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I could send you guys a remix I did for Animal Well that's fairly creepy. It would be a slightly different version than the one I submitted to the judges' panel earlier this month though. I can't export an unmastered version without the instances for certain randomized drum loops changing. Probably a couple other instruments other than drums as well.

LT and proph addressed the same issues I have with this remix pretty succinctly, so I don't want to beat the horse much more than we have already. There's a solid foundation in here to build on top of, but there's more personalization to this track that could be realized on your next go around, Bionic. I'll echo proph's comments specifically on stripping this back in length to the core idea (this theme but synthwave with glitchy amen breaks) and explore more with the soundscape. There's a lot of room for filtering the leads and countermelodies, working some sidechain compression on the drums to really push the limits of the groove, and introducing different harmony underneath the melodies here to give more emotional context. NO (resubmit)

WIP -- "Together, in this Life, as Warriors of Light", V1: VQ & Friends - Together, in this Life, as Warriors of Light (Tenderness in the Air - BRD) - Arrange V2.mp3

Congratulations! I missed an epochal event( I joined OCR sometime in 2010. It was an unexpected discovery! In fact, I got access to the Internet at the end of 2009 (I live in a village). The first thing I started looking for on the Internet was music.. I came across this place through tindeck when I was looking for something like covers for Contra Hard Corps. And Google gave me an artist like "Death by spoon" (AMT). My search led me here. What I found here blew my mind. I didn't even imagine that such a place was possible. Ironically, at that time I didn't find any CHC remixes on OCR, but I did find Sixto sounds, goat, Snappleman, lvl 99 and many others (sorry if I didn't mention you). I've learned a lot here. I'm thankful to this place and people who helped me in advice and direction(Rozovian is the best BOSS ever!) Of course, I had some complaints. Something I still don't understand here) But I liked this place and I hope to come back to this stream.. Thank YOU OCR PEOPLE!

This just popped up on this 8Track. I used to listen to this all the time, and 20 years later it's still one of the best on the site. Completely reactivated something in my brain, hearing those opening notes. Wow.

I'm siding with the other Js on this one, tibonev: the timing is too loose on this track to ignore, particularly in the arpeggios from 1:27 into the guitar solo at 1:39 and the quick shaker hits at around 2:13. I'm on board with your arrangement of the source material and there are some segments like your solo and the octave arpeggio runs (2:26-end) that are well executed; this one could be a slam dunk with the timing adjustments or re-takes in place. NO (resubmit)

low opening. intro bass has some movement on it and seems like a dressed-up version of the original. beat and lead start at 0:17. the static tone to the countermelodic material is a bit tiresome - i'd love to hear some decay or movement on it. kick is also kind of blah - i don't hear sidechain, so it doesn't really pop as much as i'd expect for something like this. short break and a loop comes in for the drums at 0:59. again the kick doesn't pop, and the loop itself is kind of obvious, but there's some movement after about 30s which is needed. there's no pad through here either so the arrangement doesn't feel like it's progressing - it's the same as before, with different drums added in. the lack of change to the main instruments, like LT talks about, is also a factor here. 1:27 adds more drums but nothing else changes. same same, we need some progression to the track. even breaks in between the melodic representation can help with that - this is just hammering the melody over and over. 2:00ish is just the countermelodic instrument, and again, this is needing to be mixed up. there's a few different things in the drums but overall this is oatmeal. there's more of the same for a while, with different combinations of the same instruments doing the same thing. so a key problem here is that nothing changes. we don't get personalized melody, altered chords, new keys, new countermelodic material after the initial representation, not anything. this is a sub-one minute loop that's been stretched to over five minutes by way, way too much repetition. i'd seriously consider stripping it back to a minute at most, and then finding new ways to represent the general synthwave idea (which i think works really well, to be fair) in more unique ways. this is just too much repetition, and too much of a static nature. NO

This track is great fun! I'm sick today and it's punching through and lifting my mood, irresistibly. I should play more Fantasy Zone!

Watermelon Flava was on my shortlist!

