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I'm in this year. I now have an office job that gives me a buttload of free time to work on projects. BTW finally got a ReMix accepted

Yeah, definitely. )) And I found another really interesting Lufia 2 remix by Mystwalker, which I also added to the remix list in my main post (right after the three battle theme remixes). Check out the Triumph remix: Really impressive what a driving and energetic remix he has composed out of the little fanfare theme from Lufia 2. Kinda love the electric guitar passages after minute 1:33. ... There are also two more modern Lufia 2 remixes by him, but the themes don't really appeal to me that much – just in case you still want to hear them: - Lufia 2 - Cave Remix >>> https://www.youtube.com/watch?v=yCfsnPX6YQ8 - Lufia 2 - Labyrinth Remix >>> https://www.youtube.com/watch?v=lfU99NdOD2o

HAPPY SILKSONG DAY! OC ReMix and DaMonz present A Knight (for a Knight)! September 4, 2025 Contact: press@ocremix.org ATLANTA, GA... OC ReMix is proud to present DaMonz's A Knight (for a Knight), Canadian game developer & composer Emery Monzerol's earnest tribute to the celebrated indie platformer Hollow Knight, released in celebration of today's launch of long-awaited sequel game Hollow Knight: Silksong, scored by Australian composer Christopher Larkin. A Knight (for a Knight) features four mellow, lo-fi-inspired arrangements of music from the original Hollow Knight. The EP also features cello performances by Monzerol's mother Christine Giguère, making the EP a family collaboration. The visual artwork was created by Annie Doyon, creator of the album art for 2017's Mirror Image: A Link to the Past Remixed. A Knight (for a Knight) is available for free download at https://knight.ocremix.org. "Hollow Knight holds a very special place in my heart, because playing that game was a very crucial moment in my recovery from pretty severe depression," shared album director DaMonz. "Working in a big game company had been siphoning out my passion for a while, and Hollow Knight was the game that reminded me why I was doing what I was doing. I will forever be grateful to Team Cherry for essentially saving my life! A Knight (for a Knight) was produced to help promote video game music, was made by fans, for fans, and is not affiliated with or endorsed by Team Cherry; all images, characters, and original compositions are copyright their respective owners. "This whole project initially started as just a single short lo-fi-ish remix just to mess around a few years ago," Monzerol noted. "Just as it so often does, it spiraled almost out of control in the classic loop of "just a little more", until it became the 4-track EP that it is now! A Knight (for a Knight) is DaMonz' sixth OC ReMix album in a director role. The EP's tribute to Hollow Knight, now makes the hit indie game the most recently released game represented by an OCR arrangement album. Also released under DaMonz' leadership were OC ReMix community albums Songs of the Sirens: Link's Awakening Remixed, Hometown Heroes: Town Themes Arranged, Mirror Image: A Link to the Past Remixed, Super Mario RPG: Window to the Stars, and an arrangement album for his Shuttle Rush indie game soundtrack entitled Shuttle Remix. 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. OC ReMix operates under the umbrella and sponsorship of Game Music Initiative, Inc, a 501c3 non-profit charitable organization (EIN: 81-4140676). ### Download it: https://knight.ocremix.org Torrent: https://bt.ocremix.org/downloads/A_Knight_(for_a_Knight).torrent Comments/Reviews: https://ocremix.org/community/topic/61206/

Pretty passionate and energetic stuff. Have a listen and enjoy the little gems, guys: Lufia 2 - Battle #1 (Standard Battle Theme) Remix -------------------------------------------------------------------------------------- Lufia 2 - Battle #2 (Boss Battle Theme) Remix ------------------------------------------------------------------------------ Lufia 2 - Battle #3 (Sinistral Battle Theme) Remix ------------------------------------------------------------------------------------ Lufia 2 - Triumph Remix ----------------------------------------- Lufia 2 - The Earth Remix ------------------------------------------- Lufia 2 - The Prophet Remix ----------------------------------------------- Lufia 2 - Peace Of Mind (Song Of Love) Remix -------------------------------------------------------------------------------- ... The remixer's name is Mystwalker. Maybe I'll ask him later if he wants to take part in OCR. ))

