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Man, its been a while - first off I'd like to apologize for everyone for dropping the ball on this. I could not give this the attention it deserved ultimately, especially after embarking on my career almost 5 years ago. I'm in a good place now, but way too exhausted & busy to do much except maybe build websites, my domain of expertise. I'm glad to see that it has sped up to completion over the past year! I am excited to see what everyone has whipped up .

Today I found an old USB stick filled with OC remixes back from early 2007. Good to see that 10 years later the community is still alive and well. Very random topic but I just wanted to say thank you to all the people who created these fantastic remixes back in the day and are still doing it today! Keep up the good work!

We are imminent. All relevant artists are now confirmed, and we have something resembling an ETA. Other albums have popped up in our queue that need attention (here's one hint: "spoopy"), so there'll be a bit more time 'til release. I will call it "November... high probability". We're taking two weeks to finalize, and if all goes well, we're seeing 10 tracks and major props to Naofumi Hataya!

It's a bit crazy, isn't it? Last time I met up with a djpretzel we both had that moment of "let's see, we've known each other... how many years now? OVER 15?!" A few of us insane ones from back then are still puttering and releasing new tracks too, and I'm one of 'em, so I guess on behalf of the OCR veterans... you're welcome. The really awesome part is how many guys from this community have gone on to become actual game composers and are now making a living doing it. I'm not personally among those ranks - I found I'm a much better remixer than a composer - but just look at Big Giant Circles, Zircon... in fact right now I'm checking out the preview to Wilbert Roget's Call of Duty WW2 soundtrack! It's a cool feeling, being proud of your friends and their accomplishments. It's certainly an awesome community for that.

Compo: MnP (Meat 'n Potatoes) Round 82: Parasite Eve "Kyrie + Luigi's Mansion "Main Theme" Midi 1: http://compo.thasauce.net/files/materials/MnP82_Kyrie.mid Midi 2: http://compo.thasauce.net/files/materials/MnP82_luigismansion.mid Youtube: Deadline: October 31st Tues @ 1PM Vote Ends: November 2nd Thurs @ 11PM Submit your remix Here when completed. MnP ARCHIVE - made by Trism MISSION STATEMENT The goal of Compo:MnP is to promote that "meat and potatoes" conservative approach to remixing: this includes the mood and composition of source tunes. It is up to the remixer to create their own personalization, or to simply give it a sound upgrade. Moreover, the compo is a great opportunity to hone your remixing skills and give video game music the respect that is due. SOME reinterpretation is recommended, but not required. MnP Instructions/Guidelines Covers and Sound Upgrades are permitted. Most or all of the source notes must be present (but not necessarily in the exact same order), secondly the mood (energy, pacing, feelings being conveyed etc) should also be retained. For example, a source tune that is fast-paced and energetic that's remixed into a mellow/chill-out theme would be a hard sell. If you decide to do a genre swap (i.e. symphonic to techno), make sure that the conditions of #2 are met. Submissions must be at a maximum of 20mb (keeping in step with ThaSauce's file size max). Only 1 entry per participant. Previous winner cannot participate but can submit a BONUS entry. Please don't make any comments about people's entries - including your own - until the Voting process is concluded. BONUS entries are exempt of this rule. All competitors and voters must adhere to the rules stated within: Competition Code and Conduct MISC/TIPS - When picking a source tune, make sure it has a MIDI to make ppl's lives easier. - In-game sound FX are permitted, so long as they don't comprise the whole track (i.e. replacing entire MIDI tracks with just sfx)

@Bahamut I've been chipping in on album eval and am through the first two discs - I don't think you'll be disappointed, @Jorito's taken the ball and run with it, sounding great so far!

