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Fixes The MP3s for two recent remixes had some unintented skipping due to an error in the upload process. Those files have been updated and redistributed across our mirrors. Please update your local collections accordingly. Pokémon Trading Card Game Pocket "At the Drop of a Coin Flip" Silent Hill 4: The Room "Dreamy Ring Around the Forest" News Final Fantasy V: The Fabled Warriors is spinning up again with auditions open for Volume 3: Fire. Head to the audition event for details. Speaking of Projects, we've setup a new Project Comms forum that offers a direct channel to OCR's Project Staff (lead by @Kit Vivid) for all of your coordination needs. The threads you make are private, so only you and staff will see it. If you're currently running any album projects, head over there and setup a dedicated thread for each one. This will help Kit and the rest of the staff keep up with questions and communications about files, consent forms, album art, etc. Coming off rebuilding the Submissions system as a forum module and building the 8Tracks feature, I'm experimenting more with creating some tools for album project directors to play with in conjunction with the forum's Clubs feature. If you're an album project director and you're interested, head over to the OCR Discord and ask me about it. We'll see if we can get you set up. That's all for now. Stay tuned for more fun stuff on the horizon! -- DarkeSword

I have submitted Star Fox: Double Wing Damage to OverClocked Remix project panel. Now all we must do is wait and see what's next! Great job, everyone! I am so proud to have worked on this album and I'm appreciative of all your support and hard work! Everyone did awesome! We did Fox McCloud proud!

If no problem with that, I'd be glad to join this album too, for the first time. After all, there's no strict quality controls or anyone being nitpicky with mixing on this one, right? :D You say any source is okay, even if not VGM, but just asking: are original compositions allowed, too? Because it sounds more tempting to try something original but influenced by good weather (aka cold and snow haha). If this is only about arrangements/remixes of other things, the source I'm thinking of is "Ary" from Tales of Phantasia. The original is slow and chill as heck, but I'd love to try something a lot faster and upbeat, in the style of the so-called "doujin" artists from the 2000s like I-Chu, Akineko, U-Gen, etc. I can totally see the vibe fitting this style and still fitting the theme, kinda sounding like some weirdo is having fun running with a skate all around the streets of an empty city because everyone is busy at their homes with family and stuff, just a funny concept I'm toying with mentally :D

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

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

Project update: Album's done, there are no more loose ends (When it was submitted in October there were one or two items that I was tying up behind the scenes). It's now entirely up to OCR and their staff to create the package, trailer, etc., and deliver some fantastic music for y'all. Thanks for your immense patience, it will be worth it!

You can count me in ON GOD

No idea if it still works, but I've still got a copy https://www.dropbox.com/scl/fi/1iu764dptjba85m7ek2dx/Overclocked_Remix_Adventures_V102.zip?rlkey=87uazvq5cd861scmeb2ykez3c&st=qx2jvkg6&dl=0