Hola, name's Mystwalker. I've known OCRemix for a long time, had people tell me I should join since around 2011 maybe? But never quite joined until now (big thanks to @Master Mi for giving me the final nudge to join). Mostly due to my imposter syndrome + being a dumb kid. Here is a little bit about me I guess, I'm not great at this stuff but here it goes: I'm a self-taught composer, keyboardist and percussionist. Started my music journey in 2009. My Messy Music Journey: 2009: Uploaded my first "remix" – PSX RPG Maker's "Home 3" with... let's call it "aggressive soundfont reskinning." 🤡 The Dark Ages: Churned out many such "reskinned bangers" (heavy sarcasm intended). Hey, we all start somewhere! Evolution: Gradually leveled up to actual arrangements + originals. Kept everything public – the good, the bad, the cringe. My YouTube's basically a 218-video journal of my musical growth. 2022 Hiatus: Vanished to practice like a hermit. Did commissions, released some commercial stuff. Came back recently to revive the channel with slightly less terrible skills! Been obsessed with VGM since I was a kid – 8-bit and 16-bit soundtracks are the lifeblood of everything I create (even if it does not sound like it). I remember recording video game music from the TV speakers into cassette tapes because I loved it so much and then going out with my Walkman of shitty VGM recordings thinking I was the coolest. lol tools of the trade: Include but not limited to - FL Studio, Kontakt libraries like Shreddage (both drums and guitar), Damage 2, Orange Tree Samples' guitars, Omnisphere, Sylenth, Serum, Engine 2 libraries, KORG VSTis, Roland VSTis, Arturia synths VSTis, many others all but those are the most regular use. But yeah not sure what else to say - I'm terrible at introductions, but must say I am loving the place and it feels just like the golden years of internet forums! Something I used to indulge in a good bit! TL;DR: Long-time Self-taught composer / remixer | FL Studio addict | Terrible at intros. Cheers everyone. 🍻

This is hilarious and super fun. I could imagine Diddy and Dixie sneaking onto this ride while trying to get to the other side of Kremland only to be equally amused and horrified by a kremling rendition of small world. Very well done with all the singers together and the performances with the pre and post ride announcers. Great idea, great execution, fantastic ReMix.

Download A Knight (for a Knight): https://knight.ocremix.org Full album on YouTube: https://youtube.com/watch?v=Hzwog2S6PVA&list=PLWk40K1PeZwEWrulLOA2Ms4wbX099KeCx&index=1 Torrent: https://knight.ocremix.org/downloads/A_Knight_(for_a_Knight).torrent This whole project initially started as just a single short lo-fi-ish remix just to mess around, about two years ago I think. And just as it so often does, it spiraled almost out of control in the classic loop of "just a little more", until it became the 4-track EP that it is now! Hollow Knight holds a very special place in my heart, because playing that game was a very crucial moment in my recovery from pretty severe depression. Working in a big game company had been siphoning out my passion for a while, and Hollow Knight was the game that reminded me why I was doing what I was doing. I will forever be grateful to Team Cherry for essentially saving my life! Now, enough with the heavy stuff. - DaMonz

Hey all! Someone on my YT said it would be cool to make some Shadowrun remixing. I'm working on just that and I just finished this one. I had forgotten all about this game TBH, a shame since I always loved it. Posting here before YT! Hope someone enjoys.

Snowboard Kids Redial 2025-09-06 2029.mp3 Snowboard Kids "Board Shop" harmony with Bomberman Hero's "Redial" melody, except for Redial's B section which is included. Original rhythms. They are both extremely similar harmonically, but if you listen closely, you'll see the harmony is in fact leaning heavily on the Snowboard Kids side. Arrangement is not complete but this is the general idea I'm going for with this. EDIT: Had the cool idea to do some solo trading between piano, electric piano and drums, but with drum samples of course and repitched. Pretty cool sound. Introduces some jazz tradition into this modern jungle style. EDIT AGAIN: I took the reverb out to test listening to it without reverb. I feel like this particular style may benefit from being completely clean with no reverb, so it sounds as tight as possible. Let me know what you think. I made the ending section be the same as the first part, this time up a whole step. Freshly recorded, not copy and paste. A drum fill takes us to a final weird chord. The only question I have is, should I add the Redial B section at the end? Or it's fine as is? Maybe I could add that section and then just take it back to the ending... I might do that. Also need to go through and make sure bass and chords are well humanized, though they're pretty much there right now. Sources:

it's been a while yeah? Hope y'like.

Thanks so much for the shares and inviting me to join!

I may or may not have unfinished horror music projects to cook until at least medium well. I'm definitely interested, though!

