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Hey guys. It's been a long time! I haven't submitted new remixes here in what feels like ages, however I've still been working on things. One of which I'd like to announce here. I've been developing a retro arcade game called Hive Bomber. It's a one-man project so it involved a lot more than music writing from me. It will be my 2nd released game (whether it makes it through Steam Greenlight or not) and I'm hoping it will appeal to the people who fondly remember the early 80s arcade games as I do. A brief description: The gameplay is simple. You control the Hive Bomber and assault enemy bee hives. Each hive has 4 randomly placed honey "cores". If you get all four, the hive self destructs. However, even numbered hives contain a randomly hidden queen which must be destroyed as well. Queens possess an impervious energy shield which is powered by the honey cores, so optimal gameplay will involve getting the honey before releasing the queen. Other bees work together to defend the hive from it's attacker. Workers repair the damaged hex cells. Defenders protect the hive and allies with their rechargeable bubble shield. Others fend off the Hive Bomber utilizing various attack behaviors. The Hive Bomber has a rainbow of forms it can take, each one represented as a powerup. You can have up to 2 forms that you can switch from at any one time. Each one has it's own weapon attributes and unique special ability. All forms can teleport to the opposite side of the hive if they have at least 1 teleport energy unit. The Steam Greenlight link: http://steamcommunity.com/sharedfiles/filedetails/?id=742007760 Checkout the trailer and screen shots, and if it looks like something you'd like to play, be sure to vote. The game's not 100% complete yet so any feedback/suggestions would be appreciated.

i don't think any good composer wants something to sound completely mechanical (100% perfectly-quantized rhythm, zero variation in velocities), because it sounds stiff and lifeless. It's not an "obsession"; it's the product of a trained ear. Mechanical notes are the equivalent of a real person playing with zero emotion, and evidently, a person cannot have 100% perfectly-quantized rhythm, nor can they have perfectly even note intensities in real life - that would be extremely unusual. For pianists as an example, a real person does not plunk down notes at the exact robotic intensity or rhythm on every single note (unless they truly try to play badly by slamming a finger onto a piano for every single note, which is not how anyone is supposed to play piano, even beginners who don't have experience using all their fingers on a piano). When we on the forums ask for humanization for a track to be submitted to OCR, we usually aren't saying, "go make it so no one, not even the best digital music composer in the world, can tell it's a sample." We're often saying, "make it so it's not so stiff in rhythm and intensity, so that there are actual dynamics in the song." The point of humanization is to give a sensation of dynamics, and that doesn't always require realistic rhythms and intensities. As long as the rhythm is not 100% quantized, and as long as the note intensities are varied, that's a step towards humanization - at that point, you should ask yourself, "is this how a human being would play it [approximately]?", and adjust further until at the time, you think it sounds good. It doesn't have to be convincing to everyone, but the "general audience" shouldn't be able to tell that much. Sometimes the rhythm and intensity adjustments are subtle, or sometimes they're kind of obvious, depending on your experience in rhythm. For example: Mechanical rhythm + intensity Mechanical rhythm Mechanical intensity Fairly realistic You should also consider the context - is the instrument in question exposed, or mixed down pretty well that it becomes harder to hear the qualities that tell you it needs humanization? So, for a solo piano performance, humanization is absolutely crucial; for something that features a piano but not at the forefront, probably not as necessary to be uber-realistic... With certain OSTs, people don't necessarily shoot for "man, I can't tell if this is a real band or not." As long as it fits the mood, era, etc. for the game, and the composer and other participants are happy with it, I think it's fine. It's what they were going for, probably. But I would say those standards are associated with the fact that the relevant OSTs are probably pretty old, like 8-bit, 16-bit, stuff that's pre-2000s - early 2000s. Or, it's based on dated styles. I don't think anyone expects something crazy-realistic from, say, Pokemon Sapphire's OST, but it fits for a GBA game. If it "holds up song writing", then it just means you need more practice working faster. It honestly doesn't make me slower, because I'm used to it, and I adjust velocities and rhythm as I go, instead of putting it off until the end. That way it doesn't feel like a lot of work left to do later. You don't want to grade 48 lab reports the day before they're due; you want to grade a few every day until you have to turn them in later, so that it's not such a pain for you.

