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I wrote an entire snes-style soundtrack with my own custom built sound-set a couple of years ago, for a game that at the time very closely resembed a real 16 bit JRPG. The game has since changed direction enough that this music will no longer be the best fit, but I just recently got permission to release that version of the soundtrack. I've been doing it 1 song at a time through my soundcloud. 18 are up now and more are coming soon. I think you guys will enjoy these. The square and enix OSTs from the 90s snes era are SUCH a hugely formative and inspirational thing to me, so getting to attempt this was a very powerful emotional experience and I'm really glad I got to do it.

YOOOO, WE'RE IN EVAAAAAL Tracks are 98% done, the art is PHENOMENAL, and everything at this point is on DaMonz, me, and staff. It's been a long road, friends, but WE'RE ALMOST THERE. Thanks for all your hard work everyone =)

Gario's got the business down, so I just want to say this: It's working, trust me. A lot of people are going to dig this.

This will have to be discussed with the game director, as of yet I only have permission to release them in this format, as far as an official soundtrack album through bandcamp or something, that is possible, but not yet worked out. I'll definitely be pushing for something of that nature and I will give an update if we're able to move forward with that. Also, thanks a million for the support Shariq, really glad you enjoyed piano+violin versions!

First off, thanks for the criticism, @Bowlerhat, I agree with some of the things you said! And you are a musician too, I know this is coming from a good place. On to discussions: Upon listening to it with this in mind, the big big jump I hear is the one going into 2:40ish, but looking at the score, it modulates to the subdominant, which might be what you are hearing (?), and texture-wise, its still pretty busy. Shaker + set, saxes take a back seat, the orchestration is similar to all that came before. HOWEVER, the textures are sparse during the solos to give them lots of room. When the guitar takes over melody at 2:40ish, the orchestration gets thicker again. That may be contributing to jumpiness / medleyness. And yeah, technically it is a medley, too. Really its 4 songs in 1, but Bonetrousle is dominant with the other 3 in the middle only once through or something. NOW, I CAN TOTALLY see some lack of cohesion where you are talking about that piano gliss going into the more latin section. That totally the arranger's fault (me). I think the next sections make up for that some. How so? The majority of that line is parallel thirds, I believe, maybe I rushed when I was playing tenor It's foreshadowing melody over A section material. I would totally write something like that again, I thought it was cool. @Mannywing gave me a pat on the back for that one, especially it finishes out in the second half of the true A section melody. We thought it welded those themes together without intruding. I feel you dude, but I wanted FULL instrumentation there to prepare for the final cadence before those 4 bars of drums. Thaaank you so much - I was really proud of that one. I had to spend time crafting it, tinkering. @Mannywing would know better than I, but I hadn't thought about that. Great suggestion. In closing, I am aware that there are a lot moving parts in this machine, but it achieved the level of complexity I wanted. I believe in finding more things to latch onto as you listen through than once. I DO BELIEVE it would have benefited from being recorded live with all the musicians in the room, but unfortunately, that requires a lot of players, a lot of gear, and a lot of time. We did this with 5 people, some mics, and a couple of preamps, and its a sure thing that mixing that many different tracks is tricky-dicky. Keeping all your words in mind going forward, I am so glad you listened to it. Currently, I am writing stuff with thinner orchestration, which might help with what you thought was distracting. But, yeah man, I am glad I read your post! Let me know what you think of my responses. Peace, - Hank "The Spank Tank" Jankerson -

Is the microphone a directional one or an omni? It'd be odd that it's catching so much of the reverb if it were a directional microphone - an omni would absolutely cause some issue, in that regard. The upright piano sound comes from the intonation of the piano itself. I was just a goof on that, and was trying to cover my bases as much as possible giving advice on both styles of piano. Good luck on the next recording, though - I look forward to it.

It's tedious and bleak. At least the soundtrack is good.

