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OC ReMix Presents Vampire Variations: Volume III! October 31, 2015 Contact: press@ocremix.org FAIRFAX, VA... Celebrating Dracula's favorite holiday, Halloween, OverClocked ReMix today released its 54th arrangement album, Vampire Variations: Volume III. The album pays tribute to Super Castlevania IV, released by Konami in 1991 for the Super Nintendo Entertainment System. Featuring twenty-four tracks from twenty-three artists, Vampire Variations: Volume III represents the third directorial endeavor of French arranger Alexandre "Chernabogue" Mourey, and is available for free download at http://vampire.ocremix.org. Vampire Variations: Volume III includes a diverse roster of musicians honoring the work of composers Masanori Adachi and Taro Kudo by arranging it in a variety of musical genres with orchestral elements. Vampire Variations was made by fans, for fans, and is not affiliated with or endorsed by Konami; all original compositions are copyright their respective owners. Accompanying this newly-released third and final volume in the trilogy are re-released editions of Vampire Variations: Volumes I & II, originally published by KNGI and featuring arrangements of the first Castlevania for the NES, 1993's Rondo of Blood for the PC Engine CD and 1994's Bloodlines for the Sega Genesis, including brand new artwork for all three volumes by Andrew Warwick and a grand total of over 4 1/2 hours of music. "This is the end of a grand adventure," said director Alexandre Mourey. "It started all out as a simple tribute to Castlevania's 25th anniversary, and we're now celebrating its 30th with the final volume of the Vampire Variations trilogy. Once again, Dracula rises as humans wish to pay him tribute. I truly hope we have been able to do justice to the Castlevania series with this trilogy, and that people will appreciate our hard work." About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview Vampire Variations: Volume III: http://youtu.be/KKBHKD4uwio Download the Vampire Variations trilogy: http://vampire.ocremix.org Torrent: http://bt.ocremix.org/torrents/Vampire_Variations_Trilogy.torrent Comments/Reviews (Vol. I): http://ocremix.org/community/topic/42027- Comments/Reviews (Vol. II): http://ocremix.org/community/topic/42028- Comments/Reviews (Vol. III): http://ocremix.org/community/topic/42029-

01:44 I bet I heard Mystic Cave Zone Great arrangement as always!

This is excellent!!! Did you play this or sequence it, it is very natural and dynamic, both in playing style and mood. Piano sample is perfect. Well done Rexy, I love it!

And here we go!

I'll make up for it by totally making one if you can have the PATIENTS to wait, DOCTOR DAMNED edit: My mix is coming together really cool! I can't say it'll be totally different from what you heard from me, but it's gonna be a sweet, upbeat acoustic song, I think Iwata would have dug it

First rule of ReMix Club. Don't sell your art short. Seriously, there is a lot of music out there and if you can't get behind what you do then no one else will either. You have the start of what is an epic track, it's just not organized to be that way yet. To get as big of a soundscape as possible, which is what I think you are going for, you have to organize your sonic space perfectly which is no small task. Have a foreground where your leads are clearly audible and then multiple layers of background where more and more distance has to be covered in order for the sound to reach the listener. If you want to think of it as Art of the drawing kind, An artist uses lots of shadows and manipulation of size on a flat 2D canvas to give the viewer the impression of size and distance. In audio we use Volume Control, Delay, Reverb and Low Pass Filtering for the exact same thing. Decide what you want to have the furthest away, Then far but not quite as far, then close. For the furthest sounds Reverbs/Delays will be at the wettest, the LPF at it's steepest(to a degree, If you are going for really far away sounds you'll want to switch to a HPF and cleave away but it depends on the instrument itself and where you intend to put it) and volume relatively low. Then you can work your way up. Warning that it's really easy to overdo reverb and delay but if you practice the techniques for creating distance enough you'll be able to easily set up HUGE soundscapes this way for anything else you do. Also a huge Mass Effect fan myself. Good to see some ME inspired remixes!

The Mass Effect influence is very clear and it's great! The only bad thing about Mass Effect music is that there is not enough of it. Yes, the "instruments" playing the melodies really need to be louder. Let them shine. I would also change the lead 3:48 to the end. It sounds a bit generic.Please correct me if I'm wrong, but it sounds like pretty much everything is centered in the stereo field. Try panning things out left and right. Bass is fine being centered (provides foundation). Your transition at 2:04 sounded great! It might sound like the transition at 3:11 could use some work, but I think it works pretty well. You let the previous section fade a little bit before switching it up. You have an excellent start here! I can't wait to hear what you do with this track.

