All Activity

Epic Idk how this all works I just made my account

. . . Put me in coach. IDM any team.

I’m in! Happy to be on either team 🤘🤘🤘

Welcome to Game Set Mash!!, a team-based, long-form competition format for the OC ReMix community! Current Status Now recruiting teams! Check out the What are the rules about teams? section of this post for info. Post in this thread if you want to participate. Scoreboard 2 points are awarded for each submission, and additional 2 points were awarded for each match-up won. In the case of a tie, 1 point is awarded to each team. | Mega Man | Successors | --------+-----------------+-------------------+ Round 1 | 0(sub) 0(won) | 0(sub) 0(won) | Round 2 | 0(sub) 0(won) | 0(sub) 0(won) | Round 3 | 0(sub) 0(won) | 0(sub) 0(won) | --------+-----------------+-------------------+ Total | 0 | 0 | What are the games we're remixing? The time around we're celebrating the music of Mega Man and the music of games that have taken up Mega Man's mantle. Mega Man - Mega Man 4, Mega Man X4, Mega Man Zero 4 Successors - Mighty Gunvolt Burst, 30XX, Gravity Circuit Each franchise features more games than just the initial three, but for the purposes of this competition we're going to limit to those first games. What are the rules about teams? I want to make things easy and accessible for people to participate, so there's no maximum on team size, but I'll be asking people to do their best to even out the teams once we have all of our participants signed up. There are no rules about who has to be a primary arranger for a track from week to week. Teams will be free to organize and determine how each of the three remixes gets covered. Using your teammates for collaboration and feedback is highly encouraged. Game Set Mash!! is run primarily on OCR's Discord server, so you need to make sure you join up there. I'm new to GSM, how does the competition work? Participating remixers will form 2 teams of at least 3 members each. Each team will be assigned a set of 3 games. The competition lasts 6-7 weeks, with 10-day mixing rounds alternating with 4-day voting periods. At the start of the mixing round, each team will choose and reveal 1 source tune from each of their 3 games. Each source will be paired with another source from the opposing team, for a total of 3 pairs. Each team will be responsible for writing 3 remixes for the week that combine (or mash) both source tunes in each pair. At the end of the mixing round, we'll upload the remixes and have a community vote. Voters will vote on the 3 remixes that did the best job of mashing the two source tunes together. Teams will accumulate a score based on how many of the community votes they win. In the next mixing round, we'll rotate which games get paired up with opposing games.

Usually I find stuff that's this heavy, loud, and hard-hitting to be exhausting, but this is great! Love the chip leads, love the heavy af kick, and it has enough variance to keep it interesting throughout.

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

American folk music isn't usually my style, but I like the way The Hit Points do it (bluegrass I reckon). I tried to make "Blue Lava, Grass Landing" work in this list, but I couldn't find the perfect spot for it.

I love the way these themes are blended together, and the music style is right up my alley. Whether that alley is on the streets of Halloween Town or ends with a smokey bar in a film noir detective movie. I can't wait to hear more from The Key Combo!

At first, the composition sounds really interesting - it reminds me somehow of atmospheric NES game soundtracks from video games like Shadowgate in a more modern version. )) When listening less intently, nothing stands out negatively, either rhythmically or tonally. When listening very intently, I noticed a passage that sounds slightly strange, namely the transition from minute 0:29 to 0:30 (actually almost exactly at minute 0:30). There seems to be a dissonant note in the chord that either doesn't belong to the key or where the notes within the key form a less harmonious chord that doesn't seem to be the best choice at this point, or the notes in the chord are even neighboring notes in the key (and therefore clash tonally with each other). Just try increasing the interval in the chord a little according to the key, or perhaps try octavating the disturbing note.

This is really cool!

Just to take a quote from the composer: "My goal for this remix was to create something inspired by 90s happy hardcore music, which was a favorite back in my teens." Well I certainly appreciate that! I didn't even know what "Happy Hardcore" was growing up, but in 2001 I found OCRemix and was introduced to the genre through various zelda/megaman remixes that utilized this style. They certainly bring a unique energy and vibe, one that I dig. And it is fantastic to see that style alive today on the site still! One of the things I've found, not a bad thing, is that the musical variety has expanded tremendously from the early days of mostly electronic style genres on this site. Nonetheless those remain my favorite, so I am always a little extra happy when they are released in modern times. Huzzah.

