how to arrange your soundstage, reverb/delay staging etc., it will make a big difference.
The strings playing the lead after the intro are not that strong, the attacks are too long to make a solid lead there.  The DnB drums are cool but they are repetitive, and they sound weak and crispy, no impact.  You've got a growly timbre playing in the background in the mix that doesn't do anything (for me anyway) except make it sound lo-fi.  If you're going to use growly timbres, they need to be mixed in such a way that they make a statement.  Once the wubs come in, they are really nice, it would be good if they really shined, even as a backing element.  Wow, the guitar lead part is great.  Good use of vocal clips.
Great arrangement and writing.  So many fun things going on in this mix.  I'm being a bit hard on you because I sense that you're right at that border between good and great, just spend some time learning mixing and you'll be there.
YES
 
 

Yeah, SRD was an alias I used for a while to try different styles without people telling me to "go back to trance".  It got a little out of hand after a while, and when I joined the staff I felt it was wrong to keep the ruse going any longer.

Just in case anyone wonders, I didn't use SRD to circunvent PRC rules, I was participating regularly as both srd and sn, but I never selected a song for the other alias to remix if I won a round.  I simply skipped the next round if I ever won.  After a while, stuff I was doing as srd seeped into sn so it was really pointless since both were very close in style by the end.  Sorry for the shenanigans, but srd did help me broaden my styles to the point where I'm not the trance guy anymore.