Introduction Past and future collide as two factions clash in the greatest musical battle the world has ever seen. Armored heroes meet metal warriors on the battlefield of wailing guitars, dirty drops, and soaring strings. Get ready, ladies and gentlemen, it’s time for Robots vs. Knights! Current News MUSIC FOR THE FINAL BATTLE IS UP! Round 9: One vs. One Final Battle Team Robot Team Knight Squad Artist Source vs Source Artist Squad Rush Squad Gario Ballade vs Wandering Travelers JohnStacy Armor Squad Rush Squad Starpheonix Enker vs Shield Knight GCJ Armor Squad Rush Squad Thirdkoopa Mercury vs Shovel Knight Jorito Relic Squad Tango Squad Chiwalker Uranus vs Polar Knight theshaggyfreak Shovel Squad Tango Squad Yami Pluto vs Plague Knight akalink Armor Squad Tango Squad Ronald Poe Mars vs Propeller Knight Anorax Shovel Squad Beat Squad Trism Saturn vs Spectre Knight PlanarianHugger Shovel Squad Beat Squad Xenonetix Punk vs King Knight Dewey Newt Relic Squad Beat Squad MegaDrive Venus vs Mole Knight Arrow Relic Squad Remixes are due Sunday, June 18th at 9 PM EDT. All competitors will compose and produce remixes that combine both sources into one, cohesive piece of music. Collaboration with teammates is allowed, but the primary artists should be the competitors listed in the table above. All competitors are encouraged (but not required) to share WIPs with teammates in order to get constructive feedback. Good luck and happy mixing. A lot of team discussion is happening on the OC ReMix Discord, be sure to make yourselves available. As always, all participants (competitors and voters) are expected to adhere to the Competitions Code of Conduct. Scoreboard Battle Team Knight Team Robot Ballade vs Shovel Knight 2 0 Uranus vs Propeller Knight 0 2 Saturn vs Plague Knight 2 0 Enker vs Polar Knight 0 2 Pluto vs King Knight 0 2 Punk vs Shield Knight 2 0 Mercury vs Spectre Knight 0 2 Mars vs Mole Knight 0 0 Venus vs Wandering Travelers 0 2 Boss Battle vs Tinker Knight 0 9 Total 6 19 Teams Team Knight Artist Source Squad Anorax Propeller Knight Shovel Squad theshaggyfreak Polar Knight Shovel Squad PlanarianHugger Spectre Knight Shovel Squad akalink Plague Knight Armor Squad GCJ Shield Knight Armor Squad JohnStacy Wandering Travelers Armor Squad Jorito Shovel Knight Relic Squad Dewey Newt King Knight Relic Squad Arrow Mole Knight Relic Squad Team Robot Artist Source Squad Gario Ballade Rush Squad Starpheonix Enker Rush Squad Thirdkoopa Mercury Rush Squad Chiwalker Uranus Tango Squad Yami Pluto Tango Squad Ronald Poe Mars Tango Squad Trism Saturn Beat Squad Xenonetix Punk Beat Squad MegaDrive Venus Beat Squad Releases Round 1: Squad vs. Squad Block 1 Round 2: Squad vs. Squad Block 1 Round 3: Squad vs. Squad Block 1 Round 4: Boss Battle 1 Rounds 5-8: Block 2 Round 9: One vs. One Final Battle About Robots vs. Knights (RvK) is a Team vs. Team competition. It’s a new format that I’ve been developing for a couple of months now, combining elements of the head-to-head battles of the Remix Battle tournaments (GRMRB, etc.) with the teamwork aspect of Gauntlet tournaments (WCRG, etc.). Here’s the full breakdown of how it’s going to work. Sign-ups 18 people sign up. I’ll divide everyone into 2 teams of 9. I’ll be assigning people to their respective teams in order to ensure a balanced competition. Each team will be given a pool of sources to select from. Team members will decide how to assign sources themselves. I won’t be running a draft. Team Robots will be given a selection of sources from the Mega Man Game Boy games. Team Knights will be given a selection of sources from Shovel Knight. Each team will form 3 squads of 3 members each. The squad will be your group that you’ll rotate with throughout the competition, similar to the teams from gauntlet competitions. Squad-vs-Squad Battle 1 The first 3 rounds are squad-vs-squad battles. Each squad will decide their remixing order for the first three rounds and provide that to me. Each round, I’ll post 3 match-ups between squads on opposing teams. Each squad’s artist will submit a remix that uses their selected source and the opposing squad’s selected source. At the end of each round, artists send their remixes to me, I’ll put the tracks up, and people will vote. Each victory will earn points for the team. Boss Battle 1 The 4th round is a boss battle. I’ll post a boss theme source. All 6 squads will submit a remix that combines the boss theme with one of the squad’s sources. Any member of the squad can be the primary artist. The primary artist is not required to use their own personal source; they can use any of their squad’s 3 sources. At the end of the round, voters will select their 3 favorite remixes, unranked. The team that has the most selections at the end of the voting period will choose between two rewards: a chunk of points, or the right to counterpick in the next block of squad-vs-squad battles. Break 1 While votes are being collected for Boss Battle 1, we will take a week-long break, using the time to review remixes from past rounds. Squad-vs-Squad Battle 2 The next 3 rounds are squad-vs-squad battles. If a team has the right to counterpick, they’ll be provided the opposing team’s remixing orders first before determining their remixing orders. I will still determine the actual match-ups based on the updated remixing orders. The 3 rounds of squad-vs-squad battles are conducted as before. Boss Battle 2 The 8th round is another boss battle, conducted in