EVAL Damn, this is filled with quite a lot of emotion. It honestly sounds like improve on a piano that you might here in church, with slick flute above. It's very different, and it's something that I personally enjoy quite a lot. It's a little nostalgic, in some ways. The flute is very jazzy, and works wonderfully with the piano. Sometimes it loses a little power and becomes a touch too quiet, but it's not that big of an issue to an otherwise great performance. I can hear the issue that you have with the piano - it sounds like it's recorded in the back of a room, whereas the flute sounds more up close and personal. That's an issue with the recording set-up; you probably have the mic somewhere in the room, correct? For a grand piano the ideal recording placement is to take two microphones and place one in the room (like yours is now) and one above the strings. That way you can mix the reverb as you please against a more clean sound. From what I can tell, though, this isn't a grand (or baby grand) - it sounds more like an upright. The ideal placement in this case is one mic in the room (again, as it is here) and one right behind the upright. If you want the best sound, you can remove the back panel of the upright and expose the strings - that way you can place the microphone similarly to how you place it on a grand piano. If you only have one microphone to use, placing it on the back of the piano will give you the cleaner, stronger recording, and thus will let you add whatever reverb you like (though I really like the reverb here - it's something that can't be imitated easily at all). The piano itself is slightly out of tune, as well, but I actually think that's part of this piece's charm. When the piano is just slightly out of tune, it actually makes the whole tone warmer. Again, something that is very difficult to imitate, so I would personally take advantage of that. The piano execution has a few mistakes here and there, too - the judges would catch you on that. They're not frequent, but it'll knock it down a little bit. As far as whether this can pass the panel as it is, I think it has a shot, but the piano recording might hold it back a little bit. You might be able to mix it more to the front to give it more presence, but I'm not sure if that would take it over the bar on it's own. I really like this performance and overall mood, though. It's up to you - it has a shot on the panel, but if you're not comfortable with the piano recording here hopefully my recording set-up advice will help you get the recording quality you want. Good luck! I think this is a great idea for a track, so I hope it does make it's way to the panel, either as-is or with a more ideal recording.

Yes...same here. Very near in the future i have to experience this wonderful adventure again :). Thanks for the feedback. I thought about making some improvisation and actually had recorded some, but i didn't use it in the end. I came to a conclusion that i wanted to make this cover sound almost like the original, but still a little bit different with my playing (acoustic guitar, piano...). But yeah...it was kind of a thing to get my music, video and other stuff rolling again :). I think it's very possible that i try to record and make some new kind of arrangement for this. I just have to train more frequently and expand my vision for the improvisation

Well, the drone is not "atonal" exactly, much of it is a quarter-step lower - so about midway between D (the tonic) and Db as I recall. Thought it was a fitting sample, at least in the initial incarnation of the track since the beginning has a sort of horror feel. Carry on.

A great remix good job guy !

Wow, thanks for the in-depth response. Gonna mull this over with @HankTheSpankTankJankerson - get back to you later this week?

if you don't like the Metroid Primes, you're wrong

I got to hear this one a few months early, and I fell in love with it immediately. Such a good album!

I don't think that the Shinespark tricks required in AM2R are more difficult than those required in Fusion and Zero Mission for 100%, fwiw. And though I like the extension of Metroid 1 that Zero Mission offers, I will say that I would have been livid if it were inserted into Metroid 1 proper instead of being placed after, if that makes sense. As for Metroid Prime: Though you may not be comfortable with first-person movement as much, the reason it's so well-regarded is because it absolutely has the best platforming physics (e.g. requiring jumping) of any first-person shooter ever. Consider the platforming sections in Turok: Dinosaur Hunter for N64 or some other game, and it's a whole new world. In 2002, the graphics were also out-of-this-world good, which doesn't hurt at all (seeing accurate reflections, including Samus' own face in the right lighting, was a new thing back then). The Morph Ball sections are about as good as you can possibly get in 3D as well. Not saying you have to like it or anything (Newt doesn't particularly care for them either, and he loves 2D platformers), but I'll say that there will probably never be a _better_ conversion of the franchise to 3D than the first Prime game.

Thanks for the heads up, and no worries. We get where you're coming from.

Throwing out a reminder - less than 2 weeks before the deadline for this! Also, a recent question came up about medleys - yes, medleys of game music from either the same or different series are allowed. Submissions do not need to be arrangements of just one game track. All submissions can be sent to: bandbattle@originalsoundversion.com

I got really excited about this album when I saw the trailer a week or so ago, it feels like a long time ago since I'd been that hyped up about an upcoming album, and it felt great! I haven't been checking out as much of the new content here on OCR as I would like in recent years (mostly just busier, sorrrrrry!), but I knew this album was going to be a must-get as soon as it was out for me, and I could not have been more right. To give some background, I never really considered myself much of a jazz fan until I discovered OCR many years ago, and just sort of absorbed a love of the genre of jazz through some kind of musical osmosis without even realizing it from the many excellent jazz remixes I've encountered here over the years. This eventually resulted in me becoming a fan of non-VGM related jazz music as well, and I have OCR to thank for that, which I could not be happier about! So with that out of the way, few things could be more of a perfect storm than a Chrono Trigger Jazz Album for me, and it's every bit as awesome as I could have hoped for. A couple listens through, I can safely say that I love the way every single track flows, that perfect combination of keeping the source tune alive while improvising just works so well here. While I almost don't want to single any one track out, I'd be lying if I didn't mention "Dream of Green" cause let's face it, there is simply no such thing as too many remixes of "Secret of the Forest" and this one is as good as any that came before it! Thanks for an awesome album, OC Jazz Collective!