Will try to come up with something again this year, always happy to see this thread :)

Two sources that don't have a lot of melodic content - can definitely see why this is presenting source problems with my fellow judges. The piece isn't doing itself any favors by saving the most straightforward quotes of the source until the very end of the piece (the bassline rhythmic structure from Howling Gears being used only on the outro, for example). In times where a source has too simplistic a melody, or its defining features are in other facets of the piece (rhythmic structure, sound design, etc), it becomes much harder to nail down the tie between the remix and the source. And the spirit of Rule 3, as jnWake outlined above, is to make that distinction as clear as possible for the audience. On the panel, we're then tasked to ask, "when I listen to this section, am I making a connection to the source somehow?" Anyway, that's my preamble, onto the vote. It's a rare (and welcome!) vote on a VQ track where I don't have qualms with the production. There is some mud in the low-mids when all the layers start to coalesce (1:51 - 2:30, 3:50 - 4:25, 5:11 - 6:00), but it's not pulling me out of enjoying the track, so I'll live. I also agree with jnWake that the arrangement flows nicely - it certainly takes its time with basically a 2-minute slow burn intro, but the transitions between sections are excellent and the writing straddles the line between enough variance to feel developed and enough repetition to feel cohesive. The biggest problem the track has is source usage, as my fellow Js have noted. Both source tracks have a similar challenge to overcome from a remixing perspective, in that their actual melodic content is sparse to my ear. Howling Gears A has a single actual melodic phrase that I can pinpoint - the diminished leap in the synth. VQ's changed the interval to be something more palatable in the soundscape, but in doing so, I think it changes the character of the phrase enough that it's no longer easy to connect it back to Howling Gears. The arpeggiated runs in Howling Gears B are more clearly delineable, and they're woven in better. That leaves basically the rhythmic structure (the groove), not the notes, of the bassline, guitars, and drums to draw from in Howling Gears. Nidavellir's Shout has the portamento synth line as a melodic figure, as well as the even more melodic melody @ :26 in the source and B section melody @ :48. To my ear, the first 2:30 minutes of the piece is Howling Gears B (the modified arpeggio is the biggest tie, and even that feels tenuous to me), with the guitar coming in with the altered Howling Gears A melody around 1:12. If I am really listening for it, I can hear the Latin groove of the source's bassline at 1:50, but again, it's tenuous. 2:50 - 3:09 is much easier to identify as Nidavellir's Shout from the melody; I can't count the ostinato as the chord it outlines is not unique enough to Nidavellir's Shout. 3:10 - 4:27 comes back to Howling Gears B with the melody front and center in the guitar, and 4:32 - 5:11 returns us back to that modified Howling Gears A. 5:12 - 5:50 has no connective tissue that I can identify, and then we get the groove of the source bassline in the bass from 5:50 - 6:10. Timestamping gives me 233 seconds out of 376, or ~62% source if I include the tenuous spots, ~51% source if I don't (194 seconds out of 376). What it's coming down to, for me, is that I have to strain to hear the sources in this piece when our standards ask for very clear and identifiable - dominant, even! - source use. I think this is arranged and produced well, but all of the connective tissue just doesn't come through enough for me to pass this one. I would need to hear more clearly defined ties to the source, preferably early on in the track (within the first minute or so). NO (resubmit)

This is a wild romp through the Virulent source indeed, very creative and avante-garde. I like it, there's plenty of source and it's a fun listen. This version is not my master, and this master is as jnWake pointed out quite overhyped in the high mids and highs. The premaster was already quite heavy in those regions, as my master still indicates, but this master is screaming in the high mids and highs to the point of pain. The limiter has been cranked so high here, and also oddly it is limited at -1.2db which seems odd to me. I agree another shot at the master would be appropriate here. I'm happy to provide my master but that is absolutely not a requirement. NO (resubmit)

It's in a good way :-) Redg is also known as Brent Wollman on OC ReMix and he does very eclectic music.

May as well drop this link here... http://coop.herograw.net/ocrquirks/index.html

Helloooo I recently moved back to my beloved tropical hometown and decided to celebrate by making an EP of quirky, sunny tracks. The work is vaguely inspired by the Mario Kart DS OST, so expect some soundfonts and retro-sounding synths. Enjoy! LINK: https://banana-trash.bandcamp.com/album/go-go-kart-ganbareeeee Cover art was done by Tex! www.youtube.com/@oOTxaiOo soundcloud.com/textunages