the same way as the previous boss battle round. Break 2 While votes are being collected for Boss Battle 2, we will take a week-long break, using the time to review remixes from past rounds. One-vs-One Battle The 9th and final round is comprised of 9 one-on-one battles. If a team has earned the right to counterpick from the previous round, they’ll be allowed to determine the 9 match-ups; rematches of previous battles from the squad-vs-squad blocks are not allowed. If no team has counterpick, I’ll determine the match-ups. Each artist will be responsible for writing a remix that uses their selected source and their opponent’s source. At the end of the round, remixes will be submitted and voted on. The team with the most victories will earn a large chunk of points. The team with the most points at the end of the competition wins. Submissions and File Name Rules Submission All entries must be sent to me (DarkeSword) via PM on the forums. Please include your team name, squad name, and the round number in the subject line of your PM. I encode all MP3s myself, so please send me your submissions in 16bit, 44.1KHz WAV format. Don’t send MP3s. Please do not use MediaFire, RapidShare, or any other ad-ridden public sharing site as a host for your entry. There are many better options you can and should be using to host your music. I recommend Dropbox or SoundCloud. Make sure your files are downloadable. File Names If you worked on the remix without the help of your teammates: Team Robots - DarkeSword - Be Cool, Man (Ice Man vs. Polar Knight).wav If one team member helps you with your entry in a significant way and you want to give them credit, add their name as follows: Team Robots - DarkeSword feat. Neblix - Be Cool, Man (Ice Man vs. Polar Knight).wav If more than one team members help you with your entry in a significant way and you want to give them credit, add their names as follows: Team Robots - DarkeSword feat. Neblix, Liontamer - Be Cool, Man (Ice Man vs. Polar Knight).wav Notes Make sure you’re using proper capitalization for team names and character names. Put spaces on both sides of the hyphens between Team Name, Artist, and Title. If your remix’s title has special punctuation that you can’t include in the file name (e.g. \ / : \* ? " < > |), please let me know in your submission PM so I can include the correct title in the tags. Please follow the file name format exactly; I use the file names to make sure that all the metadata is correct when I tag the MP3s. It’s a massive pain sitting there renaming, re-spacing, and reformatting so that everything works properly with mp3tag’s file-name-to-tag tools, and ultimately it means that when you all do it right, I can get the music up for voting way faster. Voting Rules and Guidelines Voting is conducted publicly in the Public Voting forum. Every week, a thread will be created for the most recently completed round of remixing. Because RvK has two different types of rounds (squad-vs-squad and boss battle), please make sure you read and follow the instructions in the voting thread. Things to keep in mind when voting: The most important thing to consider when voting is how well the remix incorporates and arranges both themes. Production and enjoyability should also be considered, but this is primarily an arrangement competition. Everyone is allowed (and encouraged) to vote, including competitors. Everyone must adhere to the Competitions Code of Conduct. FAQ This is pretty interesting, but why are you doing this instead of just another Tournament or Gauntlet? The philosophy behind RvK is to create an environment where more artists will be working together to help and learn from each other. I want to tap into the spirit of teamwork and collaboration in a bigger way this tournament. Rather than just having two friends working on tracks with you week to week, you’ll have eight other teammates that you can use as resources. What do you mean by resources? In the past, I’ve tried to limit the amount of collaboration allowed in competitions because I wanted to make sure that people were putting forth a concerted effort to grow as artists on their own. While we’ll still be adhering to the idea of a Primary Artist for each remix in RvK, some of the limitations will be relaxed. Artists will be able to get help from all 8 of their teammates. This includes production help, session instruments, and arrangement feedback. The Primary Artist will still be responsible for the bulk of the work that goes into a remix, but they’ll have a lot more help in getting that remix polished up. How many remixes do I have to write? You will be responsible for at least 3 remixes: 2 remixes from the squad-vs-squad battles, and 1 remix in the final battle. You may also be responsible for any of the boss battle remixes, but that will be up to your team. Why can’t we choose our own teams? I’m going to determine the teams based on skill level in order to ensure fairness across the board. I want both teams to have a healthy balance between novices and veterans. Do we get to pick team names or squad names? No. The two teams will be known as Team Robots and Team Knights. I will also be setting the squad names which will be revealed once we get the competition started. I really want to be on Team Robots/Team Knights! Can you put me on that team? I’ll consider your preference but I can’t guarantee anything. Notes Stardroid sprites used in Team Robot sigs were colorized by onyx801.

