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OC ReMix Presents Speeding Towards Adventures: 25 Years of Sonic the Hedgehog! June 22, 2017 Contact: press@ocremix.org FAIRFAX, VA... On the final day of Sonic's 25th anniversary year (gotta go fast!), OverClocked ReMix today released its 62nd free community arrangement album, Speeding Towards Adventures: 25 Years of Sonic the Hedgehog. Featuring 23 tracks from 30 artists, Speeding Towards Adventures pays tribute to numerous titles from the Sonic the Hedgehog series, and is co-directed by Russian community member Stepan "Black_Doom" Sudilovsky & Dutch musician Jorrith "Jorito" Schaap. The album is available for free download at http://sonic25.ocremix.org. Speeding Towards Adventures pulls together a deep group of musicians honoring the Sega sound team's music in a variety of styles, including rock, funk, electro swing, pop, orchestral, and more. Speeding Towards Adventures was made by fans, for fans, and is not affiliated with or endorsed by Sega or Sonic Team; all original compositions are copyright their respective owners. "The fast-paced addictive gameplay, vivid stages, and, of course, catchy music made my first experience of diving into Sonic universe one of the most memorable parts of my childhood," recounted album director Stepan Sudilovsky. "Then I started to learn more and more about Sonic the Hedgehog games, and they were all amazing to explore, but music remained the most enjoyable part of this entertainment." The scope of the album's game coverage starts from the original Sonic the Hedgehog and works up to 2010's Sonic Colors, tackling a full dozen Sonic games. Sudilovsky underscored the album's wide-ranging approach: "My vision for this project: cover as many games as possible, as well as to represent a variety of music genres to represent the variety of Sonic's journeys." The album's artwork was designed by British artist Davy "Odai" Owen, who also designed the artwork for OC ReMix's 2015 Heart of a Gamer album memorializing the late Nintendo president Satoru Iwata. "I was happy to be able to contribute some of my 'get stuff done' skills, and helping guide the album and all the people who collaborated towards the final product was a blast," affirmed album co-director Jorrith Schaap. "Really proud of the final result and I'm sure you'll enjoy the album as much as I did!" Speeding Towards Adventures also marks OC ReMix's fifth Sonic series album, following 2013's Temporal Duality (Sonic CD), 2011's The Sound of Speed (Sonic 1), 2006's Project Chaos (Sonic 3 & Knuckles), and 2005's Hedgehog Heaven (Sonic 2). 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 it: http://youtu.be/Yemuj9HbaBE Download it: http://sonic25.ocremix.org Torrent: http://bt.ocremix.org/torrents/Speeding_Towards_Adventures_-_25_Years_of_Sonic_the_Hedgehog.torrent Comments/Reviews: http://ocremix.org/community/topic/45902/

I'll admit that as much as I love retro game audio I never really came across much information regarding the specific sound chips of earlier consoles. It's one of those things where I always had an interest in them but would never be able to contribute to a conversation about them. While I was trying to remedy this I came across these videos that deconstruct the different channels to show how each channel was used in the resulting mix. If anyone is into how composers worked back in the day and the limitations they dealt with then these are an interesting watch.

Hello Guys, posting my first real piece of work that I feel like I can truly be happy with game-music wise, it's a remaster of the 4th level theme from Metal Slug 3, as in it stays more or less with the original source material, however all of the original instruments were redone with either higher-quality samplers or recorded with real guitars and bass. The track itself is looped once but it does have a definite ending piece worked in, as this song was basically a testing ground for me to really get my mix and mastering workflow just right, I have much more detailed remixes planned for the future. Tracked, Mixed and Mastered in REAPER through a Focusrite Scarlet 2i4 with Audio Techinica ATM-M50X Headphone Monitors and the IK Multimedia iLoud Micro Monitors.

Haven't heard it all yet but so far this is absolutely kick ass stuff!

Okay, I'm officially stunned. NEVER thought that Green Hill Zone - one of the most iconic themes and something truly calm and easy in its conception - would allow either 1) a remix as simple as whistling or 2) a remix that is lyrical, and yet it works, I can't believe it but it works, and I'll be damned if that isn't the catchiest damn song, aided tremendously by excellent lyrics. Wow wow wow. Never thought you could pull something like this off. SUPER impressive!!!

This isn't usually my style, but damn, by 0:47+ I was really beginning to waver, and the buildup to 1:45 is just plain fun. MAJOR props to the remixer, who obviously did their research and took the established remix track of remix tracks and took it in a new direction. I thought it wouldn't work. I was wrong. So happy that I was! Great job!!

The baseline is godly.

Really digging the Casiopea feel of this one. This takes real talent.

Ha yeah thanks man!

