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You know that baby I've gotta join this.

As requested, @DarkeSword, I am a forum account now. Successor team plz

Either team is fine. If I change my mind, I'll post it here.

Count me in ! Either team.

I'm in, anything works for me

You know what? Why not?:) Either team, doesn't matter. Edit, I think I would like the original Mega Man team. Older stuff is more my style;)

count me in, either team

I'm a specialist in one particular field but if that speciality is needed I'd be happy to provide.

Epic Idk how this all works I just made my account

I'm game for either team!

I think its time to bring back defend deny depose the luigi's mansion remix

Count me in!

i am so, so in

Throwing my name into the ring!

Absolutely it will be needed ❤️

up for either team. see u there cuties ❤️

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

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

Please enter me as a Mega man I have a rep to keep. But I can fill in if the successors need it

This may be the time to re-tool Back in Cold Blood 😎

What? But also, wut? And whut?

YOU HAVE UUUUUUNOOOOO I mean hell yeah I’ll sub one for this

Announcing, "Full Circle" A VGM Tribute to the Moon Missions and Spaceflight The moon landings of the Apollo Program in the 1960s and 70s thrust space flight into the public imagination in a way never before seen, inspiring tv shows, movies, games, toys, books, AND a nascent video game industry. The silicon chips invented for the program would go on to power the first home computers, and the apollo command module's fly-by-wire 'picklestick' control, would evolve into the near-ubiquitous arcade joystick just a few years later. Early game developers were inspired by the imagery and challenges of the space program, introducing games like "Lunar Lander" and "Asteroids". Over 50 years later, that inspiration continues, from Ducktales to Destiny, and Mass effect to Mario. So, as NASA prepares to return astronauts to lunar orbit with Artemis II in early 2026, I wanted to take this time to launch a VGM tribute to the moon missions, manned spaceflight and their continuing impact on video games. The Album This will be a small, quick turn album, which we will try to get released on OCR to coincide with the launch of Artemis II **The Theme/Tracks** No specific tracks are planned. ReMixers are free to choose any source they want provided it fits any one of the following three categories: 1. The source is from a moon level/area i.e. Ducktales-The Moon 2. The source is specific to space travel 3. The source references the moon i.e. Golden Sun TLA -Full Moon in Garoh or Majora's Mask-Final Hours Let's try to steer clear of any vgm that's specifically "alien" or alien planet areas. If you have an idea you think fits the album but maybe not the categories above, run it by me and I'll do my best to be accommodating! Claiming Tracks Claims are first come, first serve. Each claim needs to be unique (no duplicate tracks). We're aiming for a single disk album -say 12-15 tracks to keep the schedule manageable. If we have more interested participants than that we'll see what can be done Please DM me with claims, post them below, or joins us on discord ! Collaborations are highly encouraged! Schedule/Deadlines Artemis II is currently scheduled to launch sometime between February and April of 2026. That means if we want to be sure we make that date we probably need everything finished in early January..... On the downside...that's a very quick turn On the upside....so was Apollo! Current Claims Mastering - Zack Parrish 1. Halo Reach - "Broken Bonds" - Gravity Gauntlet 2. Paper Mario The Thousand Year Door - "X-naut Fortress" - Lucas Guimaraes 3. Sailor Moon: Another Story "Moon Kingdom Ruined" - Colorado Weeks 4. Star Ocean: Til The End of Time "Reflected Moon" - TSori 5. Final Fantasy IV - "Another Moon" - Ian Martyn 6. Final Fantasy XIV - "One Small Step" - Voudou Queen 7. Majora's Mask - " Astral Observatory" - SirCorn 8. Final Fantasy 7 - "Launching a Dream Into Space" - Zack Parrish 9. Mr. Driller - Drill Spirits - "The Moon" - AC 10. Ducktales - "The Moon" - Hemophiliac , Pixels & Paradiddles 11. Super Mario Land 2 - "Star Maze" - Dyluck What We Still Need: Remixers Performers Artwork Codirector? If you are interested in making a claim, or helping out in any of the capacities above feel free to post or DM me! *note, due to the short timeline, it is preferred that remixers have a demonstrated history of meeting deadlines and that mastering be taken by someone who has done it for a previous OCR project. with that said, We are GO for Launch! (all puns intended)

Maynard Keenan is that you?? Hehe I love the style and vocals reminiscent of certain musical groups I've listened to. Very interesting spin, and with the kind of angst Cloud goes through in FF7, this blends right in and I dig it. I can't speak to the RE part since I've never played one, but fantastic collab!