Who is going to MAGLabs next month? http://magfest.org/maglabs It is the newly-named MAGFest Classic at the old location! Besides the elevators, the hotel was super sweet, and the smaller crowd it holds is a lot better for general chilling. Nothing can take the place of the legit main MAGFest, but the theme this year is sort of like Portal, and features a lot of experimentation. OverClocked ReMix is going to be there as well, experimenting with some new and cool panel ideas. Also, OverClocked community people performing there: DJ FLEXSTYLE OVERCLOCKED UNIVERSITY STARGATE Confirmed OverClocked community attendees: Arrow Bahamut DarkeSword Detective Tuesday djpretzel DragonAvenger Flexstyle Geoffrey Taucer Level 99 Neblix OA theshaggyfreak Tom the Drummer If you are coming to but aren't on the list, let me know so I can add you!

Heya everyone! I used to do quite a bit of remxing around here, but it was back a couple of years ago so I figure a lot of people here don't know who I am; You may have heard these; http://ocremix.org/remix/OCR01341 http://ocremix.org/remix/OCR01304 In any case, I've since then started a band called Contemplator, and we just released a full-length album, "Sonance", mixed and mastered by Colin Marston of Gorguts/Krallice/Dysrhythmia. It's somewhere in the middle of Dream Theater, Opeth, more extreme metal like Gorguts, Martyr, and a serious dose of VG influences. Live violin and viola (and cello) on the album are courtesy of Jeff Ball, another OCRemixer you might've heard of! So yeah, come visit us on Facebook, go have a listen to the album on Bandcamp or Youtube! I'd love to have your feedback on the music too! If you're really curious about the composition/recording/production process for the album, we also produced a short making-of video with footage from the studio and some blurbs about how we made this thing. https://contemplator.bandcamp.com https://www.facebook.com/ContemplatorBand/