@Dextastic With the compressor pretty much, but you'll need to adjust based on taste and even play with different compressors as they're attack and release curves will change the way the sound behaves. Just gotta experiment a bit. I can tell you that for this particular application I really really like vladg's Molot. I know it is written in the Cyrillic alphabet, but there is an English option and I like to do this in the "Alpha" mode because it isn't quite as aggressive. It is preference and I've used different compressors for the application just based on various things from changes to the timbre to fitting better in with the other instruments. Compression in general is quite a complex topic and it'd take me way too long to explain in any reasonable detail about how it works or the various ways to use to manipulate space or even forcing one without a sidechain input to react in an almost dynamic EQ kinda way. But with that being said you've really just gotta experiment with it to find something that really works for you. I can tell you that I have a lot of compressors because I find unlike EQs I can get more color out of them and that is typically what I end up doing on a lot of sounds. Rather than using them strictly for mixing. I say compression on the guitars because even though distorted guitars are already quite compressed it isn't the end all be all to further coloring them with compression Much to learn about that you do! But some things you can try to give the guitars some more weight. Put on a different hat for distortion for a minute. Think of distortion as a way to generate new and extra harmonics that you can then manipulate to your advantage. For example you could try some frequency selective parallel distortion to add in some extra girth that you can then mix in with the original to give them more heft if they're missing it. Kind of like the old trick of gating a tone generator from a kick to make it beefier in the mix. Since you have 4 guitars in this particular case then I would look at doing something a bit different personally. I'd take two of them and hard pan them and leave them mostly alone (EQ, compression, etc.) but pan the other's about midway left and right then play with distortion on them and make those heavier sounding. This would likely widen the mix with two different guitar layers at two different stereo positions, but would also have the effect of making the center seem "heavier" and leaving the sides "lighter" further adding to width without really sacrificing any mono compatibility As for the synths, I mean they kinda work. The brass is actually a pretty good sounding brass stab, but it sounds like it came from a ROMpler of some description. I like the piano quite a bit, and I love the sync lead but it is so buried and overshadowed by everything else in that section that it kind of loses its impact While this may sound kind of biased or such, I really really dislike guitars lol. Not because there is anything wrong with them, but just because I'm not a guitar guy and everyone talking about them makes it sound like there are humongous differences between ancient humbucklers and modern ones. Look Solid body vs Hollow Body? Easily understandable differences in sound. But I feel arguing about a 139048 year old humbuckler is like the synth guys saying that there is a huge difference in the way a 50 year old Minimoog sounds versus a clone from like Studio Electronics. Look is there a difference? Probably, but is it worth all that money for it? Probably not. I'm a synth head and I love synths. It is easier to impress me with guitars than it is with synths. Suuns' 2020 (warning epileptic seizure warning) has a guitar sound that I love because I've never really heard it before and plus it is super creepy and unsettling. The bass is a synth and super dark and brooding. Both of those sounds impress me. Mord Fustang's Lick the Rainbow (terrible name I know), but this has quite a few synth sounds that just impress me. Still trying to figure out that bass sound myself. So much breath and life in that. Your synth sounds aren't bad, but if you want something to really show you what is possible with just one synth, then look no further than KVR's One Synth Challenge (I've entered a few myself) and let me tell you some of the sounds people are able to coax out of these synths is simply astounding.

Submitted!

OCR has been the site that I have frequented the most consistently over the past 17 years or so. I have many mp3s that still reflect a "last modified" date in 2000 and 2001. Speaking from experience, I know that these forums are probably a lot less active because we oldtimers are having kids, jobs with more responsibilities, etc. -- so just less free time in general. But I still visit OCR at least once a day to check for newly posted remixes and any WIPs in the forums. Being someone that isn't involved in the creation of music in any way, OCR has definitely expanded my horizons in terms of musical tastes and experiences. So, indeed, thank you and good job to the community for keeping things chugging along for the better part of two decades!

I still recommend the Beyers, for both quality and comfort. I can use the Beyers for 5+ hours if I wanted to, and not get ear fatigue (sometimes I forget I even have them on).

i owned alessandro labs/grado's music series two for several years and found them to be great, personally. they're not the most comfortable though.

Download Heretic Sinphony: http://ocremix.org/info/Heretic_Sinphony Torrent: http://bt.ocremix.org/torrents/Heretic_Sinphony.torrent Heretic Sinphony is a 6-track commissioned album inspired by the music from the 1994 Raven Software classic Heretic. It was commissioned by Emmanuel EXE, with original artwork by Tedd Leger of Mehxôhorr Artworks. This project started out with an e-mail I received about two years ago. What began with a remix of "The Cathedral" soon turned into a full-blown remix album of Raven Software's Heretic. This game is a classic first-person shooter from the Doom era, with some really good, but overlooked music. I composed and produced this album while working a full-time job (sometimes 60+ hours a week), while putting together a recording/production studio at the same time. It's been a long two years, but I'm finally glad this album is finally coming together and getting released. EastWest samples (HW Orchestra, Stormdrum, Ministry of Rock) were heavily used throughout this project, and also some 8Dio libraries (Requiem and Studio Sopranos). For the synths, I mosty used Native Instruments Massive and FM8, along with a few sounds from Sylenth1. FL Studio is the same DAW I have used for the last 15 or so years, and I still use to this day. It has great VST and sample library support and provides a super-easy-to-use interface for both arranging and automation. - Thomas Nelson (Ghetto Lee Lewis)