Chimpazilla said they thought it had TSO-vibes, which I totally get, but I hear a lot of late 80s/early 90s Danny Elfman on my end. Besides being a behemoth of collaboration, this is just a great remix! Love how it grows and becomes a real monster of a track. Also, starting it with Aerith's theme getting distorted into OWA is just mean : ) Off topic, I find it very interesting that this site isn't growing in OWA remixes. It took 4 years for Trenthian's strange "Sector 7 Hath Wrought the Angel" to arrive on the scene and 3 years after that for the slightly (only slightly!) more traditional "Black Wing Metamorphosis" to hit OCR, and that was with an album drop. (Side note, I also hear Elfman influences in "Black Wing Metamorphosis" so maybe there's something inherent to the original?) Not that I'm complaining about OWA representation, I just find it interesting that one of the most recognizable video game tracks ever has 5 standalone remixes, 7 if you include the the ones with other sources in them. I'm not the most musically-technical person around, so I assume that the original is a lot more intimidating to tackle than something like Terra or Aquatic Ambience? Considering how many contributors are on this one remix and "Black Wing Metamorphosis", I'm not really surprised that it only gets remixed every 3 years or so. What a beast!

Thank you! ♡ :D Yeah, it's a bit nutty and chaotic, (as the Judge eval hinted at,) but I did my best to put a unique spin on such an iconic track. ^_^ Hopefully, in a positive way! Very much was a learning experience, and very much could have done better mixing / curtailed some overwhelming parts of the piece, but I do hope the ride was enjoyable and thought-provoking. Also, curious as to who or what 'Redg' is. x'D

Almost done with my track. Question. How much mastering do you want done on it before I send it? What db do you want? Thanks:)

Hell yeah Fire Emblem Heroes! I haven't played in years but I still remember some of the music. Ok, so this begins with a calm pad and some arpeggios. The arp is somewhat reminiscent of the ones in Howling Gears but not that much. I like the vibe during the first minute, the "Shout" inspiration is clear in the percussion (love that track by the way). Bass enters around 0:52, I can feel its presence but hearing the actual notes is fairly challenging. From what I can tell, the chord progression doesn't seem to be any of the sources' (at least, not directly). Guitar enters with a simple pattern a bit later, I love its tone and what it adds to the track's sound. Rhytm guitar joins at 1:50, sounds cool but I feel the soundscape is a tad cluttered by now, maybe some automation to drop the percussion in volume a tad wouldn't hurt. There's some nice effects and a break at 2:30 with synth strings and a synth bass. At 3:10 we finally get an easily identifiable source quote on guitar. Really cool soundscape here, I particularly enjoyed the jump at 3:50 to a higher octave. Around 4:30 we return to the riffs and melodies from earlier in the track. Still a nice vibe. At 5:10 we switch into a slightly different vibe for the final riff. There's more of a bass focus at the end and I can now tell it's playing the bass line from Howling Gears. With how hard to hear the bass is I'm not sure if this has been going on for the entire time or just now... Anyway, I'll first talk about production. Generally I think this sounds great, most samples sound nice and there's a lot of small details on percussion and transitions that are neat. There's some times where it gets cluttered, not a dealbreaker but some automation to help the listener focus on the more relevant parts would be a nice idea. My main issue is the bass, I can tell it's there but it's VERY hard to hear what it's playing, which is especially relevant since it seems to be the main bringer of source material. On arrangement, I think it flows great. First couple of minutes create a nice mood, then we have a break followed by a new section and then a reprise to close. It's a long track but it manages to keep my attention and interest. The main question with this one will be source usage. Section from 3:10 to 4:30 is, without a doubt, playing the source, but the rest is much harder to notice IMO. As I mentioned on my write-up, I only really noticed the bass was quoting the main Howling Gears riff on the ending where it's playing isolated. Counting bassline as source usage would bring us closer to this being eligible for OCR but, being honest, I have such a hard time actually hearing the bass that I can't reliable count where the source bassline is present. I'll make my best effort here (based on your source usage description): Bass from 0:52 to 2:30 is doing a similar (at times equal) pattern than the main Howling Gears riff. To note, the chord progression here is completely original and the bass riff is clearly not the focus of this entire section (unlike the source where the bass pattern is very clearly highlighted). Bass from 2:30 to 3:10 is doing the same notes than in Howling Gears B section. 3:10 to 4:30 is clearly using the Howling Gears main melody (slight variation at least). There's some elements that you pointed out in your description I couldn't really hear like: Super saw/synth string (doing a diminished interval in the original) being present from 0:33. Same for the guitar chugs. Main arpeggios from the intro being taken from the sources. The descending arpeggios that play at times seems relatively similar to the ones that play on Howling Gears B but curiously you didn't listen them as source usage in your expanded description (but did list them on the first description). Counting the elements that seem taken from the source, we basically have source material present in some form from 0:52 to 4:30, basically 3:30 mins of a 6 minute track. While this is technically more than 50%, the standards state: I don't really feel the bass section from 0:52 to 2:30 is identifiable and dominant so, to me, it feels wrong to count it just to clear the technical 50% barrier (which isn't even an actual rule, more of a guide). I can only truly consider 2:30 to 4:30 as identifiable and dominant source usage. Overall, while I enjoy hearing this quite a bit and think it's generally well produced, I don't really think it has enough dominant (emphasis here) source usage for it to be posted. Others may disagree but that's my take for now. NO

