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You know that baby I've gotta join this.

As requested, @DarkeSword, I am a forum account now. Successor team plz

I'm in, anything works for me

You know what? Why not?:) Either team, doesn't matter. Edit, I think I would like the original Mega Man team. Older stuff is more my style;)

count me in, either team

Count me in!

i am so, so in

Throwing my name into the ring!

I'm a specialist in one particular field but if that speciality is needed I'd be happy to provide.

Epic Idk how this all works I just made my account

HAPPY SILKSONG DAY! OC ReMix and DaMonz present A Knight (for a Knight)! September 4, 2025 Contact: press@ocremix.org ATLANTA, GA... OC ReMix is proud to present DaMonz's A Knight (for a Knight), Canadian game developer & composer Emery Monzerol's earnest tribute to the celebrated indie platformer Hollow Knight, released in celebration of today's launch of long-awaited sequel game Hollow Knight: Silksong, scored by Australian composer Christopher Larkin. A Knight (for a Knight) features four mellow, lo-fi-inspired arrangements of music from the original Hollow Knight. The EP also features cello performances by Monzerol's mother Christine Giguère, making the EP a family collaboration. The visual artwork was created by Annie Doyon, creator of the album art for 2017's Mirror Image: A Link to the Past Remixed. A Knight (for a Knight) is available for free download at https://knight.ocremix.org. "Hollow Knight holds a very special place in my heart, because playing that game was a very crucial moment in my recovery from pretty severe depression," shared album director DaMonz. "Working in a big game company had been siphoning out my passion for a while, and Hollow Knight was the game that reminded me why I was doing what I was doing. I will forever be grateful to Team Cherry for essentially saving my life! A Knight (for a Knight) was produced to help promote video game music, was made by fans, for fans, and is not affiliated with or endorsed by Team Cherry; all images, characters, and original compositions are copyright their respective owners. "This whole project initially started as just a single short lo-fi-ish remix just to mess around a few years ago," Monzerol noted. "Just as it so often does, it spiraled almost out of control in the classic loop of "just a little more", until it became the 4-track EP that it is now! A Knight (for a Knight) is DaMonz' sixth OC ReMix album in a director role. The EP's tribute to Hollow Knight, now makes the hit indie game the most recently released game represented by an OCR arrangement album. Also released under DaMonz' leadership were OC ReMix community albums Songs of the Sirens: Link's Awakening Remixed, Hometown Heroes: Town Themes Arranged, Mirror Image: A Link to the Past Remixed, Super Mario RPG: Window to the Stars, and an arrangement album for his Shuttle Rush indie game soundtrack entitled Shuttle Remix. About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676). ### Download it: https://knight.ocremix.org Torrent: https://bt.ocremix.org/downloads/A_Knight_(for_a_Knight).torrent Comments/Reviews: https://ocremix.org/community/topic/61206/

I think its time to bring back defend deny depose the luigi's mansion remix

YOU HAVE UUUUUUNOOOOO I mean hell yeah I’ll sub one for this

Absolutely it will be needed ❤️

up for either team. see u there cuties ❤️

. . . Put me in coach. IDM any team.

I’m in! Happy to be on either team 🤘🤘🤘

Greetings Fellow OC'ers. I'm RJ (AKA RJ Van Xetten) and I've been listening to OC Remix since the early djpretzel launch at the wee age of 18 years old LOL (yeah I'm old hahah). I've always loved listening to everyone's remixes, and arrangements that they do, and it really inspired me to become a music producer. A little about me. I'm 44 years old, from Los Angeles, CA. I've been a gamer my whole life, but not so much as I got older. My first system I owned was the NES, and my first game's were Duck Hunt, Gyromite and came with R.O.B. (yes I still have him, no I won't sell him LOL). I'm a Trance/Hardstyle/Techno/EDM Producer since 2003 and DJ. I've played lots of festivals including Electric Daisy Carnival (EDC for you ravers out there!), Ultra Music Festival, and Dreamstate (playing again this year in November). My music is all over spotify/youtube/soundcloud. I know this probably is all boring stuff, but just wanted to drop by and say HELLO! Have a great morning/noon/evening to all! -RJ

Download A Knight (for a Knight): https://knight.ocremix.org Full album on YouTube: https://youtube.com/watch?v=Hzwog2S6PVA&list=PLWk40K1PeZwEWrulLOA2Ms4wbX099KeCx&index=1 Torrent: https://knight.ocremix.org/downloads/A_Knight_(for_a_Knight).torrent This whole project initially started as just a single short lo-fi-ish remix just to mess around, about two years ago I think. And just as it so often does, it spiraled almost out of control in the classic loop of "just a little more", until it became the 4-track EP that it is now! Hollow Knight holds a very special place in my heart, because playing that game was a very crucial moment in my recovery from pretty severe depression. Working in a big game company had been siphoning out my passion for a while, and Hollow Knight was the game that reminded me why I was doing what I was doing. I will forever be grateful to Team Cherry for essentially saving my life! Now, enough with the heavy stuff. - DaMonz

I recently re-downloaded all the Sonic albums from OCR for my Sonic archive that I wanna rebuild. But when I tried to fix the seven broken bonus tracks from Sonic 3K Project Chaos using Audacity (like the instructions said), the program wouldn't open them, saying "MP3 decoding failed". Goldwave did the exact same thing. Is there another way to fix the tracks? I NEED this collection! EDIT: I was able to fix the broken tracks using an older version of Audacity, so if you're gonna re-download Project Chaos, that's what I recommend doing until there's a permanent fix for this...