Hey, I think this sounds pretty good! The accompaniment sounds reasonably polished, and Chris's violin sounds great. The first and probably only major crit that comes to mind is the vocal performance. The singer (JoyDreamer?) noticeably takes a breath in the middle of phrases in such a way that it distracts me from the rest of the track (having taken 6+ years of choir, breath control is extremely important). It just sounds like she runs out of breath in the middle of a phrase and then quickly takes in another breath. Those might have been possible to cut out during editing and still result in natural-sounding phrases. Other than that though, two thumbs up from me.

Hello fellow remixers, Here is my take on well-known Kefka's Theme from FF6. At first I thought it would sound a bit spooky for halloween, then I started experimenting and thus went for a more spacey ambient sound. I liked where it went so here I am. I would love some feedback and reviewing on this track. Hope you guys enjoy it ! http://www.mediafire.com/file/a9byk9dbvozb02u/Freaking_Out_v2.mp3 Edited: Reworked version

The People's Remix Competition 359 PRCv14-21 Hello everyone and Welcome to the People's Remix Competition! Welcome to PRC359, already round 21 of this season. This means that the end of the year is not far away. In round 357 Flurry of Flames got his second win in a row so he got to pick a source again. Source: Fire Emblem - Reminiscence - Ninian's Theme MIDI Source Information ThaSauce link: Click here to submit To submit a song at the compo page you can use the ThaSauce page. If you use this, an account is required. If you don't want to use ThaSauce, please upload the song somewhere else and post a download link in this thread. I recommend Soundcloud, don't forget to allow downloads to enable me to upload the song at ThaSauce. I will keep using ThaSauce as the place where all songs are located. If you want to use ThaSauce, the following steps should be done. Click the ThaSauce Link. Click the 'You are not logged in' button in the upper right. Click on 'register' (at the bottom). Read the terms and click 'I agree to these terms'. If you don't agree with them, upload the song somewhere else and post a download link as mentioned above (by doing that, you allow me to upload the song at ThaSauce. Continue the process by filling in your information. You will get a question to confirm that you're not a robot. Here are some possible answers: Name a compo: PRC Who organizes One Hour Compo: Starla Name a ThaSauce subdomain: compo.thasauce.net Who created Mega Mans: Capcom A confirmation mail will be send. There might be some issues with it (meaning that you don't get it), if that is the case, upload the song somewhere else as described above. Once registered, login with your username and password, go to the mentioned page and submit the song. If you want submit two or more songs you can create multiple ThaSauce accounts or upload the song somewhere else and post the download link. After uploading your song, please check if your song plays and can be downloaded and played without problems. Only upload MP3 files. PRC instructions The deadline is Friday October 20th 2017 at 10:59 am ThaSauce time (18:00 UTC, 19:00 GMT), check the ThaSauce page for the exact time left. Make sure that the song is uploaded to ThaSauce or that there’s a download link posted in this thread. +2 Days. You may enter as many mixes as you like and work with as many people as you like on each mix. You are free to create a second ThaSauce account for that if you use ThaSauce, it's needed to be able to upload a second remix if you use ThaSauce. Of course you can also upload it somewhere else and put a download link in this thread. Do not make qualitative comments on an entry until the results of the vote have been posted in this thread. Mixers cannot vote for themselves but if they vote they receive a free first place vote added onto their score. The winner of this round may select the source for PRC361. The winner of PRC357 who picked this source, Flurry of Flames, can only participate by submitting a Bonus Mix. His vote is doubled in the voting stage. You can find the full rules list at this page as well. GOOD LUCK! PRC ThaSauce Home Page!

Howdy everyone, just wanted to announce the return of the CD albums for Chrono & Metroid Cinematica due to popular demand! They also include digital versions of the albums for every order, but supply is limited so if you're interested in picking one up now's the chance! Feel free to check them out on my site- www.samostudios.com Thanks for listening!

@Dextastic I've got nothing against Rock or Metal, heck I love me some Prog or Psychedelic Rock and some Metal stuff. It is just that really most of the time it is the people behind the guitars rather than the guitars themselves that I have an issue with. Not trying to imply anything just a "general observation". Also, no problem giving some techniques for dealing with things in a mix. I've done a few Hard Rock and a couple of Metal Mixes and there is definitely some different things than you might think. Something else to consider when mixing is that tricks that you may have used in one mix may come in handy for a mix that is completely and utterly unrelated in both genre and style than where you learned it. You'd think that I'd never turn to distortion in a non-rock/metal mix, but surprisingly it comes in handy in all sorts of places. In particular I like using it on bass too make it easier the ear to find it in the mix if it is quite dull.

