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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 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 2025-07-29 1551.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 2025-07-26 1049.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.

Grabbed it. Thanks Audiomancer.

https://drive.google.com/file/d/1AJssa1PUeCC5Y97RUUI30Qj8KBZooWyc/view?usp=drivesdk This is a Christmas thingy I put together. I did this with Caustic 3 on an old phone. I like the Amiga-like MOD format:) Edit: I believe the song is actually called Gloria, and I refer to this as Angels Dancing on High.

Wanted to highlight the jazz-inspired stuff from ODST, since not everyone's heard it: link The Halo OSTs are pretty convenient because all the content is used in-game sans the bonus tracks at the end of the first few albums. All of the albums with long suites (sans Halo 1) also have names for their "sub-tracks"; a lot of the ODST clips above are part of bigger suites/mixes. I can help people verify stuff is used in-game if anyone has any questions about it. I'll put feelers out a few more times before looking at starting this up in 2026, I think it'll probably have more draw than the guided Fusion album.