Listening to the album now. Nice arrangements and playing in all the tracks, definitely a nice tribute! My favourites on first listen: - Time's Seal. Cool rendition of the original. - Dream of Green. Forest theme lends itself well to jazz with the cool chord progressions and ambient mood. I love the strong accentuated chords in the "chorus". My favourite of the album. Also really like the bass and synth lead. - Fight or Flight. Love the change at 1:10. Like that this one is more upbeat. And it has a drum solo! - Driftwood. Another source very suited for jazz! Really nice! All tracks were cool but the 4 above were my favourite.

OC ReMix presents Chronology: A Jazz Tribute to Chrono Trigger! August 22, 2016 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 60th arrangement album, Chronology: A Jazz Tribute to Chrono Trigger. Coinciding with today's 21st anniversary of Chrono Trigger in North America, the album pays tribute to Chrono Trigger, released by Square in 1995 for the SNES. Featuring eight vibrant arrangements from the OC Jazz Collective, Chronology is directed by OC ReMixer, multi-instrumentalist, and arranger Dylan "Wiesty" Wiest, and is available for free download at http://chronology.ocremix.org. Chronology includes a deep roster of jazz musicians honoring Yasunori Mitsuda and Nobuo Uematsu's timeless soundtrack in the Chrono series by arranging several themes for improvisational jazz. Chronology was made by fans, for fans, and is not affiliated with or endorsed by Square Enix; all original compositions are copyright their respective owners. "I was able to assemble my own 'dream team' of musicians and arrangers on OC ReMix who all shared a passion for jazz and video game music. I felt Chrono Trigger would be an ideal candidate for our first release given [...] the fact that Mitsuda's music lends itself so well to jazz and improvisation," recalled director Dylan Wiest. Speaking to the format and end result of the album, Wiest explained, "Jazz is a social music best captured in the moment... and while the production process of this album was anything but 'in the moment,' I think the album's sound and cohesiveness will speak for itself." The album's cover artwork was designed by Andrew "OA" Luers, who also created the visuals for OC ReMix's Final Fantasy VI: Balance and Ruin album, which raised over $153,000 via Kickstarter in 2013. Supplementing Luers' cover artwork are nine visual art pieces from several artists depicting Chrono Trigger's various eras from Prehistory to the End of Time. "The musicians and artists on this album have put in countless hours of practice and recording to produce an album which I think sounds authentic and natural," observed Wiest, who steps forward with his first OC ReMix directorial effort by assembling and leading the OC Jazz Collective. Also featured alongside the OC Jazz Collective are the Triplepoint Trio of Doug Perry, Sam Suggs, and Jonny Allen, formed at the prestigious Yale School of Music. Weist added, "It has been an honour getting to know and work with these talented artists from different parts of the world. Each of them brings their own unique sound and nuances to the album and without each and every one of them this album would not have been possible. I hope that our devotion to detail will be apparent in the music and that you will enjoy Chronology: A Jazz Tribute to Chrono Trigger." Chronology marks OC ReMix's second Chrono Trigger album dedicated to a specific musical style, following 2006's Chrono Symphonic, which focused on symphonic and orchestral arrangements. The album is also OC ReMix's second dedicated to live instruments following Sebastian Freij's 2015 project, Seven Songs for Seventh Saga, featuring Freij arranging and performing music from Japanese RPG The 7th Saga for cello trio. 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 Chronology: http://chronology.ocremix.org Torrent: http://bt.ocremix.org/torrents/Chronology_-_A_Jazz_Tribute_to_Chrono_Trigger.torrent Comments/Reviews: http://ocremix.org/community/topic/44200-/ Preview Chronology: http://youtu.be/3wiyaNlffwY

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!!)

Fair enough, if this is the case. Just trying to encourage a new remix!

Well, he did say he was doing it primarily to get back into things, so I think he's just showing it for the sake of it.

Oh snap I actually finished a song.

Hi all, This is Digital Coma, the "director" or organizer for this album. It's been more than a decade since I was last involved in OCR and Kong in Concert feels like a lifetime ago, but I thought I'd drop by and say a few words after all these years. It's pretty neat to see that KiC still has an audience almost 12 years on. Looking back, it's safe to say that I didn't always know what I was doing with what was to be the follow up to OCR's very first remix album. We did things on the fly, we struggled to put together a team, and there were plenty of mistakes made along the way. But what started out as a small summer side project with no lack of naysayers and haters ended up a surprisingly big hit, and in the end we had a solid homage album whose impact in the community I'm happy to see continues today. I won't say much more since I like that there's some legend surrounding how everything came together. But I do want to give thanks to everyone who's enjoyed the music over the years, and a special thanks to the remixers, djp, and OCR for making it all possible. Cheers, DC