Updates: @Ronald Poe has given me an update of Fleet From the Stars. Give it a listen on the WIP spreadsheet! A new addition to the OCR Forum, @Your_Face, has joined our Audio Support team! His background is rock 'n' roll with plenty of recording studio experience, so he's also going to be on the Mastering Support crew as well. Welcome aboard! ---- 9 days before the deadline! ---- EDIT: Well ... apparently, @Your_Face will take the claim for the Attack Carrier theme (Corneria Boss - SF SNES) as well! What a guy... 3 claims left open ... We've almost got a full album!

Got a drumline project and a Layers of Fear remix to work on... don't think I will make it this round. Maybe I'll do something quick and goofy

got two builds for OCR folks incoming, one of whom isn't listed in the thread. looking forward to getting the parts and playing with more tech =)

Looks AWESOME. I'm very excited to see what they've done with this. The music for the trailer seems appropriately creepy and tense - hopefully this is an indication of the kind of music in the actual show. I wonder if we will hear any of the CVIII soundtrack remixed in this - it would be a shame if we didn't hear Beginning somewhere in there, being Trevor's theme and all. I'm not sure why everyone is disappointed with the anime style. What's wrong with it? Forgive my lack of terminology, but it seems like they went with a Ninja Scroll-esque approach, which doesn't seem wrong to me... were we expecting uber-CG or something?

I think he's calling all gaming format files "chiptunes", in this case. It's the wrong term, obviously, but that's what I gather from his post. NES has the .nsf files, Genesis has .vgm files, SNES has .spc, etc.. From a small search, it looks like the Gamecube equivalent would be the .hps or .adp file format, which does need a special plug-in for Winamp to read the files. I won't link any sites here (for questionable legality reasons), but do a quick search for "gamecube hps adp" and you'll find places to get your Gamecube native soundtracks and the necessary plug in for Winamp. Hope that helps.

And I don't even think the Sonic soundtracks make particularly effective use of the hardware, even if they sound good as they are. Last week I did a cover of Spring Yard precisely for this reason My videos showcase each individual channel so you can kind of see what's going on. But I also made the Deflemask project public so you can download Deflemask and open it there to take a closer look at what I did differently from the original. http://www.deflemask.com/forum/show-off-your-work/sonic-1-spring-yard-zone-(genesis)/

Wow, it's a shame that I missed this last year. I LOVE listening to things like this, but I was never able to figure out how to do that with Genesis channels (I love doing it with NES and SNES games, though). Great handling of timbre on the Sonic track, for sure.

If you are trying to encourage discussion on this, keep in mind that SF2 was halfway through localization before the project was canned. A lot of these are not errors, just placeholder names during translation. --- Taitania is likely the Japanese phonetic pronunciation of 'Titania.' (Ta-i-ta-ni-a) Fortune - well, I don't know what happened here. Probably a typo. Andorf - this is actually Andross' name in the Japanese version of SF. Coneria - also likely Japanese phonetic. (Ko-ne-ri-a)

ReMixer name: jnWake. Name of game(s) arranged: Sonic the Hedgehog 2. Name of arrangement: Chemical Fusion. Name of individual song(s) arranged: "Chemical Plant Zone". Note: This mix is included in the Sonic 25th album headed by Black_Doom. LINK TO ARRANGEMENT: Mix comments (same as the album ones): So, this'll be a slightly weird thing to say for a Sonic tribute album but I've actually never been a Sonic fan. Well, I guess that's because I never owned a Sega console so I didn't get many opportunities to actually play Sonic games as a kid. Despite that, I do have vivid memories of playing Sonic 2 and failing spectacularly and frequently at the Chemical Plant Zone stage. While the memory itself isn't particularly pleasant, it also comes with awesome background music!When the opportunity came to participate in this album, I immediately thought of covering one of Sonic 2's most obscure and less remixed tracks: Chemical Plant Zone! Uh, something's wrong with that affirmation... I tend to like covering tracks that aren't that popular but I couldn't help myself this time, since this track is simply phenomenal. So, when I started doing the mix I listened to the many (many) remixes of it that exist both here and on YouTube. To my "surprise", a large percent of them where what some people would call "technomanga". Ok, that isn't really surprising but this song is actually pretty funky so it surprised me a bit that nobody (that I could find) actually had done a more "conservative" remix, style-wise. With that in mind, I went for a more conservative take on the track inspired on its jazzier/funkier roots instead of the dance-oriented approach most other remixes went with.Talking about the remix, I also settled on a small goal: using FM patches. To get a bit of that Genesis feel I tried my hand at crafting some patches with FM8 for this remix. The bass patch and the two synth leads were born this way! I'm no expert at using FM8 but I like how they came out!On the arrangement, I didn't go for anything really complex but I'll detail it here anyway:- 0:00 - 0:30: Pretty straightforward take on the first section of the source.- 0:30 - 0:45: Based on the second melody of the source. Chord progression is "original".- 0:45 - 1:27: Synth/Guitar solo duel! Backing chords are an alteration of the first section. Also, drum solo!- 1:27 - 1:43: Straightforward take on the second section of the source.- 1:43 - 2:09: Based on the melody of the previous section.- 2:09 - 2:34: Based on the third section of the source (the transition that ends the loop). - 2:34 - End: Based on the first section of the source, taking some liberties here and thereHope you like it!Also, I should thank to timaeus since he gave some feedback when I was finishing the track and helped master it.