Love the Title, I mean, thats the most important of a remix right?? Ahem. There's a lot of fun going on here and I am all for it. Maintains the groovy edginess of the original, but the heavier metal riffs and more spaced out keyboard/synth parts definitely inspires a slightly different mood. Overall I really enjoy this remix and pays proper homage to the OG soundtrack! 🤙

Announcing a Moon/Space ReMix Album! The moon landings of the Apollo Program in the 1960s and 70s thrust space flight into the public imagination in a way never before seen, inspiring tv shows, movies, games, toys, books, AND a nascent video game industry. The silicon chips invented for the program would go on to power the first home computers, and the apollo command module's fly-by-wire 'picklestick' control, would evolve into the near-ubiquitous arcade joystick just a few years later. Early game developers were inspired by the imagery and challenges of the space program, introducing games like "Lunar Lander" and "Asteroids". Over 50 years later, that inspiration continues, from Ducktales to Destiny, and Mass effect to Mario. So, as NASA prepares to return astronauts to lunar orbit with Artemis II in early 2026, I wanted to take this time to launch a VGM tribute to the moon missions, manned spaceflight and their continuing impact on video games. The Album This will be a small, quick turn album, which we will try to get released on OCR to coincide with the launch of Artemis II **The Theme/Tracks** No specific tracks are planned. ReMixers are free to choose any source they want provided it fits any one of the following three categories: 1. The source is from a moon level/area i.e. Ducktales-The Moon 2. The source is specific to space travel 3. The source references the moon i.e. Golden Sun TLA -Full Moon in Garoh or Majora's Mask-Final Hours Let's try to steer clear of any vgm that's specifically "alien" or alien planet areas. If you have an idea you think fits the album but maybe not the categories above, run it by me and I'll do my best to be accommodating! Claiming Tracks Claims are first come, first serve. Each claim needs to be unique (no duplicate tracks). We're aiming for a single disk album -say 12-15 tracks to keep the schedule manageable. If we have more interested participants than that we'll see what can be done Please DM me with claims, post them below, or joins us on discord ! Collaborations are highly encouraged! Schedule/Deadlines Artemis II is currently scheduled to launch sometime between February and April of 2026. That means if we want to be sure we make that date we probably need everything finished in early January..... On the downside...that's a very quick turn On the upside....so was Apollo! Current Claims Mastering - Zack Parrish 1. Halo Reach - "Broken Bonds" - Gravity Gauntlet 2. Paper Mario The Thousand Year Door - "X-naut Fortress" - Lucas Guimaraes 3. Sailor Moon: Another Story "Moon Kingdom Ruined" - Colorado Weeks 4. Star Ocean: Til The End of Time "Reflected Moon" - TSori 5. Final Fantasy IV - "Another Moon" - Ian Martyn 6.Final Fantasy XIV - "One Small Step" - Voudou Queen What We Still Need: Remixers Performers Artwork Codirector? If you are interested in making a claim, or helping out in any of the capacities above feel free to post or DM me! *note, due to the short timeline, it is preferred that remixers have a demonstrated history of meeting deadlines and that mastering be taken by someone who has done it for a previous OCR project. with that said, We are GO for Launch! (all puns intended)

Thanks Zack! Glad to have you on board!

I'm working on a collaboration, and I'm usually confident with my composing skills. But I need a second opinion to see if this sounds correct to anyone else. I'm using other VSTs instead of one for a piano, but for this, I'm using a piano VST for better hearing with the treble and bass. This piece of music is in E♭ minor, 5/4 time, 110 BPM. Here's what I'm asking about: The beginning has arpeggios, and to me, when it reaches the 11 second mark, the E♭ note that starts there sounds correct, because I think the off-kilter bassline helps. But I'm wondering if it sounds correct to anyone else. At the 29 to 31 second mark, I added notes to ascend back up to the E♭ note, because without them, it didn't sound right to me. But maybe they could work without those notes? And I understand that at the 28 second mark, the Emaj13 chord is probably an odd choice for. That's really there to leave the music unresolved. But this is something I also am wondering about. Does the Emaj13 leading into the B6/E♭ at 32 second mark sound right to you? I'm trying to figure this out. Again, the track is meant to hold tension, which is why the chords at the end of each melody aren't being resolved.