Project Director: @Darkflamewolf (Director of Arcadia Legends, Mizar Attacks!, and SeeDs of Pandora) Project Concept: After much prodding and poking by a multitude of people/remixers, wanting me to get this Star Fox album project off the ground, I decided it's high time to get the pitch started! Hot off my take on the SeeDs of Pandora album, I figured we could do a similar thing where we had 'themed' discs with tracks that best matched the core essence of what the disc was aiming to be. However, since I'm not sure the overall interest and response to this album, I'm not going for a large multi-5-disc album like the FF8 one. Instead, I'm going to start off with a smaller 2-disc scope and see if we expand from there or get enough tracks to fill the entire ambition. To sign up, you must join the Community Remix Album Collaborations Discord server. We use it to communicate between all members on the project and makes things insanely easy to coordinate and keep track of the project as a whole. Once there, you can find the Google Form to submit your claim on a track and be part of the project! Discord Link: https://discord.gg/CtJ2a8kjRy The two Disc types*: - ACTIVE: You can interpret your chosen track into any genre/type of music you want, but it needs to maintain the frenetic feel of the original track. It's basically giving the Star Fox fan more of what they want. They got a fast-paced, edge-of-your-seat Corneria theme? Well, we'll give them that and THEN SOME. Keep it active! Make it hard, fast, loud, crazy - go wild! These are tracks I want to really turn my speakers up high and just rage/rock out to! Let the walls pound with the beat. Note: But what if you want to remix a slower song from the OSTs into a crazy, active style? YOU SURE CAN! If it is active and fast, it belongs on this disc, regardless of the original source tune. - INTERPRETIVE: This disc is for everyone not looking for those crazy times, but wants to explore the melodies and themes beyond their original incarnations. Complete freedom of genre, style and mood. You can stay within the genre/style/mood of the original track or you can go off in wild new directions with it and remix it in a way nobody has ever thought of. Can we have active tracks on this disc? Sure, but those probably won't be the focus, but that's not stopping you from making some beats. This is truly the 'freedom to remix' disc. So, if the first disc was giving Star Fox fans more of what they loved, this is giving something they never knew they needed! Be unexpected! Don't repeat what has been done before - do something fresh and new with these tracks if you can! * - More discs and their types will be added depending on how big this balloons as a community project. --- QUESTION: What if a track has already been claimed by another, but it's for the ACTIVE disc and I want to do the same song more INTERPRETATIVE, can we both claim it? ANSWER: YES! However, this is the only instance doubles can exist. We can't have two Star Fox 64 Corneria's on the ACTIVE disc, but we can have one Star Fox (SNES) Corneria on the ACTIVE disc and one Star Fox 64 Corneria on the INTERPRETIVE disc. One variant per disc. Likewise, each Corneria theme is different from game to game, so we CAN have Star Fox (SNES) Corneria on the ACTIVE disc and a Star Fox 64 Corneria on the ACTIVE at the same time since, if you listen, they are different themes for the same place - this also applies to any track claims on the INTERPRETIVE disc. QUESTION: What if a track I want to claim isn't on these track listings? ANSWER: Then when you fill out the Google submission form on the Discord server, claiming a track, request it to be added to the list and that you're claiming it! --- TRACK LIST I am listing all available tracks