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Thank you for the explanation @Bundeslang Guess you have me there. What I wanted to say was, that I arrange my pieces the "old way", writing a score, recording it, and then probably start shuffling around parts. Something like that, it's a weird workflow somewhere between digital and analog working where I'm not sure if the word "flow" satisfies its meaning.

Congratulations @TheVideoGamer Awesome job!

Isn't arranging a piece remixing it? XD

I used the MIDI in FL Studio and just changed the order. I added an Image. The left is the original, the right is the reversed version, leaving the drums intact. Since this is a small source, I did it note by note (at some points I had to make some small corrections).

Good stuff everyone, and gratz to TVG. Always a treat to hear all these songs.

Congrats, @TheVideoGamer!! :3

Congratulations to everyone and especially @TheVideoGamer ! Well deserved win! And thank's again to everyone for the kind and instructive feedback! So, do you reverse the MIDI or the audio to start the remix - or both? I'm a little curious about that workflow. (Never done actual remixing, only the type of rearranging you heard in these competitions.)

Will do! ♥

You can always submit it here if you like.

It's results time. Bundeslang got 5 points and gets the last place wooden spoon. Reversing the song doesn't mean the expected results are reversed. Souperion has 8 points and gets fourth place. Anachromium and Wassup Thunder both gathered 15 points, worth a second place. And the winner of PRC422 is TheVideoGamer with 20 points. TheVideoGamer you are the winner. You may pick a source for PRC425. Send the source to me (with a MID/MP3 file, otherwise send a second source with a MID file) by PM, other options are PM me @ ThaSauce or by e-mailing to bambombim@gmail.com (I prefer a PM @Ocremix). Send your source as fast as you can, but before next Wednesday (31 March 2021), 11:00 AM ThaSauce time (18:00 UTC, 19:00 GMT). You may select any source from any game, but not a source with an OverClocked remix or a source which has been used in PRC before. An overview of the past PRC's can be found in the following links (I recently updated this site): http://sites.google.com/site/bambombim/prc http://bambombim.googlepages.com/PRCRemixList.doc (also downloadable via the link above). http://compo.thasauce.net/rounds/view/PRC423 for the votes and comments. PRC424 already started: Backward remixing (the source the other way around) was done before at Vgmix, but Kijee's Wily Power (Mega Man 3 - Wily Castle 2) was more a joke song (it was not a remix, but just the original backwards and some effects in it): it is still at http://vgmixarchive.com/. I also plan to make a 'Wily Power' version of that source.

I have such a deep appreciation for what you did here Julien. Our community is, of course, full of artists who are passionate about their craft, it's rare that we see a submission where the concept behind the arrangement is so deliberate. I mean, I can't think of any other submission in my time as an evaluator that has come with multiple pages of PDF documentation! Everything else aside, I commend you for your effort and creative vision. I initially had a hard time wrapping my mind around this, but I think Brad used the perfect word to describe what's going on here and it helped me understand what you were going for: asymmetrical. There's a level of beauty that can be evoked by mashing together such disparate styles that couldn't have been conveyed if any of these individual musical ideas were fleshed out into their own track. It's imbalanced at times, but by design. The ambient synth sound design, skull-crushing metal riffs, and old-school dark techno synths all contribute to something that feels much greater than the sum of its parts! Very happy to welcome you aboard to OCRemix! Congratulations. YES