I've posted some HL-related stuff in the Discord a few times and had one (unsuccessful, because it was too cover-like!) remix submitted from the games, and there's really not any good representation of the Half-Life series on here. The games aren't super well-known for their music specifically since Kelly Bailey used a lot of sampling in the original, but they do have a few random bangers here and there. Attached is my remix (for feedback), and the video below is what the original sounds like. The original song is quite short and doesn't provide a whole lot to work with, but I tried to go with a sort of jazzy/deep-house-esque sound, with a breakbeat underlayment invoking the feel of bands like fox capture plan. triage_at_dawn.mp3

That's too kind! Means a lot to hear that! For some reason I have always found it difficult to stick to a genre! Probably because being a big video game music lover, must have wired me that way. Video games are the motherlode of mixed music genres after all! All the tracks you recommended ("Flute of Sleepwalk," "The Abysmal Depths," etc.) sound amazing – I’ll tackle as many as time allows for sure. I also would like to thank you for taking the time to not only share my stuff around, but also to write that great tour guide of the site! It is great to have a focused summary of the site, and to learn how stuff works around here. Really appreciate you taking the time! I will definitely share my stuff. I'm thinking it would be great to have feedback from people who love video game music. Dude, for real? I had no idea he was the CEO of Impact Soundworks. And not only I do use Shreddage, but this remix was always one of my favorites and was big inspiration for my own. That's awesome. you've done awesomely at that for sure, and I feel wholly welcome already. c: Keep at it, even when it seems difficult; as music can be! Cheers, man! 🍻

You're radically welcome, @MystWalker! )) Your Lufia 2 remixes are absolutely dope - didn't took me long to realize that you are a really talented and ambitious composer. You also seem to be quite flexible in your style and music genre rather than limiting yourself too much in such matters (which is great in terms of future musical development potential). I hope that you will make more Lufia 2 remixes in the near (or distant) future, especially some remixes for the original soundtracks I mentioned on YouTube - just to revisit the original themes I already recommended to ya: - "Flute of Sleepwalk" (mystical theme) >>> https://www.youtube.com/watch?v=G6JgflZYy6k - "The Abysmal Depths of the Ocean" (mystical theme) >>> https://www.youtube.com/watch?v=UJU83RQZfOM - "The Lost World" (mystical theme) >>> https://www.youtube.com/watch?v=Fk3omXPfuVM - "Final Battle" (heroic/energetic theme) >>> https://www.youtube.com/watch?v=-Fzm2O4Zt-k - "To the Future" (emotional/sad and happy theme) >>> https://www.youtube.com/watch?v=f5zoFZq3Frw But I'm not here to shit ya you with work right away. ^^ I rather wanted to point out a few things to you in the OC Remix forum, which you may have already taken a quick look at - things like these: 1) Perhaps it's best to start by creating your profile so that others can see what you're generally interested in, which DAW you use for composing, what additional software instruments and plugins you use, or what instruments and musical skills you have mastered or are currently learning. ... 2) There is also a thread for newcomers where you can introduce yourself: https://ocremix.org/community/topic/7744-the-newbie-introduction-thread-come-on-in-and-say-hello/ For example, I would be interested to know how long you have been making music and writing remixes, or what you want to achieve musically in the future - your musical dreams, so to speak (if you have something specific in mind). ... 3) Before you submit your first remix, make sure to read the submission rules: https://ocremix.org/info/Content_Policy And then you can basically submit your first remix to the forum right away using this link: https://ocremix.org/community/submissions/ ... 4) You can also just share your own video game remixes (without submitting it to the judges - if you want to get some feedback before) in the thread "Post Your Video Game Remixes!": https://ocremix.org/community/forum/12-post-your-game-remixes/ You can share your own original compositions in the thread "Post Your Original Music!": https://ocremix.org/community/forum/15-post-your-original-music/ ... 5) You can also ask questions or start threads and discussions in the specific sections of the forum. ... Guess that's pretty much everything you need to know to get started, and I'll leave the rest of the journey of discovery in the OC Remix Forum to your own curiosity. )) I hope you'll submit one of your fiery Lufia remixes sometime soon. The listeners at OC Remix and all fans of video game music are guaranteed to go wild for it, and I would definitely submit the awesome Battle #1 remix as a starting point and first musical milestone at OC Remix. As far as my taste is concerned, over the years I've only found one really cool Lufia 2 remix on OC Remix. It was composed by Zircon, one of the early leading members of OC Remix: or (if you want to use the direct OC Remix YouTube link): https://www.youtube.com/watch?v=rYZ5suUrN38 I'm not sure how active he still is on the forum these days. But I think he's pretty busy as a developer of VST instruments (Zircon is the CEO of Impact Soundworks and has developed famous VSTis such as Shreddage, which you apparently also use), creating video games and composing his own soundtracks from time to time. I'm just an advanced beginner on my own musical journey, but I hope I've been able to give you at least a little introduction to OC Remix. Have fun, dude. ))