from all Star Fox games, but that does not mean they all need to be claimed/covered. We'll take whatever we can get, but this album is meant to be a tribute to the series as a whole, thus the entire listing. Star Fox (SNES) 2 - Course Map Select - @Hemophiliac 3 - Corneria - @bLiNd 4 - Meteor - @Xaleph 5 - Titania - @Rotten Eggplant 7 - Asteroid/Venom-Orbital - @Rockos 12 - Venom Base - @bLiNd 15 - Black Hole - @Xaleph 17 - Controls - @ZackParrish 18 - Menu Theme/Map Theme - @APZX Star Fox 2 (SNES) 6 - Titania - @GlacialSpoon Star Fox 64 (Nintendo 64) 1 - Title - Tim Hellman 2 - Select - @Thirdkoopa 7 - Sector X - @Flake42 8 - Zoness - The Vodou Queen 9 - Area 6 - The Vodou Queen / @Thirdkoopa 10 - Venom - The Vodou Queen 15 - Aquas - @Ridley Snipes / @Treyt 17 - Boss A-C (Any theme or multiple medley) - Pixels and Paradiddles Star Fox Adventures (Gamecube) 4 - Krazoa Palace (all variants) - @Treyt / @Rockos 5 - Krazoa Shrine - @mo.oorgan 8 - Thorntail Hollow (all variants) - @ZackParrish / @Emunator 23 - Dragon Rock - @Emunator 27 - Snowhorn Wastes - @Rockos / @gravitygauntlet All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you. Star Fox Assault (Gamecube) 17 - Aparoid Homeworld - @Xaleph 23 - Titania - @Xaleph Star Fox Command (Nintendo DS) All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you. Star Fox Zero (Wii U) 23 - Fortuna (all variants) - @Xaleph All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you. ------------------------------ Our Official Track List Sortie One - Corridor Mode 01 - Theme of the Star Fox - Tim Hellmann (Star Fox) - 3:42 02 - Sweeping Elipse - Rockos (Star Fox) - 4:43 03 - Venom Pulse - bLiNd (Star Fox) - 4:11 04 - Fighting Storms in Titania - Rotten Eggplant (Star Fox) - 4:23 05 - Initiate Code Blue - Treyt (Star Fox 64) - 4:18 06 - Playing Crazy (with the 6th Blockade) - The Vodoú Queen (Star Fox 64) - 4:45 07 - Cries from Crystal Eyes - mo.oorgan (Star Fox Adventures) - 6:54 08 - Arwing Dreams - bLiNd (Star Fox) - 4:55 09 - The Hardest Path - Pixels & Paradiddles (Star Fox 64) - 5:44 10 - Dark Star - Xaleph (Star Fox) - 5:17 11 - Dunes of the Lost - GlacialSpoon (Star Fox 2) - 3:44 12 - Spectre - Treyt (Star Fox Adventures) - 3:44 13 - Meteoric Slipstream - Xaleph (Star Fox) - 6:05 14 - Fortuna Protocol - Xaleph (Star Fox Zero) - 3:25 15 - V.I.R.U.L.E.N.T. - The Vodoú Queen (Star Fox 64) - 5:07 Sortie Two - All-Range Mode 01 - A Hollowed Day - Zack Parrish (Star Fox Adventures) - 5:07 02 - Space Shine - Austin "APZX" Simons (Star Fox) - 3:24 03 - The Perfect Aparoid Dinner - Xaleph (Star Fox Assault) - 3:49 04 - The Death of Fox McCloud - Lucas Guimaraes (Star Fox 64) - 4:40 05 - Wing Men - Hemophiliac (Star Fox) - 3:09 06 - Now Boarding Flight 6 to Venom Lucas Guimaraes (Star Fox 64) - 3:02 07 - Weapon Warp Punk - Flake (Star Fox 64) - 3:46 08 - Free as a Bird - The Vodoú Queen (Star Fox 64) - 5:34 09 - Boundless Skies - Zack Parrish (Star Fox) - 4:30 10 - Bazooka Polace - Rockos (Star Fox Adventures) - 5:45 11 - Ballast - Ridley Snipes (Star Fox 64) - 3:44 12 - Rock and Ice - Rockos/gravitygauntlet (Star Fox Adventures) - 4:59 13 - Sands of Titania - Xaleph (Star Fox) - 4:54 14 - Eyes of Obsidian - Emunator (Star Fox Adventures) - 3:58 15 - Hollow Nights - Emunator (Star Fox Adventures) - 4:57 Reference Links: Star Fox OST: https://www.youtube.com/watch?v=byIjMomjWkA Star Fox 2 OST: https://www.youtube.com/watch?v=oODu0MAG9l8 Star Fox 64 OST: https://www.youtube.com/watch?v=8FdW6cTHs4c&t=1s Star Fox Adventures OST: https://www.youtube.com/watch?v=RSE3q9ktpy8 Star Fox Assault OST: https://www.youtube.com/watch?v=b9naJ4i6fO8 Star Fox Command OST: https://www.youtube.com/watch?v=xiEfudt7Vy4&t=1s Star Fox Zero OST: https://www.youtube.com/watch?v=55N8LLKYIy8&t=1s