Hello everyone! I've recently rekindled my passion for music after a long hiatus and have started exploring it again. I used to be a hip-hop sample-based producer, but I found myself getting bored with that style. Now, I'm eager to learn how to compose video game music by remaking tracks from my favorite games. I recently remade the Green Hill Zone theme and would greatly appreciate any constructive criticism. I believe that understanding my areas for improvement is essential for my growth as a musician. Thanks!!! https://youtu.be/RK4bJ3kPt7c?si=gTmsTLUayJs95Y9n

I have zero reason to believe this is AI, and the artist has an online presence that extends far enough back that I really have no doubt. He also mentioned his DAW and software, which is also quickly verifiable online. Nice typical Big Room arrangement here. Not sure why there is 3.3db of headroom, is this a premaster? The mixing is on the harsh side which I find unnecessary, every element has heavy distortion which means there isn't much contrast in the soundscape, and it feels somewhat abrasive. Not a dealbreaker, just makes it a bit hot on the eardrums. The lack of enough source makes it a dealbreaker for OCR however. Fun to hear in the big club though, I'm sure! NO

Uh, wow! Crazy talented group of musicians there, or, I imagine, one guy with like 8 instruments attached to his body in various ways..... Not a song I can listen to in the background, feel like it really forced my attention otherwise the song made me lost in the chaos of the changing instruments. Once I embraced this wild mix I got swept along and enjoyed this very unique piece. Bravo for coming up with such an interesting genre mash up.

The whole soundtrack is pretty good, I recommend you check more of them out. Not only from this game but the other Capcom versus games also have solid theme songs (some which I've also covered) That's an interesting take on my tone, and I'm glad to hear as I like that kind of sound given that it was big in the 80s. It's great that you're picking up the guitar. it's a fantastic instrument and both useful for rhythm and leads which makes it a complete instrument. It's good what you're doing to get better. If I had the best universal advice to give, it's this: whatever you do (scales, chords, improvisation, etc.) always start slow with a metronome, and slowly increase the speed once you've mastered it and played it perfectly. That way you learn well and don't make mistakes later. It's like when lifting weights, you first learn the technique well and slowly increase your strength progressively. You do the same here with your coordination and skill. You want to develop the muscle/mind connection and do so progressively without rushing the process. To answer to your question, I've played for about 11 years now. I'm self taught. Learned from watching videos and learning songs. I think I could've been better much earlier had I learned the correct techniques and did what I suggested above. Learning technique well from the beginning will save you so much time and frustration in the long run. Thanks for the words, I'm glad you liked this cover. Check out the rest of my channel if you wish to hear more of my work, or in streaming services like Spotify, etc.

