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This one is a tough vote for me - I also hate this style! :D Production-wise, I do hear what my fellow Js are saying about everything washed in verb, but I'm going to side with Emu on this being a feature and not a bug. It gets the vibe right where it's supposed to be for the style. Arrangement-wise, this does a fantastic job of flipping the source into this style; no qualms about that. I have to side with Chimpa on the plodding nature of the piece, specifically because of the hat pattern on the drums. The way they establish the vibe @ :15 is great, bass entering with the slide @ :32 is also great! Bass drops out @ :49, and by the time we get to 1:05 with the guitar solo, I'm already sick of the hat pattern even with the drop. @ 2:10 not dropping the hats here with the rest of the kit is a missed opportunity to break that monotony. So the question is, is the drum writing here a nitpick, or is it sinking the whole ship? I think it sinks the ship, even though it wouldn't take much to bring it back afloat. I'm not saying y'all need to wildly alter the feel, but it's worth exploring more options inside this vibe - ride cymbal, shaker, tambourine, just something doing a different pattern with a different timbre for some of the piece. NO

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Discord is definitely a better way to ping me, lol. I looked, and pretty much everything I have is shared publicly in one way or another. Essentially, if it's not on OLR, Compo, or VGMix Archive, I probably don't have it :( These are the Nase tracks I have:

TMNT Turtles in Time - Remix Medley

I'm gonna be the naysayer here - I think this is actually pretty on-point for the style. I can definitely see why J's that aren't familiar with vaporwave might struggle with this, but I actually felt like this was better executed than a lot of "mainstream" vaporwave pieces. It definitely scans as a stylistic decision to me rather than an oversight - one of the hallmarks of this genre is really bright, over-the-top reverb washes that blanket pretty much everything, so it sounds like you're listening to it out of a loudspeaker in an old shopping mall. I really dig this a lot, I think this is one of Lucas' best electronic pieces to date. The vocal chops are really tasteful and well-processed, and Sly Man's live performed contributions really make it feel like this track was resampled from an old yacht rock banger from the 70's. I'd encourage anyone on the fence about this to listen through this mix which contains clips of 50 of the most notable vaporwave songs - you'll hear this reverb technique on almost everything: Where I think this song does better than many of the genre mainstays is the presence on the drums/bass - it helps provide a solid foundation in the mix so that it still holds up well compared to more conventionally-produced music, and keeps the washy reverb contained better so that it's still listenable even for those who aren't familiar with this niche genre that's fundamentally supposed to have a lo-fi, low-quality production aesthetic. Not sure if this vote will sway anyone, but I will say this - in my opinion, I think doing anything to change the reverb would fundamentally alter the character of this song and I don't think it would be nearly as memorable if it were produced "traditionally." YMMV, but for me, it's a YES

That reference track is fun, I dig the vibe. Ok, so this starts just like the reference haha, on a different key apparently. There's definitely more reverb on the plucky synths though. Percussion enters at 0:16, it's more subdued than I'd imagined given the reference. Source melody enters at 0:32, joined by some really cool vocal chops (they were present earlier but they take a bigger role now) and a bass. Vocals and melody clash at times here, maybe some smart panning would help. At 1:05 we move to the second melody, also on guitar. At 1:36 we move to a new section, some interesting chords/harmonies here. Mix is quite muddy here. 2:08 is a it of a break with another source melody. We then return to the original melody until a somewhat sudden ending at 3:16. This is definitely a trip... Unlike chimpazilla above I don't have much qualms with the repetitive nature of the arrangement as I feel you do a good job of swapping instruments and melodies despite the general mood being somewhat static. I feel the arrangement nails what it's going for. That said, if you wanted to modify the arrangement, a good/fun trick would be to imitate the reference track on the quick key changes, always sound fresh even when melodies/sounds don't change much! However, I do have issues with the production. I don't have really have more references of the genre other than the you shared so I may be off the mark but I feel the usage of reverb isn't really doing its job. In my view, the intent of the reverb is to make the soundscape feel bigger, especially on the percussion. Here, however, the reverb is instead applied heavily to everything, creating a ton of mud on the soundscape and making the melodies and chords hard to hear. On another note, I feel the kick and snare should be much more present on the mix. Overall, this is a really cool concept and while I really enjoyed it I feel some extra work is needed to make it shine. Tame/modify the reverb so that it's creating the feeling of space you want but without it burying the melodies/chords and consider giving the kick/snare more presence (this one is probably just personal preference). NO