Sauvemente!? . . .Ay, mi los dios, suavemente. ♡ I'm sure I can come up with *something* for it. :P If you need help with anything else, just say.

Thanks Zack! Glad to have you on board!

Greetings Fellow OC'ers. I'm RJ (AKA RJ Van Xetten) and I've been listening to OC Remix since the early djpretzel launch at the wee age of 18 years old LOL (yeah I'm old hahah). I've always loved listening to everyone's remixes, and arrangements that they do, and it really inspired me to become a music producer. A little about me. I'm 44 years old, from Los Angeles, CA. I've been a gamer my whole life, but not so much as I got older. My first system I owned was the NES, and my first game's were Duck Hunt, Gyromite and came with R.O.B. (yes I still have him, no I won't sell him LOL). I'm a Trance/Hardstyle/Techno/EDM Producer since 2003 and DJ. I've played lots of festivals including Electric Daisy Carnival (EDC for you ravers out there!), Ultra Music Festival, and Dreamstate (playing again this year in November). My music is all over spotify/youtube/soundcloud. I know this probably is all boring stuff, but just wanted to drop by and say HELLO! Have a great morning/noon/evening to all! -RJ

Yeah, things got quieter for djp on the site because…*checks notes*…some guy who posted on PPR a lot decided to leave. Sure. The ego you have to have to come back to OCR, comment on a year-and-a-half old goodbye thread from our site’s founder, and somehow make it about yourself and your dumb grievances is astounding.

JESUS FUC-! You can't just pop in here like that! You'll scare the children!

It's the Orange Tree Samples Passion Flute.

Hiii I'm back after having a temporary break due to mental health... I should get started with it ngl... I'm actually trying to do this all by ear and I have a feeling it's not A4=440hz lol

Love the Title, I mean, thats the most important of a remix right?? Ahem. There's a lot of fun going on here and I am all for it. Maintains the groovy edginess of the original, but the heavier metal riffs and more spaced out keyboard/synth parts definitely inspires a slightly different mood. Overall I really enjoy this remix and pays proper homage to the OG soundtrack! 🤙

I'll master it. And claim a track. Need to find one first.

I have zero reason to believe this is AI, and the artist has an online presence that extends far enough back that I really have no doubt. He also mentioned his DAW and software, which is also quickly verifiable online. Nice typical Big Room arrangement here. Not sure why there is 3.3db of headroom, is this a premaster? The mixing is on the harsh side which I find unnecessary, every element has heavy distortion which means there isn't much contrast in the soundscape, and it feels somewhat abrasive. Not a dealbreaker, just makes it a bit hot on the eardrums. The lack of enough source makes it a dealbreaker for OCR however. Fun to hear in the big club though, I'm sure! NO

Uh, wow! Crazy talented group of musicians there, or, I imagine, one guy with like 8 instruments attached to his body in various ways..... Not a song I can listen to in the background, feel like it really forced my attention otherwise the song made me lost in the chaos of the changing instruments. Once I embraced this wild mix I got swept along and enjoyed this very unique piece. Bravo for coming up with such an interesting genre mash up.