I tried to keep this brief, but as you might know, that's not my forte. FIRST, the facts... On October 28th I informed staff that I was stepping down from my role as president/admin/owner/etc. of OverClocked ReMix, and on November 1st I also stepped down from the board of Game Music Initiative, the 501c3 non-profit organization that funds OCR. In short, I no longer feel I have the bandwidth to do these roles justice and to not only maintain, but advance, the missions of both projects. I will be working with Shariq Ansari (DarkeSword) to transition my responsibilities and ensure continuity of operations. The (excellent!) mix posted on Halloween was published without my direct involvement, subsequent posts up to the milestone #OCR04500 have been superbly executed, and I am confident that staff will continue the work necessary to operate - and evolve - OCR in my absence. I will be even less available than I have been, lately, so I apologize in advance for any lack of responsiveness. THEN, the feels... Where to even begin? It's hard to encapsulate over two decades of history; omissions are inevitable. What began as a neat side project I started in my parents' basement in 1999 snowballed into something far beyond my wildest expectations, due to the blood, sweat, tears, and unbridled, rampant creativity that thousands of you have contributed. Much of this happened before social media was even a thing and before the platforms/services we now heavily associate with the modern internet had come into being; it was a frontier, and we were on it, and we took it pretty seriously because we knew how amazing VGM is, how creative arrangements could effectively convey and explore that vast musical landscape, and how a small fandom communicating via email, IRC, & forums could collaborate to build mighty, new things. We took it seriously, often too seriously, but we ALSO played more than a few rounds of Shaq-Fu at conventions, made some truly ridiculous (but always musical!) joke mixes, and developed internal circles of lore with our own memes & jargon. NOT in strictly chronological order: there was some drama with now-legendary composer Jake Kaufman; VGMix entered the fray; we added a judges panel so it wasn't just me making stuff up; we released our first community album; the unmoderated forum birthed its own sort of... subculture; the site itself evolved to be database-driven and not just two giant dropdowns sorted by game/date; we posted mixes submitted by composers George "The Fat Man" Sanger and Jeremy Soule; we met/interviewed Hiroki Kikuta and Nobuo Uematsu; our album trailers by the incomparable José the Bronx Rican started blowing minds; we started appearing in person at Otakon, PAX, MAG, others - much love to all for having us; we bumped into Leeroy Jenkins at ROFLcon and gave him a hoodie; we started hosting from our own server and managing the technical side of things ourselves; thanks to Mr. Shael Riley (among others!), we got to remix the music for an actual Street Fighter game (!!); we released fifteen more albums... ...and then we turned ten, on December 11th of 2009. Quite a first decade, and I missed hundreds of things I shouldn't have. Hundreds of firsts, some tragic lasts, and millions of memories that can't quite be conjured by words. In 2011, we stood up for Fair Use at World’s Fair Use Day, an event organized by the non-profit Public Knowledge. In 2012, we launched our kickstarter for Final Fantasy VI: Balance and Ruin, it was taken down, we talked with Square lawyers directly for a couple hours and made the non-profit project structure clear & contractual, and we relaunched a successful kickstarter. That's not always how those things go! We launched Game Music Initiative in 2016, creating an official 501c3 charity to formalize the finances around OCR and potentially support other VGM-related projects, too. On a related note, I’ve absolutely loved seeing OC ReMixes featured by charity speedrunners Games Done Quick (GDQ) - it’s exactly the type of thing I always wanted to see, that synergy. Things do start getting a little quieter from then on out, and I think there are a ton of reasons for that, but it has been an incredible and improbable journey that I wouldn't have missed for the world. Thank you ALL for making it possible; OCR was always yours, I aspired only to stewardship of something I wanted to exist for everyone. FINALLY, the future… It's time - some would say past time - for OverClocked ReMix itself to be ReMixed. That's the point, right? Infinite permutation; endless possibility. You don't always know the day, month, or even year when your influence on something starts holding it back, or when the waning amount of time and energy you can dedicate becomes a liability. That type of certainty is often elusive; it can be a difficult diagnosis to even contemplate, and you need to look for & listen to signs. In addition to just being too much of a single point of failure for OCR (sorry, engineering mindset), the last year I've been asking myself whether it was time to let go, and I think the answer is sometimes in the asking. I have been stretched thin, like butter scraped over too much bread, and that's when you leave the Shire. Beyond representing what I genuinely believe is best for the future of OCR, I absolutely confess a personal wish to redirect reclaimed time & energy to my family and my own music. Being a husband to my wife Anna and being a father to our daughters Esther and Sarah is my meaning; I have always put them first, but now I can put them even MORE first. Esther just started learning trombone, so in a few years, expect a collab! Sarah is building her confidence learning piano & makes me proud every day. I want to write new music for them, and with them, and that requires more time than I've had. I believe the principles that have driven us - embracing all games & all styles of music, emphasizing interpretation & creativity, offering both curation and critique, and providing a non-commercial platform for those who seek it - are truly timeless, but there are many ways to honor them. I look to the new leadership/staff to galvanize, streamline, diversify, and re-imagine, within that immense space. I'll be leaving them with some ideas of my own; please let them know yours. I ask the community to support them, embrace change, provide guidance, and be patient; I believe it will be worth it! Thanks, - djpretzel

A previously unreleased remix. 😎

Two sources that don't have a lot of melodic content - can definitely see why this is presenting source problems with my fellow judges. The piece isn't doing itself any favors by saving the most straightforward quotes of the source until the very end of the piece (the bassline rhythmic structure from Howling Gears being used only on the outro, for example). In times where a source has too simplistic a melody, or its defining features are in other facets of the piece (rhythmic structure, sound design, etc), it becomes much harder to nail down the tie between the remix and the source. And the spirit of Rule 3, as jnWake outlined above, is to make that distinction as clear as possible for the audience. On the panel, we're then tasked to ask, "when I listen to this section, am I making a connection to the source somehow?" Anyway, that's my preamble, onto the vote. It's a rare (and welcome!) vote on a VQ track where I don't have qualms with the production. There is some mud in the low-mids when all the layers start to coalesce (1:51 - 2:30, 3:50 - 4:25, 5:11 - 6:00), but it's not pulling me out of enjoying the track, so I'll live. I also agree with jnWake that the arrangement flows nicely - it certainly takes its time with basically a 2-minute slow burn intro, but the transitions between sections are excellent and the writing straddles the line between enough variance to feel developed and enough repetition to feel cohesive. The biggest problem the track has is source usage, as my fellow Js have noted. Both source tracks have a similar challenge to overcome from a remixing perspective, in that their actual melodic content is sparse to my ear. Howling Gears A has a single actual melodic phrase that I can pinpoint - the diminished leap in the synth. VQ's changed the interval to be something more palatable in the soundscape, but in doing so, I think it changes the character of the phrase enough that it's no longer easy to connect it back to Howling Gears. The arpeggiated runs in Howling Gears B are more clearly delineable, and they're woven in better. That leaves basically the rhythmic structure (the groove), not the notes, of the bassline, guitars, and drums to draw from in Howling Gears. Nidavellir's Shout has the portamento synth line as a melodic figure, as well as the even more melodic melody @ :26 in the source and B section melody @ :48. To my ear, the first 2:30 minutes of the piece is Howling Gears B (the modified arpeggio is the biggest tie, and even that feels tenuous to me), with the guitar coming in with the altered Howling Gears A melody around 1:12. If I am really listening for it, I can hear the Latin groove of the source's bassline at 1:50, but again, it's tenuous. 2:50 - 3:09 is much easier to identify as Nidavellir's Shout from the melody; I can't count the ostinato as the chord it outlines is not unique enough to Nidavellir's Shout. 3:10 - 4:27 comes back to Howling Gears B with the melody front and center in the guitar, and 4:32 - 5:11 returns us back to that modified Howling Gears A. 5:12 - 5:50 has no connective tissue that I can identify, and then we get the groove of the source bassline in the bass from 5:50 - 6:10. Timestamping gives me 233 seconds out of 376, or ~62% source if I include the tenuous spots, ~51% source if I don't (194 seconds out of 376). What it's coming down to, for me, is that I have to strain to hear the sources in this piece when our standards ask for very clear and identifiable - dominant, even! - source use. I think this is arranged and produced well, but all of the connective tissue just doesn't come through enough for me to pass this one. I would need to hear more clearly defined ties to the source, preferably early on in the track (within the first minute or so). NO (resubmit)