I will try to do it

I have gotten a nice start on a Halloween-ish version of Mines of Narshe going on. It's going better than I anticipated. This is going to be fun:)

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When I have time, hopefully tomorrow, I'll send an A-B example. It's startling. Fiddling with ADSR settings..and in the case of Harmless in FL Studio, the pluck control..is irritating compared to using the free KHS trance gate.

No. The judging process is between the remixer and the panel. If, after a rejection, an artist wants to share the track, they can do so themselves in the Workshop.

Would love to hear an example <3

So I just stumbled upon this....a happy little accident, as it were;) I was meaning to put a trance gate on a pad in an original that I am working on, and accidentally put it on the bass track instead. Hit play, and I'm thinking wtf..... hey, that sounds great:) adjust the parameters a bit, and it can really clean up a bass line that you're wrestling with. I would have used this trick on my ReMix that got posted if I would have discovered this before:) Hope this helps someone!

I recently wanted to listen to some of the remixes submitted for evaluation, but in the initial post I could only find links to the original source soundtracks that served as inspiration for the remixes - but never the actual remixes themselves. Would it be possible to create a common way for all OCR members to listen to the submitted remix via audio stream or something similar? It would be really interesting to be able to actively follow the evaluations in this way and get a sense of what is particularly important in remixes submitted to OCR, what is sufficient in terms of composition and mixing, and where more work needs to be done on the remix.

Source: Had a blast reworking this gem from FFXIII-2 into something more dreamy and punchy. Havent uploaded on here in like 10-15 years so a lil nervous XD

This topic title is ridiculously long, please edit it down to something around 10-12 words.