Two sources that don't have a lot of melodic content - can definitely see why this is presenting source problems with my fellow judges. The piece isn't doing itself any favors by saving the most straightforward quotes of the source until the very end of the piece (the bassline rhythmic structure from Howling Gears being used only on the outro, for example). In times where a source has too simplistic a melody, or its defining features are in other facets of the piece (rhythmic structure, sound design, etc), it becomes much harder to nail down the tie between the remix and the source. And the spirit of Rule 3, as jnWake outlined above, is to make that distinction as clear as possible for the audience. On the panel, we're then tasked to ask, "when I listen to this section, am I making a connection to the source somehow?" Anyway, that's my preamble, onto the vote. It's a rare (and welcome!) vote on a VQ track where I don't have qualms with the production. There is some mud in the low-mids when all the layers start to coalesce (1:51 - 2:30, 3:50 - 4:25, 5:11 - 6:00), but it's not pulling me out of enjoying the track, so I'll live. I also agree with jnWake that the arrangement flows nicely - it certainly takes its time with basically a 2-minute slow burn intro, but the transitions between sections are excellent and the writing straddles the line between enough variance to feel developed and enough repetition to feel cohesive. The biggest problem the track has is source usage, as my fellow Js have noted. Both source tracks have a similar challenge to overcome from a remixing perspective, in that their actual melodic content is sparse to my ear. Howling Gears A has a single actual melodic phrase that I can pinpoint - the diminished leap in the synth. VQ's changed the interval to be something more palatable in the soundscape, but in doing so, I think it changes the character of the phrase enough that it's no longer easy to connect it back to Howling Gears. The arpeggiated runs in Howling Gears B are more clearly delineable, and they're woven in better. That leaves basically the rhythmic structure (the groove), not the notes, of the bassline, guitars, and drums to draw from in Howling Gears. Nidavellir's Shout has the portamento synth line as a melodic figure, as well as the even more melodic melody @ :26 in the source and B section melody @ :48. To my ear, the first 2:30 minutes of the piece is Howling Gears B (the modified arpeggio is the biggest tie, and even that feels tenuous to me), with the guitar coming in with the altered Howling Gears A melody around 1:12. If I am really listening for it, I can hear the Latin groove of the source's bassline at 1:50, but again, it's tenuous. 2:50 - 3:09 is much easier to identify as Nidavellir's Shout from the melody; I can't count the ostinato as the chord it outlines is not unique enough to Nidavellir's Shout. 3:10 - 4:27 comes back to Howling Gears B with the melody front and center in the guitar, and 4:32 - 5:11 returns us back to that modified Howling Gears A. 5:12 - 5:50 has no connective tissue that I can identify, and then we get the groove of the source bassline in the bass from 5:50 - 6:10. Timestamping gives me 233 seconds out of 376, or ~62% source if I include the tenuous spots, ~51% source if I don't (194 seconds out of 376). What it's coming down to, for me, is that I have to strain to hear the sources in this piece when our standards ask for very clear and identifiable - dominant, even! - source use. I think this is arranged and produced well, but all of the connective tissue just doesn't come through enough for me to pass this one. I would need to hear more clearly defined ties to the source, preferably early on in the track (within the first minute or so). NO (resubmit)

This is a wild romp through the Virulent source indeed, very creative and avante-garde. I like it, there's plenty of source and it's a fun listen. This version is not my master, and this master is as jnWake pointed out quite overhyped in the high mids and highs. The premaster was already quite heavy in those regions, as my master still indicates, but this master is screaming in the high mids and highs to the point of pain. The limiter has been cranked so high here, and also oddly it is limited at -1.2db which seems odd to me. I agree another shot at the master would be appropriate here. I'm happy to provide my master but that is absolutely not a requirement. NO (resubmit)

Here's my entry:) The reverb is intentionally "spacey"...tried to make it sound like your in a cave or mine. https://drive.google.com/file/d/1Cn8vdRNdOZLPiePOkonsx7xOkXgoNUgq/view?usp=sharing

loads of sound design and sfx clips to start. a beat starts to surface at 0:27, and the rhythmic foundation for the original N64 track can be heard in the patterns being played here - an interesting idea. there are steadily more melodic elements added in until we get to the break at ~1:02, and then 1:21 is where we start hearing more of the melodic material again. there's some alternations in here, and notably the choice of notes at 1:40 and 1:47.5 are a half-step off of the key (should prob be Eb-F instead of D-E to avoid the D-Ab tritone)). this is real intense for the most part and a toe-tapper of a section. i really like the super-heavy electro bass through all this. a mid-range element is added around 2:04 that feels a little too much and makes it a touch too dense, but overall this is a neat section. the melody coming in as a break near the end of it is a good glue section. between that initial part and the deconstruction that happens after, around 2:30. we get a wildly unexpected stylistic transition at 2:58 into...i guess hindi trap? the bassline here is really fun. this noodles quite a bit but is recognizable. there's another unexpected break before a short exploration of the opening few bars of the venom stabs, which morphs into a more brickwalled intense section of venom's stab section. there's way too much going on here and it's hard to hear any one thing, but i guess that's fitting for the style. the ending's a bit of a letdown after that level of intensity, but it's a fine ending and wraps the track. this is a surprisingly straightforward arrangement of the venom theme, for the most part. there's some really wild exploratory sections that probably could have been integrated better with more patience applied to the transitions, but what's here is interesting and approachable. YES edit 9/15: listening again with some of the context from subsequent votes. wake and chimpa are right - this is so very hot when compared to other edm. i didn't notice how much the high mids especially were pushing on my ears until i came in fresh. cosigning their votes. NO