Strip I did earlier in the summer. Testing some things out. Made this for the locations page of the website New Hyperdrive Helix art for upcoming stuff in the comic.

Thanks for all the lovely comments everyone. I upload. a new arrangement on YouTube Friday. This week's will just be solo piano, but Katie and I have some fun plans in the coming weeks. Considering arranging Breath of the Wild's music for Kakariko Village. I think it would work well. I'll keep you posted. Definitely check out the rest of the stuff. on my YouTube channel though.

Might jump in next round, depending on the source. Had a lot personally come up over the summer that prevented me from doing much musically, but I want to start getting back into a flow.

Thanks! Uploaded my final (for realsies this time) mix.

The intro is a bit messy, piano lead sounds a thin and uninspired.. But I really like all the different drum patterns, and the bass sounds ok. Leave it for a while, and come back with a fresh pair of ears and work on the arrangement. I've grown up with the Mega Drive/Genesis version, first time ever I heard the arcade quality vocal fx. Really nice

Yes, we are still alive! Please PM me the current version again, Rhino, and I'll get that review going. Sorry about being quiet these last couple of weeks, will have a project update later this week.

@Dextastic It doesn't sound all that bad. In fact I rather like the transients on the drums quite a bit. Though if I may make a couple of suggestions. First, while the transient is important on drums in order to prevent the cymbals and the like from being "too" powerful in the mix you may consider actually toning down the sustain portion. You can achieve this in a few ways. Transient Controller can work well in certain situations. Another way is to use a compressor and just crack down on that transient quite a bit and not really use much makeup gain, then apply some EQ (typically 4-8KHz) to bring the transient back. There is also the gate that opens up on the transient but closes on the sustain. You can also play a bit with multi-band compression or even dynamic EQ. Just depends on your desired end result. Second, with the drums you did a solid job of imprinting their space in the mix along with the guitars. However, when things get "fuller" you basically completely run out sonic space in those sections and don't really have separation nor clarity between the various elements. No real tricks here other than good ol' listening and trying to figure out what needs focus and possibly rebalancing the mix on the fly with automation. Bonus bit, the guitars could do with a bit more weight and get on those guitars with some characterful compression. Otherwise pretty darn solid.

I have a WIP that I can try to finish up by tomorrow, if the deadline is extended.

This is a very straightforward remix using the SNES and Genesis sounds. The arrangement is exactly the same as the original. This was more of an experiment to see what a retro song would sound like if an SNES and Genesis worked together. Basically I was satisfying my own curiosity.

Sounds so much more complete compared to any of the sources alone. The samples have a nice, crisp high end, and those Genesis synths have so much lower end meat to compliment it. Blending the two like this works really, really well. I'd say experiment successful!

Actual drummer here. This is quite good. The different velocity levels on the hits are necessary to have a realistic sounding performance and you did a great job with that. The only two issues I have with it are 1) The bass drum is a little busy at the beginning of the track. It would be difficult, although not impossible, for an actual drummer to play that groove with one foot. You can tell he only has one foot available to play it because the other is busy doing things with the hi hat. 2) Around 1:00 you have some cymbal hits happening by themselves. However these should practically always be accompanied by a hit on the bass drum or, if necessary in the context of the pattern, the snare. The cymbal "flair" you have going on around 0:40 is fine, but the other parts should be corrected.

I've been quiet, I know - more life stuff came up last week, but I'm getting back on track now. I've finally made some changes to the tracklist at the top of the thread and to our lineup. I'm not done yet - there are still some decisions to be made and some conversations to be finished - but the new placement for the audio tracks is now listed. I know I've been slow about sending the feedback out, but I'm catching up. I should have it all out soon. ---- Guys, I am still waiting for updates from many of you who didn't get something in to me for the last deadline. I'm not going to point you out - yet - but you know who you are, and I'm going to come looking for you soon! In the meantime, please note @Jorito's generous offer above - I can totally vouch for his ear, musical ability, and his skill at making folks smile. We also have our Audio Support team, ready to advise with whatever help you might need. Keep at it, everyone. Just because it's quiet here doesn't mean things aren't happening. Looking forward to hearing what everyone is up to!