Lol, Mario Kart 64....very popular amongst my military unit....many moons ago...and more than one brewing fistfight had to be calmed down;) Later, I should have time to comment on the Koopa remix that I listened to.

Hell, yeah. 🤘 I know. Got a really good taste when it comes to radically awesome, rare and hard-to-find video game music remixes. *heroic victory fanfare playin'* But I'm just the joyful messenger here - a messenger with the happy-go-lucky golden retriever vibes full of serious excitement, eagerly looking forward to upgrading my large MP3 player and soundtrack collection with a few more killer tracks. The legendary genius and composer behind this Lufia 2 remix masterpieces ist just one comment above yours - yep, the dude with the kinda naughty-looking hentai girl profile picture. ... I will also write back to you in a few days, Mystwalker. Just have to beat a few more rounds against Chaos in my own world like a Warrior of Light (or rather like some sort of a forced hobby paperboy in the secretary office edition). ))

opens with some filtered arps and wide synth elements - i really like this opening feel. the sfx panned to the sides might be a little loud on headphones. i don't hear any of Howling Gears in this opening section, although the arp is reminiscent of the B section as you stated. same issue at 0:36, i don't hear that pattern either, but i do catch the bassline when it comes in at 0:52. the guitar part is playing something that's reminiscent of the piano in the original after this, but to my ears the piano's playing an octave, and the guitar is playing a maj 6th. 2:35's a big shift, and shout's b melody is indeed present although i don't understand at all how it fits into the setting that's already present when it does come in. it sounds like it's in an entirely different key (the backing elements really look like Bb to me and shout's b melody is being played in Fm). the following guitar-led section is easier to understand and more obviously maps to gears. there's a big dropoff here before it gets back into gears again as interpreted earlier. there's a big filter that hits at 5:11 and doesn't sound like it goes away for a long time here - the bottom end feels like it's missing until almost 6:00 for a few seconds. this goes some pretty wide-ranging places, which is neat. my main concern is the source usage, because i don't hear it in extended stretches of the track. i am gonna need to do some timestamping on this because as-is there's not enough source. ? edit 9/4: thanks to jnwake for more in-depth analysis. even with the expanded source notes above, i just can't grok most of the connections that are called out. i would need more explicit, present instances of source material before i'd be able to consider this one. i also think the track would benefit from some more intentionality in the sections, but overall do agree that the track is generally well-produced and quite listenable. NO

I'm still waiting for the next ...fuck, what was that... Minisonic comic?

I meant to listen to these since you've posted about them Mi, but these are, indeed, absolutely fuckin' 🔥❤️‍🔥 Damn. . . :D

Hope y'like!

I love your choice of sounds, I’m also interested in knowing what VSTs you use since I’ve been experimenting with electronic music.

Nice, love the contrary motion in the bass and melody... what orchestral library(ies) is this?

Oh man, this was a blast to write for sure! I think I spent the leisurely year to write this, actually. I definitely had to take my time to get the treble mixing just right amongst all the aux percussion, the "electrical" bass, and electric bass all potentially competing!