Since the album is so close to completion, Brandon is retaining control of the FF3 album despite lacking forum privileges and it will still be released on OCR. He has been informed of this and agreed to it so I'm not sure why he's confused.

I'm really happy how this topic turned out. Thanks for the replies!

Something else on the topic of humanization in general. When you write with non real (fake) instruments, you indeed have to add all those tiny articulations and stuff and it takes up a lot of time, which might seem a bit of a wasted effort. But don't forget that when you use non fake (real) instruments you do the exact same thing. The art of phrasing isn't something as naturel as it may seem. When I write for ensembles I spent hours and hours on articulation notation. Singing the lines, seeing whether the third note needs a tenuto or an accent. The difference between a staccato and a marcato note is huge. The whole humanization concept is basically the same thing as when you're writing for non real (fake) instruments, and takes just as much time. When I play in an orchestra or combo or whatever and my sheets don't have any articulations on it, well, I just don't know what to make out of it. Humanization is an important part of music, whether you're using a midi keyboard, a symphonic orchestra, or if you're playing all instruments by yourself. Denying or underestimating its importance is a very dangerous thing which can't ever be good for your music. I'm not saying that you're doing that, but it's just generally a good thing to not see non real (fake) instruments as a different thing than non fake (real) instruments. Because, in the end, when you're writing for those instrument, you have to get into the instruments and player anyway, and try to see how you'd play it if you were actually playing. And then try to mimic the impression of the sound you have in your head and convey it either on paper, or in your DAW.

Let me rewrite your first post: What I really dont understand is how some people will always mention how a piece sound poorly mixed. Yes, bad mixing can sound unfocused or flat. But even when the song is really good, people still comment on how it doesnt sound "mixed well". But what yall need to understand is most people cant mix a song really well, or have access to really good listening equipment or a good effects library. If try to make everything "well mixed" by hand, it will take hours and hours and hold up song writing. The only way to fix this is by buying a flat-response studio monitor, and have at least 2 years of audio engineering under your belt, but most people starting out dont have that skill. I mean, if you listen to some songs made by Nintendo, you'll see they have the same problems as most other music made on a computer. And no one cares about that. I think we shouldnt focus to much on mixing instruments as long as the music is not repetitive. The same could be said about any aspect of music. Yes, it's nice if the song is good. Yes, people don't always care about the sequencing or mixing or whatever. But no, that doesn't mean it's not a problem, or that we shouldn't point it out and encourage people to solve it. Especially when that's the purpose of the post-your-music boards. You post there for feedback. If the feedback says your music is mechanical to the point where it bothers your listeners, then you should do something about it, right? I know it's a bit of a slog sometimes to learn and improve, especially if you already think your music is pretty good. Same for music that you hear good things in, and don't hear those bad things people are talking about. It sounds like a non-issue, because it doesn't matter to you. But as you get better at this stuff, it will matter to you. I don't listen to my first remixes on the site, because I hear so much wrong with them. I'm sitting on half a dozen otherwise finished mixes because there are small annoying things I'm not happy with, thing I know will bother me later if I don't deal with them somehow. I don't think the music needs to be realistic, but it needs to have an illusion of performance. My basses are often just quantized to a groove. That's enough illusion of performance for them, most of the time. But that's in mostly electronic music. Other sounds need other levels of performance illusion. That illusion of performance provides groove, dynamics, emotion beyond what the notes themselves provide. And that's important.