This is a wild romp through the Virulent source indeed, very creative and avante-garde. I like it, there's plenty of source and it's a fun listen. This version is not my master, and this master is as jnWake pointed out quite overhyped in the high mids and highs. The premaster was already quite heavy in those regions, as my master still indicates, but this master is screaming in the high mids and highs to the point of pain. The limiter has been cranked so high here, and also oddly it is limited at -1.2db which seems odd to me. I agree another shot at the master would be appropriate here. I'm happy to provide my master but that is absolutely not a requirement. NO (resubmit)

Some of the Star Fox 64 themes have such weird melodies, Venom being a standout in that sense... In any case, we begin with some pads and voice clips. Backing is doing material from N64 Venom. Source quotes at 0:27 become quite evident. There's some fun toms (I guess?) here, with tons of effects applied that make them sound quite interesting. As usual in your tracks, there's A LOT going on in terms of sounds. Things build-up for a bit and it starts becoming very very LOUD, the waveform shows the limiting very clearly and the LUFS stabilizes around -7dB with occasional peaks of -5 and such. Around 0:55 the Venom 64 usage becomes even more evident with the additional synths. We get a transition with a voice clip around a minute in and then focus on a quick synth bass. Really love the dark electronic sound of that sample. At 1:22 the source returns and we get some nice moments of heavy electronica until a more syncopated section at 1:48. After that we get more heavy electronica with additional synths and tons of loudness. While the mix is clear sounding it also feels very heavy on the high frequencies (easy to check with plugins like SPAN). Section with violins at 2:16 is fun, nice change-up. We then return to more quotes of Venum with a lot of percussion and such. Around 2:51 there's a break and we move to SNES Venom for a few seconds before a cool variation of Venom N64 with Venom SNES as backing. Track then continues with quick changes and all sorts of Venom quotes. This is kinda like prog EDM at this point! At 4 minutes we get another voice clip transition and then we return to the mood of 1:22 and it's loud and busy as hell. There's another voice clip transition and the melody from 2:16 returns before the track closes off with some stabs. On arrangement this is super cool, I have no idea how one would label this but I'd describe it as dark prog EDM. Source usage is clear and there's a lot of fun and creative usages of the original themes. Some transitions are a tad abrupt but I don't really mind them, I feel this generally flows well and is quite interesting to listen to. Well done! On production I'm mixed but mostly because of one particular thing. Let me start with the positives though. Sound design is great, there's a lot of cool effects and fun treatment of the samples (like those toms in the first minute). Percussion is punchy and the bass, when it matters, stands out great. I also generally feel that the mixing is well done, with most individual things being easy to hear. There's 2 things that bother me about the production though. First, the mix is very very heavy on high frequencies and that makes listening to the entire track a little tiring on the ears. You use a lot of synths and it's easy for all those bright sounds to layer together and create a huge mass of shrill sounds that can get rough, I'd recommend trying to balance it out by ducking high frequencies on many of the samples. My main gripe, however, is that the master is ridiculously loud. A look at the waveform will clearly show that the limiter is being quite aggressive and checking with a LUFS meter indicates very high levels for most of the track. As a reminder, submission standards claim "Volume levels should be normal compared to the average recording". Overall, while I think the arrangement is very very cool and the production is 90% there, I feel this needs (at least) a second pass on the mastering (although looking at balancing the higher frequencies would be great too). I understand that electronic genres want to be very loud sometimes but IMO this is way too much, especially for the length of the track. NO

It's in a good way :-) Redg is also known as Brent Wollman on OC ReMix and he does very eclectic music.