Yeah I will make a new link and catch-up on this / people's PMs very soon! I sincerely apologize for the delays on my part -- been fuckin' hectic and exponentially crazy trying to catch up with my album projects in-between falling ill (or, apparently, fucking up my knee) as I'm doing so. 😅😓 But this is still on-going! ...I'll need to start my own AOCH tracks very soon, too. D:

Red Pearl was a heads-up pick! You'd have to know it rather than search for it, methinks.

I'm on the side of the ninjas!

obsessed with this mix! the small world chorus is the icing on the cake. Grunt's artistic voice is so strong and it amazes me how cohesive it is between his visual art, his games and of course his music. long live transfatylvania!

I just made a Christmas tune, a version of Gloria. I'll send it your way when I get a moment:)

(hacker voice) i'm in see you in the update PMs!

I'm 100% in! The only question is, what source am I going to do. I have a couple of ideas.

When are we getting to the theme, I say to myself, with this extended ambient build. Excellent, there we are at :29, and some impressive sound design to boot. Beats fade in after :50 and this just goes into the weird shit category with some funky beats, belltones for the melody, and lots of SFX mockery. 3:26 gets back into the source tune's chorus section. Nice lil' pointillist approach to the theme at 4:03, and a simple but effective adding of some thump beats at 4:31. Theme drops out at 5:00 and it's original beats with some quiet inclusion of the melody and chorus layered in. The track was 6:34-long, so I needed to identify source usage for at least 197 seconds to consider the source usage dominant in the arrangement. :29.5-59.75, 1:05.5-1:08.25, 1:13.5-1:15.25, 1:20.5-1:24.5, 1:28.5-1:32.5, 1:35.75-1:39.25, 1:43.25-1:55.5, 2:01-2:02.75, 2:05.5-2:09.5, 2:12.5-2:19.75, 2:27.75-2:56.75, 3:26.25-3:54, 4:03.5-5:05, 5:08.5-5:12.5, 5:17-6:00 236.75 seconds or 60.08% overt source usage I was just sanity-checking it for source usage since this has some longer gaps between the melodic notes in places, but just going off the feel, I wasn't expecting it would be a close call. Trust but verify. Awash with creativity. A sound design delight and a dynamic piece of business. :-) YES

If you like randomly good soundtracks in Pokémon games, I recommend Pokémon Quest! You already took the time to make a source breakdown so I'll try to not repeat much from the description. We begin with some nice airy pads and a pretty synth lead. Percussion enters quickly with a fun groove that's kinda chill and upbeat at the same time. Drumkit sounds great here, very punchy and clear, although the hats are a bit washed out. We move to Pokémon Sleep with more interesting percussion over some nice melodies and at 1:14 we get a fun rhytmic section, I think you used less dissonant chords than the source here, a good move IMO. At 1:39 we get a change to double time that sounds really cool! Being a bit nitpicky I think this section could have extra oomph, the hats are super washed and I'm missing a sharp contrast. Something like background arpeggios or a dynamic pad/chord stabs could be a fun idea as well. After a cool chord progression we move into Aether Paradise for a bit of a break. Melody at 2:11 is a bit weird. At 2:30 things get a tad more intense, there seems to be 2 different leads competing for attention and I'm finding it hard to focus on a clear melody. Around 2:58 we slowly transition back into Eterna Forest, the chord progression at the beginning here suggests something darker coming, which caught me a bit off guard when the chill forest melody returned. There's a repeat of the Pokémon Sleep material in what almost seems like a copy/paste to me. Missed opportunity to add extra variation or maybe even a keyboard solo. At 4:30 there's variations over the double time melody from 1:39. Finally, track ends with some pretty piano stuff. On production this is excellent, almost no notes really. Percussion is punchy, samples are all high quality and everything sounds clear. We know what to expect from you after all this time! On arrangement this is mostly excellent as well, with my only gripe being the "copy pasted" repetition starting at 3:23. It'd have been fun to have some twists on the returning material, otherwise I feel the track could've easily lasted 90 seconds less without much loss. Overall, awesome job! Excellent production and a fun arrangement despite my only gripe. There's no doubt this deserves to be on the front page. YES