According to his blog post Brandon has no idea what to do about it. Hope that doesn't mean everybody will be waiting on each other for another year...

No problem; they're not major things, and this actually sounds good already. It's just advice for further improvement.

I know FL studio has a humanization option, but I can never find it. I just edit things by hand.

"Pretty much exactly what Timaeus said. Also, a keyboard is pretty much essential in this avenue. You don't need anything super fancy if cost is an issue. As for the "2 years of piano playing", most composers I know, professional and amateur, are mediocre at best, pretty crappy at worst. They're good enough to find chords, play basic melodies and arpeggios, but that's really all. If you just practice a little each day, you can get proficient enough to make your work quicker without having to edit too much or re-record." I say two years because that's how long I expect to get good at piano with a teacher. "But look, this is an art. It takes dedication and, most of all, patience. If you don't have either, you're not going to get far. You want a pass because you're bad at playing an instrument, you don't have the equipment, or you're slow in the editing. You remark about "2 years" as if that's ridiculous. Well, everyone else spent those "two years" (and many more), so why do you think you shouldn't have to?" I never implyed two years is stupid. I said two years to get to a respectable level inorder to make good music on the fly. Yes, I'm slow at editing. And that's partially because I like to take my time and not rush music. Please dont say things I never said. "Practice. Learn. Realize that it takes time to get better as a musician and don't expect to automatically get to where it has taken years for others to get. Make your music better rather than telling people to evaluate music differently." My music is not the centerpiece of the discussion. I agree with every body in this thread, Dont take things the wrong way. I was just observing all the comments on other people's music.

Go nuts

Had this game as a child and recently decided to replay it. Now this theme got stuck in my head. If someone would make a fast metal remix of it, I would highly appreciate it. Also it's kinda hard for me to write in English Also I couldn't find any kind or remix of any track from this game. I suppose it's overlooked?

Pretty much exactly what Timaeus said. Also, a keyboard is pretty much essential in this avenue. You don't need anything super fancy if cost is an issue. As for the "2 years of piano playing", most composers I know, professional and amateur, are mediocre at best, pretty crappy at worst. They're good enough to find chords, play basic melodies and arpeggios, but that's really all. If you just practice a little each day, you can get proficient enough to make your work quicker without having to edit too much or re-record. But look, this is an art. It takes dedication and, most of all, patience. If you don't have either, you're not going to get far. You want a pass because you're bad at playing an instrument, you don't have the equipment, or you're slow in the editing. You remark about "2 years" as if that's ridiculous. Well, everyone else spent those "two years" (and many more), so why do you think you shouldn't have to? Practice. Learn. Realize that it takes time to get better as a musician and don't expect to automatically get to where it has taken years for others to get. Make your music better rather than telling people to evaluate music differently.

no, it's just an unofficial OCR announcement thread. I just want Chrono series fans here to know about it & any updates to the project. where would I put something like that, DarkeSword ?

Still debating bringing a set of bagpipes to MagFest.

talk to me about it on the PoC discord server

I'll be there... first time in a few years now, although I'm still proud to say that I was at the very first one, way back when. Sometimes I still think of it by the original name "Mid-Atlantic Gaming Festival" - now there's some trivia for y'all. Looking forward to seeing you guys there; hit me up if - nay, WHEN - there's to be an OCR hangout! (Or two, or three...) Cell: 315-744-2839.

I have some free time coming up. Drop me a line if you need a singer. It'd be nice to do some collabs. I have two remixes on here with the awesome DJ Mystix. Check them out here... http://ocremix.org/artist/12106/claire-yaxley Throw "Claire Yaxley" into YouTube and you'll find lots more stuff. Mostly pop covers and a few live performances (I sing at pubs and weddings and, most recently, in the lunch hall at the school where I teach - hey, don't judge, those kids gave me a standing ovation!!)