Wow, what an arrangement! I don't know whether to go introspective on life, shred an air guitar or pull off an indoor rave - it's a mishmash of styles that so fittingly work cohesively around a sparse arpeggio of a source. There are great techniques involved in all of them - the first one during the intro is handled straight and gets more warped from the bit crushing at the end of the loop, then it returns during the Basshunter-style hardcore section at 2:10 and adapts to the sudden time signature change. And for the final two runs at 2:56, you changed the key and doubled up the arp's notation. The chords remained uniform across all four showings, though, but it's required to demonstrate the rhythms' creativity. Oddly enough, I can't see any significant mixdown problems in the first metal section at 1:47. Yes, it's a textural shift from the intro that swaps out warmth for crunchier tones, but the soundscape didn't feel empty for it. The second metal section at 2:56 improved on that front due to the rhythm guitars providing support from the low mids to compliment the synth lead. If anything, I was more concerned about the lack of any other percussion at 2:10, with only a four-on-the-floor kick drum present - but the occasional sharp attacks on your synths and gated pads provide a suitable hi-hat replacement. The mixdown otherwise feels clean and smart, and while I can't be able to hear your non-Morse nuggets, I can feel your intent from the sound design and expression work - and it made me wonder how you put in this imagery. Even with its flaws, it has treated the source well and has a cohesive enough production to get onto the front page. But in a vacuum, the choice of source material and arrangement direction was what I needed to unleash buckets of built-up energy all at once - so I thank you for submitting this. Consider it an impactful debut! YES

love the backstory, really fun idea. very creative. i love this source since it's one of the first original tracks i ever remixed. the intro is really atmospheric, and i like the feel of how latent the energy is. i think the synth stacks lend a lot of power to that section. the addition of distortion over time is a fun idea too. the transition to metal was handled fine and the melody is still apparent. the mastering in this section is clear and sounds good. next a shift to 12/8 and electronica. you continue to play with the melody here, which is fun, and i like the detuning to keep it weird. i found the three-step feel to be a nice shift as well to make it more yours. and then a vintage The Algorithm funky stylistic transition, utilizing both distorted kick and a time change to clearly delineate between the sections without making it take too long. i love this transition, it's really well handled and does a good job getting back to the balls of the arrangement without dawdling in transitional territory. 2:56 onward is just a rip-roaring power-metal tribute to what's honestly a really intense and driving theme despite the quiet dynamic of the original. bringing in some sustains in the guitar at 3:26 is a great idea (that i used in Facies Templum fifteen years ago!) to add interest to a source that doesn't have much of a melody. 4:13's gating (obviously post) is another big Algorithm shoutout, and i like that you didn't gate the drums too, but let them ring. the ending is kind of sudden but i like the fadeout into glitches again. it kinda just ends, but the nature of the original doesn't naturally lend itself to anything other than a fadeout so i don't think it's as egregious as it could be. this is a great track in a technical, asymmetrical style that i think really fits VGM as a whole. there's little in terms of melodic content that this original track brings on its own, so the work that's done here really demonstrates and emphasizes the underlying movement and force that makes this original so interesting. YES

I agree with Joel that, compared to the rich soundscape of the intro, the soundscape becomes almost jarringly thin when the first metal section arrives. But wow, I really like the meshing of the various styles. I disagree that this makes the mix non-cohesive; the theme continues seamlessly throughout the track and the style changes are welcome surprises. While I wish the mixing was a little more consistent throughout, I don't find it to be a dealbreaker. There is so much here to like and I'd like to see it on the front page. YES

Eerie synth blips and rumbles start things off. A spacey sine-wave synth introduces the theme, accompanied by string-like pads. Things started to get bit-crushed, as guitars start to fade-in at 1:37. The soundscape here noticeably changes, feeling more thin. The guitars once making their way fully into the mix sound ok. The accompanying lead synth playing in the centre is hard to make out and felt without purpose. Ironically the early section felt more impactful with the larger soundscape than when the guitars entered. The transition at 2:10 felt out of place not built up to properly. The off-beat nature of the section does sound ok. At 2:45 the guitars return, to transition to a fast hamming section. This section does go for a while but doesn't change a whole lot over that time. At 3:35 we get some additional guitar layers. This adds an additional dimension to the previous section but doesn't really change things up a whole lot. The outro section is quite good, with synth movements between the stereo spectrum. Not sure what to make of this one. There are a lot of great ideas here, good use of SFX, and the theme is featured constantly. There is a clear level of talent at play here. That said, the cohesion between sections feels missing, like different songs stuck together, and the sections that are meant to feel harder feel weaker consequently due to mixing. A bit of a mismatch here. Will be good to hear the other judges take on this. Personally I think the arrangement cohesion issue ultimately pulls this one under. NO