opens with some filtered arps and wide synth elements - i really like this opening feel. the sfx panned to the sides might be a little loud on headphones. i don't hear any of Howling Gears in this opening section, although the arp is reminiscent of the B section as you stated. same issue at 0:36, i don't hear that pattern either, but i do catch the bassline when it comes in at 0:52. the guitar part is playing something that's reminiscent of the piano in the original after this, but to my ears the piano's playing an octave, and the guitar is playing a maj 6th. 2:35's a big shift, and shout's b melody is indeed present although i don't understand at all how it fits into the setting that's already present when it does come in. it sounds like it's in an entirely different key (the backing elements really look like Bb to me and shout's b melody is being played in Fm). the following guitar-led section is easier to understand and more obviously maps to gears. there's a big dropoff here before it gets back into gears again as interpreted earlier. there's a big filter that hits at 5:11 and doesn't sound like it goes away for a long time here - the bottom end feels like it's missing until almost 6:00 for a few seconds. this goes some pretty wide-ranging places, which is neat. my main concern is the source usage, because i don't hear it in extended stretches of the track. i am gonna need to do some timestamping on this because as-is there's not enough source. ? edit 9/4: thanks to jnwake for more in-depth analysis. even with the expanded source notes above, i just can't grok most of the connections that are called out. i would need more explicit, present instances of source material before i'd be able to consider this one. i also think the track would benefit from some more intentionality in the sections, but overall do agree that the track is generally well-produced and quite listenable. NO

Agreed with the others on more sophisticated production being a nice-to-have while also appreciating the interpretive arrangement and creative layering/texturing. The faux geetar sample at 1:23 deserved more humanization and heft, but we'll live. Referencing just supporting writing from the source from :15-:28 & 1:09-1:37 was a subtle but cool touch. Solid piece of business, Seth! YES

This is very cool, I personally don't like the genre very much but I enjoyed this one. It's short but gets the job done. Feels better produced then the Million Dollar track you referenced as inspiration as well. I do agree with prophetik on the leads being simple, but it's not a dealbreaker for me as they get changed between sections and don't overstay their welcome. In the future, I'd recommend using some modulation (of any kind) on them to help them move and add interest to them. The source is clear to me and there's plenty of great personalization not only in genre adaption but in soloing. 1:24 synth guitar was an example of new part writing that fit in with the track. Excellent transitions at 0:54 and 1:50. Nice work Seth! Fade out on such a short track isn't great, but feels appropriate for the genre for some reason. YES

Done I made 6 versions of the Valley song. Maybe I will submit one for the official submittal remix here.

Artist Name: Lucas Guimaraes Arrangement, Production, Mix, Master - Lucas Guimaraes Vocals - colorado weeks Bass, Additional Drums, most Guitar - Sly Man The source is plastered like, all over this 0:16-End - The rhythm that's played in the background on the bells 0:32-1:35 - Section A 1:36 - 2:08 - Section B 2:08 - 2:40 - Section C 2:41 - End - Section A I don't have a whole lot to say about this track. I'd been in the mood for making Vaporwave for a while thanks to Ridley Snipes. I've already been doing Synthwave for a while (with mixed results... but hey, I'm learning!). I was listening to some Vaporwave, heard this: https://www.youtube.com/watch?v=LYb57fJzV7k and thought "Wow, Thwomp Volcano fits with that!" So I worked on it in October... and then it hit my draft folder. DoD came up with DS/3DS Month and I was like "I guess I could finally release some songs I've been working on." so I recruited colorado for vocal chops and sly for bass. Honestly, it was one of the most fun collabs we had. We were a bit deadline tight, but I had a blast. I don't have much else to say about this track. If requested, I'd be glad to talk about the process in-depth more for the post, or to anyone interested in listening. The biggest thing I focused on here is making sure I got a good mix/the best sounding vaporwave *while* remaining true to the aesthetic... so some of the stuff you hear that might not be the cleanest mix (e.g. drowned in verb) are intentional Enjoy! Games & Sources

Really cool take on one of my favourite SMRPG songs! I'm always a sucker for songs built from one weird time signature. :D Referring the the review that talks about the original's sparse melodic ideas to choose from, interestingly the remake version has a bit more to work with (mostly an extra supplemental piano part), but this probably would have turned out a bit differently if that version was used as a base instead. I don't really listen to electronic styles of music very much, but I really appreciate the production choices on this! Especially the haunting voice somewhere in the middle.