@Unknown Pseudoartist I think the desire for more dynamic and consistent loudness levels between different soundtracks and other audio programs began back in the 1990s. Perhaps some of you still remember those days when you would frantically reach for the remote control as soon as a commercial break suddenly interrupted your favorite show, often mixed much louder than the regular TV program. You couldn't just stroll over to the refrigerator and grab a portion of lovingly prepared sashimi along with the rest of the hearty 7-course meal to make the most of the commercial break in a witty and culinary way, taking on the battle against continuous advertising stupidity with copious amounts of brain food. Sometimes you really had to hold down the volume down button for a few seconds or, better yet, press the mute button on the remote control so that the stork wouldn't fall out of the neighboring tree in fright 'cause of the commercial sound pressure level. With the development of methods and metering devices for measuring the loudness of sound events, soundtracks and all kinds of other audio programs, which ultimately led to the EBU R 128 guidelines created by far-sighted sound engineers, it was possible to satisfactorily solve not only the problem of loudness jumps between successive audio content. At the same time, a standardized basis was created to allow for much more dynamics, especially in the field of music. If you are interested in the smaller details and background information, I recommend the compact Wikipedia link on this topic: https://en.wikipedia.org/wiki/EBU_R_128 … Incidentally, EBU R 128 is not only a basis that allows much more dynamics in music and other audio contributions. EBU R 128 also limits the dynamics within a soundtrack or other audio program in order to ensure an enjoyable listening experience without causing permanent hearing damage. For example, you won't be startled by the extreme sound level of a realistic gunshot at close range in the middle of the gentle rustling of leaves in a film. This is achieved by additional parameters within this loudness standard, which, in addition to the program loudness main parameter (where the entire soundtrack or audio program is measured from start to finish and a target loudness value of -23 dBFS is aimed for after complete measurement), would primarily be the following parameters: 1) Maximum Short-term Loudness ------------------------------------------------------------ This refers to the continuously measured loudness of the last 3 seconds throughout the entire soundtrack or audio program, which must not exceed a value of -18 dBFs at any time. For example, -17.9 dBFS over a recorded period of 3 seconds would no longer be permissible. 2) Maximum Momentary Loudness ------------------------------------------------------------- This refers to the continuously measured loudness of the last 400 milliseconds throughout the entire soundtrack or audio program, which must not exceed a value of -15 dBFs at any time. Accordingly, sporadic sound effects such as a gunshot with a maximum level of -14.9 dBFS or higher over a measured period of 400 milliseconds would no longer be permissible. It is not necessary to comply with the maximum values of both additional parameters together. It is sufficient if either the Maximum Short-term Loudness value or the Maximum Momentary Loudness value is complied with during a loudness measurement for a soundtrack or other audio program such as a podcast or commercial. In conjunction with the primary program loudness target value of -23 dBFS (with a permitted tolerance of +/- 0.5 dB), this limits the dynamics to a level that is tolerable for human hearing and at the same time provides an enjoyable listening experience. You can read all about this in detail here: https://tech.ebu.ch/docs/r/r128s1v1_0.pdf … And as you can see in the image here, after a complete loudness measurement of my Crisis Core remix from start to finish, this remix is also well within the permissible parameter limits: I don't know exactly why the Maximum Short-term Loudness value is already flashing red here with a measured value of -19 dBFS (according to the EBU R 128 guideline, up to -18 dBFS would be permissible) - but perhaps the values have been slightly adjusted over the years. And since EBU R 128 only requires you to adhere to the maximum value of one of these two additional parameters anyway, I'm still well within the green range with the Maximum Momentary Loudness value, although my main focus is primarily on the target program loudness of -23 dBFS. ... Another interesting aspect in connection with the implementation of EBU R 128 in broadcasting is the fact that, towards the end of 2023, an extended guideline for streaming platforms was also initiated: https://tech.ebu.ch/docs/r/r128s2.pdf It would be really awesome if this became standard practice in the near future, because then it would no longer be worthwhile to stubbornly master soundtracks for maximum loudness (since the soundtrack would be reduced to -23 dBFS anyway), but instead every musician would have the same fair opportunity to make their compositions as dynamic and lively as possible at a standardized loudness level. … Based on EBU R 128, the resulting expanded dynamics in music, and my “Life Force” mixing concept, which I have developed extensively in recent years, I want to demonstrate with my upcoming video game remixes and some larger original compositions that dynamic music can sound really good, organic, and lively in every conceivable music genre - from classical orchestral music to electronic music to rock and metal - and that it can be superior to the often dynamically limited “compressor music", especially in terms of sound quality.

Lon Lon Ranch 2025-07-24 2141.mp3 Throwing myself outside of my comfort zone with this style. Not sure what to call it, but I think it's post punk. Feel free to disagree, I don't listen to this kind of music.

Zora's Domain 2025-07-31 1734.mp3 Dusted this old thang off to do some mixing and shtuff. Ready to submit...? In the chamber. Added some compression, fixed reverb on all tracks, added some reverb automation on the synth chords because why not, changed bass tone, added some samba instruments at the end, I guess I'll call this city pop.

Sonic Advance 3 Staff Roll 2025-08-01 0913.mp3 I do believe she's ready to submit. Also like Master Mi's noir monologue, and reference to I think (tbh never played it) Oddworld...

FINAL FANTASY VIII - The Extreme Remix

There's a lot more variation than I remember hearing in Discord, nice. I would agree with Audiomancer on the sustained saw notes, in addition to his suggestions you could also fade the note a bit as it's held.