May as well drop this link here... http://coop.herograw.net/ocrquirks/index.html

Helloooo I recently moved back to my beloved tropical hometown and decided to celebrate by making an EP of quirky, sunny tracks. The work is vaguely inspired by the Mario Kart DS OST, so expect some soundfonts and retro-sounding synths. Enjoy! LINK: https://banana-trash.bandcamp.com/album/go-go-kart-ganbareeeee Cover art was done by Tex! www.youtube.com/@oOTxaiOo soundcloud.com/textunages

Remembering Masashi Kageyama. 🫡

Here's my entry:) The reverb is intentionally "spacey"...tried to make it sound like your in a cave or mine. https://drive.google.com/file/d/1Cn8vdRNdOZLPiePOkonsx7xOkXgoNUgq/view?usp=sharing

loads of sound design and sfx clips to start. a beat starts to surface at 0:27, and the rhythmic foundation for the original N64 track can be heard in the patterns being played here - an interesting idea. there are steadily more melodic elements added in until we get to the break at ~1:02, and then 1:21 is where we start hearing more of the melodic material again. there's some alternations in here, and notably the choice of notes at 1:40 and 1:47.5 are a half-step off of the key (should prob be Eb-F instead of D-E to avoid the D-Ab tritone)). this is real intense for the most part and a toe-tapper of a section. i really like the super-heavy electro bass through all this. a mid-range element is added around 2:04 that feels a little too much and makes it a touch too dense, but overall this is a neat section. the melody coming in as a break near the end of it is a good glue section. between that initial part and the deconstruction that happens after, around 2:30. we get a wildly unexpected stylistic transition at 2:58 into...i guess hindi trap? the bassline here is really fun. this noodles quite a bit but is recognizable. there's another unexpected break before a short exploration of the opening few bars of the venom stabs, which morphs into a more brickwalled intense section of venom's stab section. there's way too much going on here and it's hard to hear any one thing, but i guess that's fitting for the style. the ending's a bit of a letdown after that level of intensity, but it's a fine ending and wraps the track. this is a surprisingly straightforward arrangement of the venom theme, for the most part. there's some really wild exploratory sections that probably could have been integrated better with more patience applied to the transitions, but what's here is interesting and approachable. YES edit 9/15: listening again with some of the context from subsequent votes. wake and chimpa are right - this is so very hot when compared to other edm. i didn't notice how much the high mids especially were pushing on my ears until i came in fresh. cosigning their votes. NO

Quirky for sure, never thought I'd hear Dragon Roost Island this way. Reminds me of Redg.

Almost done with my track. Question. How much mastering do you want done on it before I send it? What db do you want? Thanks:)

Hell yeah Fire Emblem Heroes! I haven't played in years but I still remember some of the music. Ok, so this begins with a calm pad and some arpeggios. The arp is somewhat reminiscent of the ones in Howling Gears but not that much. I like the vibe during the first minute, the "Shout" inspiration is clear in the percussion (love that track by the way). Bass enters around 0:52, I can feel its presence but hearing the actual notes is fairly challenging. From what I can tell, the chord progression doesn't seem to be any of the sources' (at least, not directly). Guitar enters with a simple pattern a bit later, I love its tone and what it adds to the track's sound. Rhytm guitar joins at 1:50, sounds cool but I feel the soundscape is a tad cluttered by now, maybe some automation to drop the percussion in volume a tad wouldn't hurt. There's some nice effects and a break at 2:30 with synth strings and a synth bass. At 3:10 we finally get an easily identifiable source quote on guitar. Really cool soundscape here, I particularly enjoyed the jump at 3:50 to a higher octave. Around 4:30 we return to the riffs and melodies from earlier in the track. Still a nice vibe. At 5:10 we switch into a slightly different vibe for the final riff. There's more of a bass focus at the end and I can now tell it's playing the bass line from Howling Gears. With how hard to hear the bass is I'm not sure if this has been going on for the entire time or just now... Anyway, I'll first talk about production. Generally I think this sounds great, most samples sound nice and there's a lot of small details on percussion and transitions that are neat. There's some times where it gets cluttered, not a dealbreaker but some automation to help the listener focus on the more relevant parts would be a nice idea. My main issue is the bass, I can tell it's there but it's VERY hard to hear what it's playing, which is especially relevant since it seems to be the main bringer of source material. On arrangement, I think it flows great. First couple of minutes create a nice mood, then we have a break followed by a new section and then a reprise to close. It's a long track but it manages to keep my attention and interest. The main question with this one will be source usage. Section from 3:10 to 4:30 is, without a doubt, playing the source, but the rest is much harder to notice IMO. As I mentioned on my write-up, I only really noticed the bass was quoting the main Howling Gears riff on the ending where it's playing isolated. Counting bassline as source usage would bring us closer to this being eligible for OCR but, being honest, I have such a hard time actually hearing the bass that I can't reliable count where the source bassline is present. I'll make my best effort here (based on your source usage description): Bass from 0:52 to 2:30 is doing a similar (at times equal) pattern than the main Howling Gears riff. To note, the chord progression here is completely original and the bass riff is clearly not the focus of this entire section (unlike the source where the bass pattern is very clearly highlighted). Bass from 2:30 to 3:10 is doing the same notes than in Howling Gears B section. 3:10 to 4:30 is clearly using the Howling Gears main melody (slight variation at least). There's some elements that you pointed out in your description I couldn't really hear like: Super saw/synth string (doing a diminished interval in the original) being present from 0:33. Same for the guitar chugs. Main arpeggios from the intro being taken from the sources. The descending arpeggios that play at times seems relatively similar to the ones that play on Howling Gears B but curiously you didn't listen them as source usage in your expanded description (but did list them on the first description). Counting the elements that seem taken from the source, we basically have source material present in some form from 0:52 to 4:30, basically 3:30 mins of a 6 minute track. While this is technically more than 50%, the standards state: I don't really feel the bass section from 0:52 to 2:30 is identifiable and dominant so, to me, it feels wrong to count it just to clear the technical 50% barrier (which isn't even an actual rule, more of a guide). I can only truly consider 2:30 to 4:30 as identifiable and dominant source usage. Overall, while I enjoy hearing this quite a bit and think it's generally well produced, I don't really think it has enough dominant (emphasis here) source usage for it to be posted. Others may disagree but that's my take for now. NO