The People's Remix Competition 352 PRCv14-14 Hello everyone and Welcome to the People's Remix Competition! Welcome to round 352 of PRC. OneUp, the person who has won the most PRC's of everyone managed to get another win, leaving Trism behind with the last place wooden spoon. Since OneUp already picked 22 sources before he was out of ideas so he decided to look in the request forum to find a source. Source: Warsong - Player Phase 1 (GEN) MIDI Source Information ThaSauce link: Click here to submit This selection is based on the following request: To submit a song at the compo page you can use the ThaSauce page. If you use this, an account is required. If you don't want to use ThaSauce, please upload the song somewhere else and post a download link in this thread. I recommend Soundcloud, don't forget to allow downloads to enable me to upload the song at ThaSauce. I will keep using ThaSauce as the place where all songs are located. If you want to use ThaSauce, the following steps should be done. Click the ThaSauce Link. Click the 'You are not logged in' button in the upper right. Click on 'register' (at the bottom). Read the terms and click 'I agree to these terms'. If you don't agree with them, upload the song somewhere else and post a download link as mentioned above (by doing that, you allow me to upload the song at ThaSauce. Continue the process by filling in your information. You will get a question to confirm that you're not a robot. Here are some possible answers: Name a compo: PRC Who organizes One Hour Compo: Starla Name a ThaSauce subdomain: compo.thasauce.net Who created Mega Mans: Capcom A confirmation mail will be send. There might be some issues with it (meaning that you don't get it), if that is the case, upload the song somewhere else as described above. Once registered, login with your username and password, go to the mentioned page and submit the song. If you want submit two or more songs you can create multiple ThaSauce accounts or upload the song somewhere else and post the download link. After uploading your song, please check if your song plays and can be downloaded and played without problems. Only upload MP3 files. PRC instructions The deadline is Wednesday July 19th 2017 at 10:59 pm ThaSauce time (18:00 UTC, 19:00 GMT), check the ThaSauce page for the exact time left. Make sure that the song is uploaded to ThaSauce or that there’s a download link posted in this thread. Note that this is one week longer as usual. I'll be on vacation between 9 and 24 July so I don't know if I'm able to check the status of the round. If no songs are submitted, there will be a five day extension (new deadline will be Monday July 24th). I might not be able to edit it on ThaSauce so please post a song in this thread with a download link in that case. If one song is submitted, that song is the winner (even if it's a bonus). If two or more songs are submitted voting starts as planned. If there are only multiple bonus mixes started, there will be a voting stage, or the mixers may decide who gets to pick a source. PRC353 will start directly after the end of the remixing stage of this round (on July 19th). This is even the case when PRC352 has an extension. I'll schedule this round on ThaSauce already and I will also open an Ocremix thread at the end of this week (without revealing the source already). You may enter as many mixes as you like and work with as many people as you like on each mix. You are free to create a second ThaSauce account for that if you use ThaSauce, it's needed to be able to upload a second remix if you use ThaSauce. Of course you can also upload it somewhere else and put a download link in this thread. Do not make qualitative comments on an entry until the results of the vote have been posted in this thread. Mixers cannot vote for themselves but if they vote they receive a free first place vote added onto their score. The winner of this round may select the source for PRC354. The winner of PRC350, OneUp, can only participate by submitting a Bonus Mix. His vote is doubled in the voting stage. This time, @Estrang will also have a double vote since Estrang made the request. You can find the full rules list at this page as well. Note that the rules for deadlines and extensions are a bit different this time. GOOD LUCK! PRC ThaSauce Home Page!

Fun* fact: The whole time I was working on mixing my submission I had a terrible head cold that clogged up my ears and made everything sound muffled. Listening to my submission again now, the mix sounds pretty bad I put a lot of work into my track, though, probably more than I have for any other track I've made so far, and I wonder if it might be up to OCR's standards. I cleaned up the mix and made a couple of minor tweaks to the song itself, and I'm looking for comments in the Post Your Remixes forum, if anyone is interested: Another fun fact: This is my first piece of work to contain homemade samples! *Not actually fun for me

My submission is in!

I want to start entering these again in the near future. Gotta get refamiliar with music stuff in general though, it's been years

Hmm... I'll give it a shot.