I went into this particular piece with low expectations. Not due to the composer, style, or anything of that nature. It's this particular theme, which, in my many skyrim playthroughs, popular media, and other avenues has been exhausted to where I have lost appreciation for it. This fantastic interpretation felt more like an epic movie score in those old classic films of the 50s or something? Or maybe it's just because classical music is so popular in film. Either way, what an enjoyable experience, in particular that build-up from 6 minutes to 7 minutes, whatever was going on there struck me deeply, some kind of feeling of doom, or portent, it was chaotic and beautiful and melancholy all at once for me. Anyway this is clearly a SUPER talented individual so I thank you for sharing this with the community and giving me a new appreciation for the original piece which is a great thing as well.

Thanks for your contribution, I had looped this 4x before I realized it. What can I say, a fun listen, nice and easy and breezy, just what you need during a study break!

A beautiful emotional work, I am glad the artist has found a new way to continue enjoying the holiday season, and that this piece was the inspiration for the music. Octopath Traveler I had some beautiful music so this has opened my eyes on the "To Do List" to get Octopath traveler II.

Ethereal, Jazzy, Lo-Fi but actually not Lo-Fi, then spacey, or is that just another word for ethereal? I am repeating myself.... I love this track, I wish I could go back in time, pop this in a CD in my car, skip some class with good mates, and light a spliff to this on the way to the beach, yeah? Fantastic, this one goes down into the downloads folder, cheers. P.S. I am not British or Australian, I don't know why I randomly use their old slang, hah!

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

The bassline certainly commands the attention, one might say it conquers the other parts of the music? No? We dont do that here? Ok. I really love the noted retrowave vibe, however it still gives that military "we mean business" feeling via the pronounced bass. I haven't listened to the original piece, so I will certainly give that a go. I played the original command and conquer and that entire OST is imprinted into my brain 30 years later. Red Alert was the other entry I played. For some reason, Tiberian Sun never found it's way into my CD Tray... Good times though, it warms the heart seeing tribute paid to the classics, thank you for putting your energy into such a pleasing mix.

I love that "wind sound" that many tracks favor, especially in this EDM style, and it certainly fits the title. A pleasing track that evokes bright sunny days exploring the seven seas or something.... Especially the rhythm gives the feeling of the ebb and flow of waves. Lovely.

Impressive! I do love the classical acoustic sound.

It's incredible how heavy this sounds but still manages to have acoustic guitar at the front.