Hallo hallo, another "long time listener, first time caller" for the list A long time fan of VGM; Vinyl & CD collector, obsessive fan-music listener, occasional VGM remixer with my partner. I was finally able to make it to MAGfest this year (I come from far off Europe, and it only cost.... Ye gods, over a thousand buckaroos!) where I met so many amazing friends, and even more amazing strangers, and had so many amazing conversations with 'my people', where I had a sort of, 'wait, I'm not alone, thousands of people are just like me!' moment. Especially it was great to hang out with the ever wonderful KyleJCrb, who I went to the con with, and spent a lot of the weekend with (and crashed the room of many times) - I was planning to check out the OCR panel regardless, but as he was one of the speakers, I made extra sure to clear my con schedule - and as I sat there at the panel, I wondered suddenly why I was lurking, because I felt like I would very much like to be a present part of all of this. I spent a while after I arrived home observing the site much more closely, asking around interestedly to my friends of their own VGM projects, then I decided to poke my head in for real. So... Er... Hello!

opens with a significant unpitched swoop that builds to an initial wash of colors and theme. the melodic material that comes in after 0:30 is nicely patient and doesn't rely on percussive elements to move forward, which is a nice change. the beat hits at 0:59 and is a nice vibe. the 808 conga sound that repeats at the end of every bar sticks out a bit to me, but i really like some of the other elements, like the wobbly vibes used for the melodic material here. there's a fun choppy transition at 1:57, and the following section is pretty obfuscated. there's some melody in there but it's really hard to hear, might be actually too quiet. the transition at 2:26 is unexpected, but the feel after is really fun - the glidey trumpet lead here with the heavy kick is a really interesting combination. 2:57 is a significant drop - there's like 30s of noodles here before it gets back to more than one thing in the texture. i'm surprised how much i didn't mind the dropoff, actually - i really expected to find it to be too long of nothing going on, but the patience again won me over. i would have minded if it was louder though, as the dynamic contrast is pretty huge. harmonizing the glider synth is a really clever idea to ramp it up a touch. big build into 4:03, and we get another low-key driving beat here (now with chippy arps). the toms that come in around 4:32 were a little forward and out of the texture for me (and the hats that came after felt really loud). once everything came together and we had the actual full beat together at 5:02, it felt better, but i still felt the hats were a touch loud. there's some building elements through this until we get another shift that winds up being the last. i felt that the more unpitched ending - basically everything after 6:00 - to be a bit of a let-down after you'd successfully built so many other clever textures throughout that tied so well to the original. it didn't feel as connected to the rest of the piece as most of the other things you'd done throughout. overall this is a really interesting ride. there's a ton of maturity in the textures you're building here, as expected, and the mix is super tight to help make it all pop. there's a few things i wish had gone differently, but as a whole i think this is superb. YES

Hello!!! Although I'm quite unfamiliar with this place, it is nice to meet people who enjoy remixing VGMs and OSTs! Although I usually make original tracks, I also make remixes. I met this place a few days ago, and I forgot introduce myself. I hope all is well!

Hello, everyone! I've been making electronic music in Garageband since high school and discovered OCR a couple years after I started. As a lifelong lover of video game music, I thought it would be neat to have something of mine accepted on the site, and I started working on a remix that I intended to submit, but I never ended up finishing it and it wasn't that great anyway. However, I randomly remembered OCR yesterday and (rather impulsively) created an account and submitted a remix I made well over a year ago. I'm looking forward to getting involved here, and this might just be the push I need to start seriously creating music again and maybe finally take the plunge and upgrade from Garageband.

Hey folks, I've been making music for a long time, but in these past 4 years or so, I've been mostly uploading to my youtube channel ( https://www.youtube.com/hitrisonmusic ). Mostly an old-ish punk and noise guy, but I like making ambient/electronic stuff, too. Mostly covering Megami Tensei tracks. Come by and say hello! https://linktr.ee/hitrison

Hi everyone! Just a quick intro as a newcomer. I am a hobbyist music producer/composer/remixer and very recently, singer. Big into FLstudio, and hoarder of VST plugins. I'm currently on YouTube primarily with 176 uploads as of June 2023, and have a few posts on Newgrounds, but I wanted to come to the original, OCremix! (Only I am many years late to the party) I'm a dad of 3 and carer to my severely disabled daughter, not being able to socialize much because of the lifestyle, making music is one of my escapes when I do get the time. My last big project was remixing the entire soundtrack to Psygnosis and Reflections "Destruction Derby" I also got the blessing of one of the co-producers of OST, which was nice. My name? *ahem* Xenon is a 1988 vertical scrolling shooter video game, the first developed by The Bitmap Brothers Draven, "The Raven", or "Avenger". Given the connection to the storyline of "The Crow", I was once Xenon_84 in Live For Speed many moons ago. (The online racing sim) I saw “The Crow” in my youth and took the name “Draven” Hi! I’m Xendraven