I've posted some HL-related stuff in the Discord a few times and had one (unsuccessful, because it was too cover-like!) remix submitted from the games, and there's really not any good representation of the Half-Life series on here. The games aren't super well-known for their music specifically since Kelly Bailey used a lot of sampling in the original, but they do have a few random bangers here and there. Attached is my remix (for feedback), and the video below is what the original sounds like. The original song is quite short and doesn't provide a whole lot to work with, but I tried to go with a sort of jazzy/deep-house-esque sound, with a breakbeat underlayment invoking the feel of bands like fox capture plan. triage_at_dawn.mp3

Hola, name's Mystwalker. I've known OCRemix for a long time, had people tell me I should join since around 2011 maybe? But never quite joined until now (big thanks to @Master Mi for giving me the final nudge to join). Mostly due to my imposter syndrome + being a dumb kid. Here is a little bit about me I guess, I'm not great at this stuff but here it goes: I'm a self-taught composer, keyboardist and percussionist. Started my music journey in 2009. My Messy Music Journey: 2009: Uploaded my first "remix" – PSX RPG Maker's "Home 3" with... let's call it "aggressive soundfont reskinning." 🤡 The Dark Ages: Churned out many such "reskinned bangers" (heavy sarcasm intended). Hey, we all start somewhere! Evolution: Gradually leveled up to actual arrangements + originals. Kept everything public – the good, the bad, the cringe. My YouTube's basically a 218-video journal of my musical growth. 2022 Hiatus: Vanished to practice like a hermit. Did commissions, released some commercial stuff. Came back recently to revive the channel with slightly less terrible skills! Been obsessed with VGM since I was a kid – 8-bit and 16-bit soundtracks are the lifeblood of everything I create (even if it does not sound like it). I remember recording video game music from the TV speakers into cassette tapes because I loved it so much and then going out with my Walkman of shitty VGM recordings thinking I was the coolest. lol tools of the trade: Include but not limited to - FL Studio, Kontakt libraries like Shreddage (both drums and guitar), Damage 2, Orange Tree Samples' guitars, Omnisphere, Sylenth, Serum, Engine 2 libraries, KORG VSTis, Roland VSTis, Arturia synths VSTis, many others all but those are the most regular use. But yeah not sure what else to say - I'm terrible at introductions, but must say I am loving the place and it feels just like the golden years of internet forums! Something I used to indulge in a good bit! TL;DR: Long-time Self-taught composer / remixer | FL Studio addict | Terrible at intros. Cheers everyone. 🍻

opens with some filtered arps and wide synth elements - i really like this opening feel. the sfx panned to the sides might be a little loud on headphones. i don't hear any of Howling Gears in this opening section, although the arp is reminiscent of the B section as you stated. same issue at 0:36, i don't hear that pattern either, but i do catch the bassline when it comes in at 0:52. the guitar part is playing something that's reminiscent of the piano in the original after this, but to my ears the piano's playing an octave, and the guitar is playing a maj 6th. 2:35's a big shift, and shout's b melody is indeed present although i don't understand at all how it fits into the setting that's already present when it does come in. it sounds like it's in an entirely different key (the backing elements really look like Bb to me and shout's b melody is being played in Fm). the following guitar-led section is easier to understand and more obviously maps to gears. there's a big dropoff here before it gets back into gears again as interpreted earlier. there's a big filter that hits at 5:11 and doesn't sound like it goes away for a long time here - the bottom end feels like it's missing until almost 6:00 for a few seconds. this goes some pretty wide-ranging places, which is neat. my main concern is the source usage, because i don't hear it in extended stretches of the track. i am gonna need to do some timestamping on this because as-is there's not enough source. ? edit 9/4: thanks to jnwake for more in-depth analysis. even with the expanded source notes above, i just can't grok most of the connections that are called out. i would need more explicit, present instances of source material before i'd be able to consider this one. i also think the track would benefit from some more intentionality in the sections, but overall do agree that the track is generally well-produced and quite listenable. NO

I'm still waiting for the next ...fuck, what was that... Minisonic comic?