Tracks updated! ♥ I might be utilizing the forum's 'CLUBS' function here for this, as suggested by DarkeSword himself. :) I've also got access to the CRAC server as admin / album director, so I will be adding channels for AOCC and AOCH there as well, soon. :D Here's the link to the server, if you're not already on there! -- https://discord.gg/wKyadaTT And as a bit of a surprise, The Coop and I are working on the front and back covers for this!! Yay! Progress! :3 Official website details are still up in the air, but I'll be touching base with @tibonev & @colorado weeks on that ASAP. Hang ten, guys! Looking forward to hearing your WIPs! 🎃🥰

Take my orchestration of Sonic: His World + original for a spin. YouTube link - Link to FLP+MIDI - https://drive.google.com/drive/folders/1Q7XB9RxuJy-a3X4BkgCtdaYZFVqbX5qg?usp=drive_link This FLP + MIDI is only for educational purposes, please don’t repost it as your own. The FLP should function flawlessly if you’re using the same libraries and plugins I use, however underneath you will see a list of the libraries I used to make this orchestration. I also used Kontakt 5 to make this. Keys - The Giant (Piano), Cineharps (Concert Harp, Harp 2, Harp 3), Celesta (Kontakt Factory Library), Marimba (Kontakt Factory Library), Xylophone (Kontakt Factory Library) Strings - Cinematic Strings 2, Metropolis Ark 1, Fluid Shorts, Jaeger Brass - Jaeger, Metropolis Ark 1, 8Dio Century Brass Ensemble Choir - Metropolis Ark 1, Oceania Woodwinds - Metropolis Ark 1, Albion 1, Spitfire BBC Symphony Orchestra Discover Sololists - Tina Guo Cello Legato Percussion - 8Dio Epic Dhol, 8Dio Epic Toms, Rhapsody Orchestral Percussion (Timpani, Snare, Cymbals & Gongs) I also have iZotope Ozone 8 and OTT on the master. There’s a chance I missed mentioning using a library since orchestral projects can become quite large. I’m only human, hopefully this is helpful. Take care Peshtiwar

I saw this the other day and wanted to comment. Spread the good word, folks! AOCC is coming back again! 19 years... wow. I'm a proud papa. LOL. Good luck to everyone, do your best!

I'll endeavour to throw my hat into the ring this year. :)

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

SoloGamer is one of our veteran archivists.

EDIT: Forgot the most important part... record scratch. Updated wip below. Katamari Stars 2025-06-24 2253.mp3 Source:

Well, good news regarding my track: I already managed to assemble an awesome team of performers to join! 2 guitarists (for rhythms and leads separately), bassist, drummer, clarinetist, keyboardist... that'll be like a real great band. I got some progress with the video already, which, sure, not a requirement for the album at all haha but I'm doing it more of my own, as a kind of concept thing to better show the ideas. Basically inspired by classic horror movies in general and Nightmare on Elm Street in particular. All is going really well so far and everyone involved has plenty of time, so unless shit happens last minute, I have some good expectations with it. Excited to see what everyone else is cooking as well :)

I was wondering if someone could do a remix of the track Beneath the Earthen Womb (Song). Maybe done in a style evocative of a mother's lullaby to her child. Not necessarily with Lyrics, but something soft and warm

can confirm that it works!

Hey all, I wanted to put feelers out for a Halo album since there's not much OCR content for it. Some notes: Timeline/Production - I'm gauging interest now and would plan on formally starting production in January/February 2026. - The plan would be to have it out-the-door right around Halo 3's 20th anniversary date of September 25th, 2007. - For visual assets, I can do a lot of branding and stuff directly. My girlfriend and I team up on art a lot (she illustrates), so we could most likely do key art for it as well. Remix Guidelines - Even though it's Halo 3's release date, sources from all Halo games are allowed. No "original trilogy only", spinoffs permitted, etc. to maximize the number of sources. - Similarly, no restrictions on genre or production style as long as it fits OCR's submission standards. - No tracklisting set in stone. We would just see what gets finished and sequence the tracks by vibes. If needed it could be more than one side/volume/disc. - Related, no "slots", within reason. If 3 people want to all cover Covenant Dance, that's fine, as long as we have more than like 5 tracks. - References to songs other than the source tune, non Halo-tracks, etc. are fine as long as the source is dominant. I have a list of popular/interesting source tunes in my next post, which covers Halo 1, 2, 3, 4, 5, and 6 (Infinite), as well as Wars, ODST, and Reach, which are spinoffs. There's a couple other spinoffs I'm not familiar with, mainly Halo Wars 2. Halo's early soundtracks are somewhat unique because they have a lot of Medieval and World influence despite being military sci-fi shooters. Each game tends to lean into a few genres for flavor - Halo 2 incorporates New Age and Alternative Rock, while ODST is a noir-influenced spinoff set in Kenya, so incorporates a lot more piano and saxophone, pounding tribal drums and basslines, etc. Additionally, if anyone is interested but is unfamiliar with the sources, you can give me some info on your style (or even reference tracks) and I can look for some specific source tunes for you.