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

The somewhat monotonous sound of the strings will hardly be noticeable to ordinary listeners. The creative expansion of the remix composition is particularly relevant if you want to submit the remix to the jury at OC Remix for evaluation. But the really disturbing thing about the remix, the thing that really grates on the ear, is currently the stiff, undynamic, and artificial-sounding piano intro. Even for a piano-like synth, it really doesn't sound good, and you would hardly play it in this machine-gun-like way. Play it rhythmically in the form of smaller waves with different, more harmonious-sounding note lengths and shorter pauses in between - so not so much like “bam dam bam dam bam dam bam dam,” but perhaps more like “ba-da-ram bamm... ba-da damm... ... ba-da ram ba-damm.” ... Use different velocities of the piano VSTi by adjusting the MIDI velocity dynamics settings, as this sounds more lively and varied than if a piano key is played continuously with the same volume and timbre. And it's best to stay away from the quantization function, especially since it can cause individual notes to be quantized incorrectly or far from the actual intention. If some notes played on a MIDI keyboard are not quite in time with the rhythm, it's better to move them individually in the MIDI editor as needed if they stand out negatively in terms of timing. When I use the quantization function in my DAW, it's really only when I'm using a MIDI file as the basis for a remix, in order to “de-quantize” the beat-perfect notes in the MIDI file with a randomization feature in the quantization function to loosen them up and make them sound more human and natural, because the notes then deviate slightly from the beat. In my DAW, I also have a similar feature for randomizing MIDI velocity dynamics, so that I can make everything sound more dynamic, lively, and varied in advance, before I actually start composing and developing the remix piece by piece. … Take a look, for example, at (the final part of) the piano intro I wrote for my Crisis Core remix, which I recorded on a MIDI keyboard and then edited in places using the MIDI editor: There you can see just a few notes that fall exactly on the downbeat of the bar. The timing is pretty good - but not perfect. The note lengths and rests also vary in a way that I absolutely wanted to play this piece. Sometimes the playing style is a little faster in certain places, and then a little slower again, sometimes a little harder and louder, then a little softer and quieter again - like successive waves of varying strength and intensity. And so you can hear how it sounds, here's a link to the audio source: ... I also spontaneously wrote a little alternative piano intro for your soundtrack, based on how I imagine it could sound much better, so that it doesn't sound so synth-like and it might sound a little more natural for piano playing: Sonic The Hedgehog - Green Hill Zone - Piano Intro Idea.mp3 Of course, in that case, you would have to adjust the synth bass and drums accordingly to the alternative playing style. But it could sound quite reasonable if the actual part of the song starts immediately after the final broken piano chord is played. Instead of a fast introductory piano melody, it would also be conceivable to use, for example, 4 increasingly powerful chord sequences as a piano intro. But feel free to try out different approaches that suit your taste and style. ))

I only recently started playing the electric guitar more intensively and currently only practice a few hours a month. But I already feel that I am making slight progress, becoming more confident in grabbing and strumming the strings, and, at least on the high E string, I can play my first melodies reasonably confidently after some practice and by using specific techniques such as hammer-ons, pull-offs, slides, and bends. I still find it most difficult to play chords with at least three fretted strings, and I have particular problems with the alignment or optimal angle of my hand and fingers because I usually end up accidentally muting some strings. ... After about 50 attempts at recording these days, I finally managed to get a really good take where, according to my beginner's expectations, everything really worked out. I'll definitely upload something soon and share it in my Ibanez electric guitar thread here on OC Remix. ))

Lovely vibes right off the start, I'm not sure where this is going but there's a tremendous amount of expressiveness in the performances shining through immediately, which persists through the whole arrangement. A really unexpected changeup to the instrumentation hits around the halfway mark, but it's definitely welcomed. Overall, I found that this arrangement passed the bar with no reservations because of the human element added by the live performances - it's expansive enough even though it hews close to the original material, and I don't think there's a strong case to reject this track on arrangement grounds, even though it doesn't deviate from the original structure. Production is more of a mixed bag. Instrument tone is really lovely overall. The mixing is handled in a way that has the piano sounding muffled, like it's coming from the corner of a quiet jazz club, and the guitar taking center stage and covering the lead melody role. I'm not opposed to mixing the piano that way and using it in more of a textural role., but I can see how it might have rubbed the other judges wrong. What's irking me a bit more is the heavy transient emphasis on the guitar - all of the pick noises feel incredibly loud in a way that does break my immersion in the chill vibe. I'm not sure if it's the compression style used or how the instrument was recorded, but it feels like many of the elements have a very plucky transient to it, and that is compounded more in the second half of the instrument when you add more instruments and the panning becomes more chaotic. It also feels like it's picking up on incidental artifacts/noises in the recording itself and accentuating them further - it leads me to suspect that compression might be the culprit here. I'm in agreement with jnWake that the second half of the track is where the production issues feel more present - it's very hard to follow what's going on because of instrument leveling and panning choices that were made - it's a lot to keep track of, and with the transients being so pokey, there's even more competing for my attention. I also felt like the mixing on the piano caused it to get totally lost in this section. I disagree with prophetik that the arrangement is the dealbreaking issue here, but because it's so conservative to the original source and doesn't take as many risks with the arrangement, the production nitpicks weigh a little heavier. That said, I love love love the vibe you've laid out here and the subtle ways you express feeling through your performances. There's absolutely a passing track here and I don't think it'll take much to get it there! NO (resubmit!)