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So happy with all the Smithy love lately. This ReMix is fantastic, putting some much needed energy and aggression into the chill theme as the guitars wail on. The SMB3 airship cameo was nice as well. Been looking forward to hearing this for a long, long time and it was a million times worth the wait, especially that breakdown and menacing bit near the end from 2:36 to 3:00. Recommended as hell.

I love how well these two themes just fit together perfectly. The funky and groovy bits of Death by Glamour keeping up with the driving force of Smithy's theme and making everything jazzy was awesome to hear. Great mix of two of my favorite killer robots.

@Nase I searched my hard drive and maybe a good thing I'm a bit of a hoarder as I did actually have a track of yours from ORC5 (ORC5_Nasenmann_-_KurdDreams.) Not sure if you have this one, but I'll link it here for you. It's actually pretty cool to know you made that one as a lot of the old prc and orc tracks really formed me in a way -- I was in highschool when most of them were released -- and when I hear them they feel like they're a part of me -- including this track. So much love for making such a special remix. ORC5_Nasenmann_-_KurdDreams.mp3

Remembering Mark Snow. 👽🛸🎶

Well, good news regarding my track: I already managed to assemble an awesome team of performers to join! 2 guitarists (for rhythms and leads separately), bassist, drummer, clarinetist, keyboardist... that'll be like a real great band. I got some progress with the video already, which, sure, not a requirement for the album at all haha but I'm doing it more of my own, as a kind of concept thing to better show the ideas. Basically inspired by classic horror movies in general and Nightmare on Elm Street in particular. All is going really well so far and everyone involved has plenty of time, so unless shit happens last minute, I have some good expectations with it. Excited to see what everyone else is cooking as well :)

Not exactly the genre you are looking for, but I did an arrangement of the same source a few months ago. It's more of a pop punk with smooth intro and lo-fi interlude, tho haha. More Illusion of Gaia covers (or of other Quintet games) are always welcome, in all kids of styles, moods and whatever. These games deserves ALL the love! Hopefully someone else will make something closer to what you are asking for :)

I was wondering if someone could do a remix of the track Beneath the Earthen Womb (Song). Maybe done in a style evocative of a mother's lullaby to her child. Not necessarily with Lyrics, but something soft and warm

can confirm that it works!

Still great! Best remix.

What did you think? Post your opinion of this ReMix.

LOL

I have been summoned! The guitars sound properly treated to my ear in this mix. The bass living @ 80hz seems to be a mixing decision to give the sub-bass frequencies to the kick drum (which is a stylistic choice for metal that I often make as well) and so it's a feature, not a bug. The drums, though, throughout the mix lack any room tone and sound dry as a bone; the opening choruses (@ 1:27, 2:41) and the second verse (@ 2:04) really demonstrate how dry the drums are. We can expect to feel a lot of dry kick and maybe a little snare, but if there's any room/reverb on the drums, I cannot hear it. Compare this to EK's vocal, which is swimming in reverb by comparison - would love to hear this balanced better! Another thing about the drum writing here that falls flat for me is the lack of time-keeping shells or cymbals - they aren't non-existent, but for this style especially, the song loses a lot of energy by their absence. @ :49 - 1:26 is an excellent example of how much impact from the part-writing is lost from there only being a single cymbal hit (the hats) on every other bar on beat 1. What frequencies proph perceives as noisy in the guitars would be swallowed up by the cymbals in this sort of section. If there was still too much fizzy/scratchy/amp noise (basically stuff above 11khz) audible after that, a nice shelf on the rhythm guitar bus tames that up. This mix has a lot of heart and passion in the writing! The part-writing and performance from the guitars, synths, and vocals are excellent, and my main problems with this piece are the drums and the production in general. I don't think the things it needs to find a home here on OCR are quick fixes, but they are worth pursuing for the song - specifically, to pass this track, I would need to hear: drum programming adjusted to feel more natural and dynamic adjust velocities, add room or reverb to the kit as a whole, and bring some element of time-keeping back to the sections missing it (choruses, verses) vocal production adjusted to balance out the mix EK's reverb crowds out the rest of the band and her own dry vocal, making it hard to decipher what she's singing NO (resubmit)

Valkyrie Profile - Confidence in the Domination Remix

No. It’s still there. I’ll look into why it’s not showing up.

Hey! Your nickname sounds familiar. I especially remember you from your stuff in Vampire Variations. Nice to see you back :) Also this track sounds nice. MIDI Metal FTW! Simple and raw, just what sometimes we need. I can see that fitting pretty well in an early 90s shooter game like Doom or Duke Nukem.

What did you think? Post your opinion of this ReMix.

DAW is Mixcraft 10 Pro Studio. Synth-wise, half of this is RYM2612 (a paid SEGA Genesis VST), the other half is prepackaged stuff like Messiah, ME-80 and MinivogueVA. Percussion samples from Trisamples Trapstep and Datadrive 80s Futuristic Retro.

For media files uploaded to OCRemix, such as images and audio files, I have always checked from time to time how much I have already exhausted my upload limit for attachments in posts or to decide how much I want to compress this media data. When I checked my last uploads of attachments, I could no longer see any such upload limit. Does this mean that this upload limit restriction has now been lifted?

Howdy, Worlder! I didn't have a chance to get to this one the first time 'round, so let's have a few listens. Oof, proph and Emu weren't kidding about the extra low-frequency content -- specifically in the side channels (content happening in the left or right channel that is different from the content in the opposite channel). While most producers aren't pressing their works to vinyl records these days, keeping the low-end stuff (bass, kick drum) as mono as possible can help maintain mix headroom and give those elements a strong presence -- especially on systems with subwoofers. Now, I could be wrong about this: it sounds to me like the low-freq side channel content is mostly reverb and the bottom end of the chippy arp from the intro (maybe some of the rhythm guitars too, but it's a much lesser extent). If it's reverb, a high-pass filter will clean this right up (and don't be afraid to take the filter up to 400-500 Hz; reverb is great for giving a sense of space in a track but it muddies a mix up really fast), and the same can work with your rhythm guitars to a lesser extent (80-120Hz). If there's some other instrument generating low-end content (like that chippy arp synth in the intro), that should get high-passed to just below the fundamental frequency of the lowest notes it plays; this'll give your kick and bass the space they need. Separately, I'm with proph that the drums in particular are lacking punch. Some of this is the "internal mix" of the drumkit -- hi-hats and crash cymbals are louder than the kick and snare (e.g. the bomb blast pattern from 0:58-1:12ish, the half-time breakdowns at 1:15-1:27) due to either velocity or volume balance, maybe both -- some of it is sample selection, and some of it is a lack of compression and saturation. The extra club kick layer at 3:10 helps that segment compared to the first half-time breakdown at 1:15, but the snare is still anemic. It's unfortunate that we're being so hard on the production elements of your track, because the arrangement is well above the bar. The writing has good energy management and interesting twists on the source material -- the build at 0:58-1:14 and the evolution of that bassline from 2:38-4:00 are some highlights for me. And although I agree with proph that the guitar intonation issues detract from the experience at 1:58-2:35, the part itself provides a refreshing break from the frenetic passages that come before and afterward. This one's still not quite there yet, Worlder; please keep cooking on this one! You're closer than you think. NO (resubmit)

What DAW are you using?:) Edit: Also, what synths are you using?

UPDATE: Death Trap 2025 DEMO 4.mp3