I have music knowledge! So I guess I have to talk about one of my fave Sega soundtracks now... um... Oh! Jet Set Radio! I actually have the OSTs to both JSR games on my iPhone... and wish to have the entire works of Hideki Naganuma on there one day... so I guess I have no other choice. So... 1. Why does it fit? Well, first off, the "protagonists" are gangs who listen to a pirate radio station. A pirate radio station usually plays music that isn't considered "mainstream". Back in the early 00s (when JSR came out) that was big beat and indie rock. So what does Naganuma do? He puts his own spin on the Fatboy Slim ethos, brings in little-known band Guitar Vader, and even brings in Rob Zombie for the US soundtrack. This goes even further in JSRF, where the soundtrack has artists like Cibo Matto and Scapegoat Wax that no one has even heard of. 2. What does it accomplish? Let's take a look at the title screen of JSR for an example. You boot up the game and you're greeted with the game's logo (as well as Professor K shouting it out) and a Rudie is skating around Shibuya Terminal. But most important of all, Hideki Naganuma's funky-as-hell "Let Mom Sleep" is blaring in the background. This music makes a statement, and that statement is Hey! You're playing something fresh and funky, yo, and you're about to have a BLAST! Elsewhere, let's say Final Groove, "Grace and Glory" fits the creepy, demonic atmosphere that the so-called Devil's Contract is supposed be infused with, and in the Kogane residential area mission where "'Bout the City" is playing, it creates a feeling of rocking out and tearing up the establishment - which the Rudies are definitely all about. In JSRF, "Funky Dealer" is the song that kicks off your graffiti streak, and there's only one thing this song could possibly be saying - WELCOME TO DA CLUB, BIYATCH! 3. What techniques did Hideki Naganuma use that made this piece so effective in this section of the game? "Let Mom Sleep" has various elements that blend together to make it the bar-setting funkfest that it is. The use of the brass samples at the beginning of the song has to be commended, as they add a funky 'kick' to the end of the first two bars. The organ sample from "Opposites Attract" helps to launch the song, too. Pretty much everything from the drums to the samples of 'Mom' complaining about the radio is used to maintain that all-important, rebellious, Rudie funk. Going back to "Grace and Glory", the chanting and organ at the start perfectly reinforce what the Devil's Contract is rumoured to do, and the mystical, evil feeling doesn't stop there. Naganuma-san uses samples of people screaming in pain, for crying out loud! The funk's still there, though, in the form of the bassline - though it has just the right soundfont to make you feel spooked out. That more along the lines of what you wanted, Darke?

My bad DarkeSword. Didn't even notice these threads were under the music history forum. Just assumed this was the general music forum. Still no excuse for lazy posting on my part. Anyhoo, to dive a bit deeper into why I enjoy the Super Monkey Ball 2 soundtrack in context of the game. Besides sounding good, the juxtaposition between these bright environments and characters with music that becomes increasingly more ambient and darker by the time you reach the last two boss worlds gives a unique feel to the game. Maybe if I had a little more music knowledge and experience I could dig into why that is, but just as someone who enjoys games and music the soundtrack did an excellent job of matching the environments, and in a game where you're dying frequently and having to replay stages countless times over, the last thing the music should do is become a nuisance. Perhaps that's why the music becomes more ambient as the game progresses: to not needlessly draw the player's attention as the difficulty of each stage ramps up. May not have been the intention, but definitely an interesting coincedence.

I sure hope so. It's directly mentioned in the submission guidelines.... If you read the remainder, you can infer that a ReMix with minimal distortion, clipping, etc. are generally acceptable. There are many ocremixes with great dynamics. Several examples... Orchestral: Atmospheric (shameless plug for mine!) Acoustic: Cinematic: Drum & Bass: That covers many different genres of varying dynamics, each with considerably different mastering considerations. As long as your track reaches normal volumes, and the dynamic range is not really drastic (that your volume has to be adjusted mid-song) or really minimal or pushed (that distortion, clipping, overcompression, etc occurs), it's probably acceptable.