**TERTIARY AUDITION TRACK** This is equal parts an "audition thread" and "a record of progress / WIPing" until the due date arrives. :D This is the source: Also called = 'Tenderness in the Air'. INFLUENCES: Bardcore / Neo Soul / R&B MAIN REFERENCES: An Example of Bardcore ??? ??? The Town Theme / Tenderness is the main source utilized for this remix, transposed from the Key of C to A Major. Track's purposely minimalist, to try and encapsulate the very essences of Lo-Fi with Renaissance Faire / Bardic aesthetics, paired with R&B rhythm section goodness. What I tried to do here was imagine there's 5 bards playing (for each of the main characters you are in the party with: Bartz, Lenna, Faris, Krile & Galuf), and have--what I felt--were songs closely associated with them that weren't their direct theme, but were a big part of their character development and were the songs I remember them for at very important plot-points in the game (no spoilers here: IYKYK). Each of the 3 supporting source choices I made sure were material already used in the previous albums, as well (as callbacks to them after so many years of the remaining 3 albums in this series being on hiatus) whilst also ensuring I'm not snatching away songs not yet covered for future audition pieces. Plus, two of these I really wanted to do, but were already done, so. . .lol. :D [It's 5 AM here, and I am still working on this -- fuck it, can't configure and am frustrated with trying to mash a bunch of sources together, but I will stick to the idea of the 5 main characters of FFV playing different instruments that can be interpreted as representative of their characteristics in-game.] This one is a bit more...aimless and free-form (hence why I don't have a usual 2nd and 3rd reference right now), because I am still trying to figure out how to formulate the direction for this, but I'll probably be pow-wowing with people like Bonnie, Colorado and Dyluck to see how I can shape this bad boy into something lyrical and appeasing in that sense, whether or not it's me singing it or writing said lyrics. That said, for the moment, I'm just diving right in, and seeing where the river current, booze, shimmering starlight and warm camp fire near the village takes me; (I've drowned in said river, help me). :P I also might struggle with super pretty, melodic content, in such a short time (took me ***absolute a g e s*** to write new stuff for tracks like Premonition from the FF8 album and Zoness from the recent Star Fox stuff), so please bear with me -- especially juggling 4 different sources, trying to make them unique and fit the genre bill (ex: Bardcore link sounds mega exciting and textural due to all the organic instrument sounds with lots of arpeggio runs and chord play because of the source itself, and I've barely scratched the surface of writing for real instruments with those things in mind, despite previous remixes I've made). Getting super deep and complex on melody and harmony lines takes me a bit, so if it sounds barebones for now, that will be why. But the concept'll be there. :) WIPs will be down below, as usual. Thanks for checking this out and giving the opportunity(ies) to try.

So I originally had Live at the Springyard as track 4, but I really love the way A Breeze in the Night transitions between One Girl in All the World and Cruise Control, so I just had to update this 8Track. I still love Harmony's remixes!

Howdy, Jonathon! I'm gonna give a quick so-sign with proph and LT: you've got a good production here; it's just not what OCR's looking for. This'll definitely have a fanbase among VGM enthusiasts on YouTube and likely Twitch as well! NO

So funny. I was literally just listening to Watermelon Flava and Take It Easy when I saw this 8Track pop up 😆 I guess now I have an idea of what kind of 8Track to work on next 😂

WIP -- "W A N D E R E R", V1: VQ & Friends - W A N D E R E R (Walking in Snowy Mountains - RNG) - Arrange V1 WIP.mp3

**SECONDARY AUDITION TRACK** This is equal parts an "audition thread" and "a record of progress / WIPing" until the due date arrives. :D This is the source: Also called = 'Walking the Snowy Mountains'. INFLUENCES: Movie Soundtracks & Cinematic Orchestra / Modern Synthwave / Power & Folk Metal MAIN REFERENCES: John Williams - "Superman (Main Theme)" & "Indiana Jones (Main Theme)" Eluveitie - "The Call of the Mountains" Wind Rose - "Diggy Diggy Hole" 1 & 3 are fairly obvious references, and can be heard in the current WIP; number 2, well. . .I'd absolutely love to have real instruments in this, like electric guitars, a bagpipe, Irish whistle, pan flute and accordion, but I hadn't written up the parts yet (the flute will be countermelodic and the rest more harmonic / layers), and they were probably going to show up within the mid-section to the ending of the track, to make it feel more folky by that point, instead of electronic synths with (primarily) orchestra brass. So, will probably be another collab effort, and asking around for people to help me write said parts in a way that's taking the source at face-value, but adding something fresh and with a hop and a step. When I originally conceptualized this, I was considering to just go full Pirate Metal or Irish Jig (e.g. Alestorm's music), but I've never actually tackled full-blown Metal or Rock before, so I tried to lean some of this on genres I am comfortable writing and doing stuff in. Drums also need a lot more tweaking, or getting someone to actively write those in with top-notch drumkit VST gear, or live recording and tracking. The insane mash-up of genres is due to the spirit of "adventure" for this class remix, as asked for by DarkeSword, so I wanted to go all-in on that feeling and evoke it in not only how it SOUNDS, but how it's made, as well. Still hammering away at Bard -- will see what can be done before June 30th. :) V1 WIP is below. ♥

It's been closed and archived. We don't get enough discussion related traffic on the forums anymore to warrant a separate section for "off-topic" discussion.