I also really enjoyed this compo! I mainly used it to test styles I'm just exploring and to improve my production skills (I'm sorry I didn't use you more tim, but I really wanted/needed to grow in production skills). I realize I didn't score much points, but I learned a lot and the competition was fierce. I also want to thank everyone for the feedback and positive mindset. Since submissions and albums take a long time to be released, this was a very welcome method of getting feedback on a very short time. So thanks everyone for some stressful but great weeks! EDIT: When BadAss 3 is released, I'll be available to turn this into an album. If nobody else has time to do so, I'll contact the mixers of the popular mixes around December

This def has a lot of potential. As far as focusing on sounds 1st vs arrangement 1st, it can work either way; I do a bit of a hybrid, but generally I tend to focus on sounds 1st because otherwise I'll wind up building my mix (that is, EQ, compression, how everything sits together) around "bad" or incomplete sounds. Some general thoughts: Needs more happening throughout. Some more pads, or arpeggios, or something. Especially at the end of phrases or patterns to help keep things interesting. Production-wise, it sounds like you're using some stock stuff, which is fine (I currently use mostly stock stuff in Logic), but def needs some a wee bit more attention to keep it from sounding too vanilla, patch-wise. You've definitely got some cool sound design going on, it just needs a little more work. Actually, what would help a lot of it is some attention to the mixing in general, especially in the reverb and delay departments: most of your patches are way too dry for the soundscape you're trying to build, IMO. Those two things alone would breath a ton of life into this track. Also put a compressor on your bass, that would help a lot. I personally like the lead you have, just roll off the bottom end (everything below 200 Hz or so - in fact most of your mix could use this - if it's not a bass-focused instrument like a kick or a bassline then it doesn't need those frequencies cluttering everything up - and some producers cut even higher than that and it really depends on the instrument. Using a graphic EQ with a visualizer to show each patch's range really helps too) and then give it some life with more verb or delay as mentioned above. (Jeez that's a clutter of thoughts, I hope that's all readable) Time-specific comments: 1:30: I echo brokenbirthday's thoughts about that sweeping synth that enters around this time; it feels too mechanical, for one thing, and it's got too much mud or something, EQ-wise... I would try scooping out some frequencies in the 200-500 range. If you want more specific help with that, just ask. After doing some EQ, I would compress it, for sure; then it may fit a bit better with what you're doing. 2:30 The resonant sweeps around this time are a bit piercing; be careful with those. Try reducing the resonance or compressing the patches that are sweeping so that those frequencies don't jump out like that, and the whole thing will feel smoother too. 3:10 Awkward transition is awkward; but you probably already knew that I really like the groove you've got going on though, keep that up. I'm pretty familiar with both themes (especially Elemental Stars - GS is one of my favorite games and I absolutely love that theme), and arrangement-wise (in terms of source usage), I don't notice any major problems; you've got plenty of melody and other harmonic stuff from both sources, as well as some great interpretation, IMO. In terms of the overall flow of the song, I feel like it works; I can see where you're going, and with some more TLC I think it'll be great. The beginning doesn't really bother me, but I definitely feel like it needs a proper ending. I hope I don't come across arrogant or overbearing; I'm pretty confident in my feedback but you're the artist here - this is your track - so let's definitely discuss further if you feel like I'm wrong about something or you want more help.

My first thought: the lead synth could definitely be better. Right now it sounds a bit lacking in fidelity, and a little too weak to be leading the rest of the arrangement. My intuition is saying that it should definitely be a heavily distorted electric guitar, but I recognize this as just my intuition; the main point is that needs to get the hell up and lead. It sounds like it's a bit too shy to do that, haha. I feel like this is a big part of what makes it sound unsatisfying. Also, I'm really not feeling that oscillating synth that comes in at about 1:30. I'm not sure what I would replace it with, or whether I'd keep it at all, I just feel like it isn't adding to the song as much as it's taking away. I actually really like the opening. It has a nice atmosphere and I can definitely see the Mass Effect influences. And I really like the bass. The arrangement as a whole isn't bad. It's definitely not shitty. I've heard shitty. This isn't. But this also isn't living up to it's full potential, which I feel like it has a lot of. I would start with finding better sounds to drive the arrangement before worrying too much about the structure and transitions, though.