Artist Name: Lucas Guimaraes Arrangement, Production, Mix, Master - Lucas Guimaraes Vocals - colorado weeks Bass, Additional Drums, most Guitar - Sly Man The source is plastered like, all over this 0:16-End - The rhythm that's played in the background on the bells 0:32-1:35 - Section A 1:36 - 2:08 - Section B 2:08 - 2:40 - Section C 2:41 - End - Section A I don't have a whole lot to say about this track. I'd been in the mood for making Vaporwave for a while thanks to Ridley Snipes. I've already been doing Synthwave for a while (with mixed results... but hey, I'm learning!). I was listening to some Vaporwave, heard this: https://www.youtube.com/watch?v=LYb57fJzV7k and thought "Wow, Thwomp Volcano fits with that!" So I worked on it in October... and then it hit my draft folder. DoD came up with DS/3DS Month and I was like "I guess I could finally release some songs I've been working on." so I recruited colorado for vocal chops and sly for bass. Honestly, it was one of the most fun collabs we had. We were a bit deadline tight, but I had a blast. I don't have much else to say about this track. If requested, I'd be glad to talk about the process in-depth more for the post, or to anyone interested in listening. The biggest thing I focused on here is making sure I got a good mix/the best sounding vaporwave *while* remaining true to the aesthetic... so some of the stuff you hear that might not be the cleanest mix (e.g. drowned in verb) are intentional Enjoy! Games & Sources

If you like randomly good soundtracks in Pokémon games, I recommend Pokémon Quest! You already took the time to make a source breakdown so I'll try to not repeat much from the description. We begin with some nice airy pads and a pretty synth lead. Percussion enters quickly with a fun groove that's kinda chill and upbeat at the same time. Drumkit sounds great here, very punchy and clear, although the hats are a bit washed out. We move to Pokémon Sleep with more interesting percussion over some nice melodies and at 1:14 we get a fun rhytmic section, I think you used less dissonant chords than the source here, a good move IMO. At 1:39 we get a change to double time that sounds really cool! Being a bit nitpicky I think this section could have extra oomph, the hats are super washed and I'm missing a sharp contrast. Something like background arpeggios or a dynamic pad/chord stabs could be a fun idea as well. After a cool chord progression we move into Aether Paradise for a bit of a break. Melody at 2:11 is a bit weird. At 2:30 things get a tad more intense, there seems to be 2 different leads competing for attention and I'm finding it hard to focus on a clear melody. Around 2:58 we slowly transition back into Eterna Forest, the chord progression at the beginning here suggests something darker coming, which caught me a bit off guard when the chill forest melody returned. There's a repeat of the Pokémon Sleep material in what almost seems like a copy/paste to me. Missed opportunity to add extra variation or maybe even a keyboard solo. At 4:30 there's variations over the double time melody from 1:39. Finally, track ends with some pretty piano stuff. On production this is excellent, almost no notes really. Percussion is punchy, samples are all high quality and everything sounds clear. We know what to expect from you after all this time! On arrangement this is mostly excellent as well, with my only gripe being the "copy pasted" repetition starting at 3:23. It'd have been fun to have some twists on the returning material, otherwise I feel the track could've easily lasted 90 seconds less without much loss. Overall, awesome job! Excellent production and a fun arrangement despite my only gripe. There's no doubt this deserves to be on the front page. YES

some nice glassy pads to start, and the melodic line comes in right away. the scattered nature of that lead there is very fitting for an opening element. the beat comes in pretty soon after, at 0:28. bass at 0:32 is a little weird. this is a very dynamic approach, and quickly expands into mixed meter with the Taupe Hollow section. there's some really wild stuff here which is such a shift from the initial premise which felt more poppy to start. i love the progression of styles. 1:27's a transition and build into a new feel with a very dynamic lead element at 1:39. this might be my favorite build and texture out of any of your music, truong - it's so intense and vibrant. i like the little countermelodic shouts in the background. there's some settling action at 2:07. the high lead here has some (obviously intentional) weird stuff that it's doing like at 2:11 and 2:22, but i like it and think it fits into the feel. there's a half-time section at 2:30. there's a ton of long-delay elements here and some chromaticism in the chord work, but it doesn't ever fall on itself (although it does sound pretty dynamic). 2:58's back to a more driving feel, with the forest melody chopped up on top for a bit. this isn't quite the same as the opening section at 0:28, but it's very similar. same with the following mixed meter section, break section, and shout section right after (build has an extra measure) - so that's actually a lot of repeated material, over 90s, before we do finally get some different material around the 4:30ish range. we get a nice final chord at 4:50, and there's some outro as keyboard cat plays us off. this is a fun ride through a variety of themes. i never got the feel that there was multiple melodic sources here - it's very well-connected and a great whole. there's more repetition than i cared for, but overall i found the track to be well-handled with good synth choice, a solid master, and a fun arrangement. nice work. YES