@DarkeSword Big thanks. )) I forgot another question. There was also some kind of an off-topic forum here on OCRemix some time ago. Has this also been removed - or is this hidden somewhere and has been integrated into another forum section?

Sweet funky (that middle segment!) ninja jam from the OG DJP that still hangs out on my playlist. I'm definitely a fan of that watery synth, as well as how the elements build on each other as the remix progresses. I agree with his own words that it ends a little abruptly, but it still sticks the landing. 🥷

Katamari Stars 2025-06-26 2233.mp3 EDIT: So I'm seeing my main problem with arranging/mixing is I don't have access to a whole lot of versatile, high quality sounds. I'm not super pleased with the piano sound - I think it sounds fine as the chords, but the melody just sounds thin and robotic. I need a better sound or two for the melody(ies)... it will help keep it interesting and contrast with the piano better. Especially since, if you evaluate “mainstream” arrangements from the 50s for example, the instruments that are melodizing and harmonizing change about every 8 bars, keeping the piece interesting. Same goes for big band jazz. Count Basie makes it especially easy to see this. He’ll have the brass “call” the melody in the A section, with woodwinds “responding”, then for the B section swap them (woodwinds call and brass respond), then when refraining the A section will swap back. In bebop and hard bop, you may or may not see this less in the arrangement, but you have solos, and even trading solos, between instruments to keep things interesting. This is even common in some hip hop groups. A Tribe Called Quest has each member taking turns with their verses, synonymous with the bebop solos of a previous era. There are even spoken references in the lyrics to bebop throughout many different hip hop artists from that time, the 90s. But I digress… point is I need more interesting, quality sounds.

Black Lamp - Title Theme Remix

Adding a quick so-sign with my fellow Js. One thing I'll point out as what I see as a detriment to this track: as well-established as the synthwave vibe is, there's a noticeable amount of repetition in each segment. Let's take the double-time at 1:26-2:05 for example: outside of a very subtle filter shift on the lead instrument, this whole segment sounds to me like four repeats of a four-bar phrase. Without fills or variations, these phrases grow stale quickly. And considering the melody line is carrying over from the build of the previous section, it's already worn out its welcome before the section is over. When LT is talking about the relative lack of complexity and sophistication, this is a big part of it. And I agree wholeheartedly with proph: the lack of a definitive ending is a big dealbreaker. There's a strong start here, Noga Project; this track needs focus on the fine details and trim before it's ready for the front page. I second LT's suggestion about joining the OCR Discord server or checking out the Workshop forum if you're looking for advice or more options about finishing this one or making your next big track. NO (resubmit)

I have submitted Star Fox: Double Wing Damage to OverClocked Remix project panel. Now all we must do is wait and see what's next! Great job, everyone! I am so proud to have worked on this album and I'm appreciative of all your support and hard work! Everyone did awesome! We did Fox McCloud proud!

I also missed out on this track on its first time 'round the panel. Thanks for sticking with it, Eric! The string build in the intro is quite long, but I'll live. I agree with proph, XPRT, Seph, and Hemo regarding the articulations on the flute and the trumpet holding back the humanization of those two instruments. I wouldn't mind the approach so much if the shorter notes weren't so short and detached: the stop-tongue marcato is so short, it's practically staccatissimo. The piano from 1:04-1:30 sounds timbrally more appropriate for a dance tune than the orchestral piece you've made, though the part is brief and in the background. I could see a world where this part is covered by the harpsichord instead, especially since that instrument appears in the recap of this section later on underneath the trumpet. The triplet descent in the pizz strings at 1:32 is the worst offender for the part in terms of realism, but otherwise seems serviceable. I agree with LT on the brass being anemic at first; overall, the second half of this track feels stronger in execution than the first half. I'm very borderline on this one. The arrangement's conservative but offers embellishments and personal touches. The mixdown and master are appropriate for the style. Really, the flute and trumpet programming are the only real downsides here. Ultimately, I gotta come down with the other NOs, but this one is really close! NO (resubmit)

Good track overall, but the instrumentation and/or levels in the first 28 or so seconds are a little too jarring whenever this randomly comes up in the playlist. I think the ending is also a little too abrupt. However, everything in the between is a killer energetic ride of a remix that continues to hold up.