Overwatch. Where it's possible to obtain technological super powers and become a funny and charming god of war. Isle Delfino from Mario Sunshine for that s u c c u l e n t s e a f o o d. @DarkeSword talked about Mario Kart beach locations, they're (at least, the more recent generation of games) are often based on Isle Delfino's aesthetic. Also, the world of Assassin's Creed, just to soak in the alternate world history where every major world event had something to do with the hidden (and for a good portion, religious) conflict between assassins and templars.

i'm just here for the musik.

I cannot guarantee a real update for Septemeber's deadline, as I'll start the recordings with various musicians soon (mah bois @Furilas and @AngelCityOutlaw, plus one/two people for the brass). I'll try to update as soon as there's something to tell/show, but since we have multiple tracks to reocrd/mix/finish, I don't know if a real WIP can happen by that time. Don't worry, I plan to finish this one before the end of the year

I'll be there. Should I start practicing tetris attack?

I'll be there. I decided to get a room a night early since parking space is kind of limited at the hotel and it'll help me escape some of the Friday morning traffic.

Sample of the first two or so minutes of my track will be up for you all to hear. This one is very easily coming together for some reason.

ESTHER'S DREAMS! Mellow VGM ReMixes & lullabies for gamers of ALL ages!! June 29, 2016 Contact: press@ocremix.org FAIRFAX, VA... djpretzel is the founder of OverClocked ReMix. His first daughter, Esther Fiona Lloyd, was born on December 19th, 2013. To celebrate, artists from the community came together for an album of lighter VGM arrangements, centering on themes of playtime, downtime & sleepytime. The end result is Esther's Dreams -- OverClocked ReMix's 59th arrangement album -- a free tribute to video game music that babies, infants, toddlers, kids, adults, parents, grandparents, and young & old alike can enjoy. Except for teens. ...Okay, teens too. Esther's Dreams features nearly two hours of music, including arrangements of The Legend of Zelda, Chrono Trigger, Super Mario 64 & more. We hope you enjoy it, and we especially hope that new parents get their little ones to sleep & play while introducing them to some of the best music there is - video game music! Esther's Dreams is available for free download at http://esther.ocremix.org. This album was produced to help promote video game music, the cuteness of babies, and the wonders of parenthood. Esther's Dreams was made by big fans, for lil' fans, and is not affiliated with or endorsed by any of the publishers or developers of the original games; all original compositions are copyright their respective owners. "The response to the call for tracks was tremendous, everyone was super-enthusiastic, and we received enough varied tracks to create three separate discs: Playtime, Downtime, and Sleepytime, with a mini-bonus disc of Sillytime," album co-director Kristina "Chimpazilla" Scheps explained. "We've got music for every baby mood!" 33 artists arranged video game themes as mellow music and lullabies suitable for your favorite young gamers and gamers-to-be, with 28 total games represented including: Animal Crossing Bravely Default Chrono Trigger DuckTales Final Fantasy series Gradius series .hack//Infection ilomilo Kingdom Hearts The Legend of Zelda series Mario & Luigi: Superstar Saga Paper Mario: The Thousand-Year Door Pokémon X & Y Secret of Mana The Secret of Monkey Island Skylanders: Spyro's Adventure Super Mario series To the Moon Yoshi Touch & Go; and Zone of the Enders. "Thank you especially to the artists for their inspired work, baby photos (!), and for sharing pieces of themselves in their music," album co-director Larry "Liontamer" Oji said in praise of the contributors. "They've not only come together to do something cool for lil' Esther, her mom Anna, and proud papa Dave as OCR's founder; they've also come together to create music infused with the energy of youth, innocence, love, and family. From our VGM-loving family to yours, enjoy!" 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. ### Download it: http://esther.ocremix.org Torrent: http://bt.ocremix.org/torrents/Esther's_Dreams.torrent Comments/Reviews: http://ocremix.org/community/topic/43841-/ Preview it: