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The Savage Land theme has always been one of my favorite video game music compositions, most likely because of its passing similarities to Isao Abe's better known Sagat theme from Street Fighter II. I tried my hand at reinterpreting the song with a bit of a grunge flavor by way of an aggressive drum sequence reminiscent of something Dave Grohl would have played for a Nirvana song. Though it softens the grit of the song, I retained the orchestral elements from the original composition because I believe it gives the piece an almost cinematic quality. Song Title: "Berserker Rage" (Wolverine Theme Remix) Originally Composed By: Isao Abe Arranged and Performed By: The Native Dialect BPM: 149 Time Signature: 4/4 Style: Grunge/Acid Jazz Hardware: iMac, Ibanez Talmon Software: GarageBand, Audacity Berserker Rage Source

That's what I did understand, but yeah, I do get the misunderstanding here. ^^ Voted ! Nice round, everyone !

I just realized that there's a potential for misunderstanding in my description of my submission. When I said that "I made something totally different from the source melody," I meant that I made a totally different kind of track using the source melody. The source melodies should be prominent and recognizable in my track.

Entry submitted! If I have time I'll do another listen tomorrow to see if I need to do any last minute tweaks.

You could have a more predetermined hard-set panning going on where each piano occupies like 70% of the stereo field left and right respectively, from lows to highs, or you could adjust the piano lines in a totally free form way in the stereo field, pretty much ignoring the idea of conventional microphone setups. If your arrangement is really defined by 2 pianos playing alongside, the idea of ignoring any conventional static setup of microphones seems like a real attraction to experiment and getting some unusual stereo sound out of the 2 pianos. I’m really just saying that ignoring any kind of believable setup could maybe elevate your piece to something different, unheard-of, and you might end up liking it better that way. I haven’t mixed much natural piano in a long while, but I remember that whenever there were some implied rules like bass notes on the left and highs on the right, it could be fun to break those. If you can defy expectations in a meaningful way, just go for it... it really all depends on what each piano is playing, and how they complement each other in the stereo field. You either write for a predetermined setting, and create a believable three dimensional tone, or you write for effect and free form, going freestyle with whatever free form panning you prefer at the moment. whatever Piano vsti and sequencer you’re using, you don’t have to flat mono them, right? You can probably do a compromise Where one piano does 70% of the stereo field from the left and the second one does 70% from the right. Whatever vsti you’re using, you can probably adjust the degree of stereo separation from 1-88 per key. So you can yourself decide how mono you want each piano to sound like. This all depends on whatever instrument you’re using, and the way your sequencer and built-in mixer corresponds with it, I suppose.

Bonus Entrant out!

Just chiming in - no matter what Soule did, this game's soundtrack is a part of many folks' childhoods, and nothing changes that. However, deciding to participate in this project is one of those topics where, personally, I don't think there's a right or wrong answer. I've explained my personal reasoning, and how I conceive of art in the abstract, but I'm not offended if anyone finds it unpersuasive/disagrees. Key thing is that no one gets judged, either way, for their decision on this, or attempts to equate others' decisions to participate with a tacit endorsement of the behavior in question.

STATEMENT It has recently been brought to our attention that certain accusations have been made against Jeremy Soule, the composer for Secret of Evermore. The accusations came to light long before we decided to tackle Secret or Evermore, however for whatever reason neither Dai nor myself were aware of it at the time. Since we were made aware of this information there's been a lot conversation between Dai and myself, with some input also being sought from @djpretzel. djp pointed me towards his statement attached to THIS POST he made back in April and has confirmed that OCR will be happy to release and promote the album. My outlook on the situation is similar to that expressed in the post linked above. I do not condone the actions of anyone seeking to abuse another in any setting. That should go without saying, but sadly in this day and age it probably should be spelled out. In the case of this album I am celebrating the music of the game, not necessarily the composer himself. Separating the art from the artist is always a dicey subject to tackle, but I am personally OK with carrying on with the project. Unfortunately, PLT creator and my assistant-director for this album @Drawn by Dai has decided to step down from the project in light of this information. He asked that I include the following statement in this post: I completely understand and respect his decision in this and it leads me to my next point of action. It's entirely possible that there other people now involved with this project who are also unaware of the controversy regarding the games composer. As such I will be contacting everyone individually asking them if they wish to continue on the album. If anyone wishes to leave them I will completely understand.

Hey remixers! I'm a huge fan of OCR and the great community! It's so awesome that this exists! Please listen to that epic video game tune! can't believe this hasn't been rock remix yet... as a fan of instrumental and especially electric lead guitar, it would be very cool to hear a instrumental rock arrange of this great song! I hope some guy like it, like it do Here are the links: or original but not so good version (because some rhythm tones...) Thank you guys any! no matter if some one do it! Cheers Marc

Haven't done one of these in so long....