Hey all, I wanted to put feelers out for a Metroid Fusion EP/album. I have a more specific tracklisting/direction in mind than the Halo album idea, which is meant to be more franchise-wide. Timeline/Production - I'm gauging interest now and would plan on formally starting production in January/February 2026. - The plan would be to have it out-the-door right around Metroid Fusion's 25th anniversaries; either November 17th, 2027 (US) or February 14th, 2028 (JP). - For visual assets, I can be in charge of it unless someone else wants to be, along with my girlfriend helping with key art illustration. - The album art will probably be split down the middle because of the album theme. Remix Guidelines - This is similar to Double Wing Damage where there's a "traditional" half and an experimental half, however there are no restrictions on genre. Jazzy Sector 1, Breakcore Sector 3, etc. are all fair game. - The "traditional" part is that the first half's arrangements would be dominated by the source tune. Small references to other sources are fine. - The experimental or "Depths" tracks should fuse the Sector tracks with other sources, as only a few "Depths" songs exist in-game, and only one (Sector 4) is exclusive to that area. Tracklisting/Direction: The album would use "slots" and be 13-15 tracks total, with an A-side and a "Depths" side, like how Metroid games have expanded "depths" areas on revisit. Examples include Brinstar Red Soil's area or Phendrana Drifts Depths. Side A 1-1. Intro (I have something in mind for this) 1-2. Sector 1 (SRX) 1-3. Sector 2 (TRO) 1-4. Sector 3 (PYR) 1-5. Sector 4 (AQA) 1-6. Sector 5 (ARC) 1-7. Sector 6 (NOC) 1-8. Optionally there can be an interlude, probably referencing the Restricted Zone. ("Warning: No entry without authorization!") Side B (Depths) Not every Sector has "depths" music, so incorporating other sources is encouraged here. These can be area bosses, adjacent areas, etc. Some examples of non-Fusion Metroid combos could be NOC (a dark area) with VS Dark Samus or ARC (an ice area) with Phendrana Drifts. 2-1. Sector 1 Depths. Related sources: VS Arachnus-X, VS Neo Ridley 2-2. Sector 2 Depths. Related sources: VS Zazabi, Barrier Core-X, VS Nettori / Chozo Statue First Form 2-3. Sector 3 Depths. Related sources: Security Robot B.O.X., Sector 3 Emergency Situation, Crisis Mission 2-4. Sector 4 Depths (Underwater Area). Related sources: VS Serris/Yakuza 2-5. Sector 5 Depths. Related sources: VS Nightmare. (ARC + Nightmare = mix could be named "Cold Sweat"?) 2-6. Sector 6 Depths. Related sources: Security Robot B.O.X. 2-7. We can either end with 2-6 (vibes permitting) or have a dedicated finale/outro track. It would probably involve either Final Mission, Crisis Mission or the Credits theme. Note that the related Fusion sources aren't all-inclusive, and there's a lot of wiggle room. For example the BOX robot and the SA-X fight Samus in multiple sectors, Facing a Huge Reaction plays in like 3-4 sectors, etc. As long as you have a reason for your secondary source it's probably fine, and multiple people having the same secondary source is allowed. If there's interest I was thinking about taking either Sector 2 (TRO), TRO Depths, Sector 6 (NOC), or NOC depths and doing the Dark Samus thing I mentioned above.

I'd like to offer my availability for drums, percussion, and related sounds if so desired.

@The Vodoú Queen there's a 50/50 chance I can do something for Golden Sun - Jupiter Lighthouse. I should know for sure by late September, if that's okay.

@pixelseph Yo, dude, I finally finished the guitar part and the whole remix project. Gave some of my best shots in terms of my momentary composing, instrumental and mixing skills. So I'm really lookin' forward to your critical opinion of a professional guitarist. )) I posted the full version of my remix in the forum "Post Your Game ReMixes!". The remix is called "Crisis Core - Final Fantasy 7 - Wings Of Freedom (Master Mi Remix)".

Hey! No problem! It's not like we all have to always give quick replies at all. As to add my track in the tracklist... that's up to you, if you think it's worth it. Maybe I could help on other things too, like web development/design, which I have more experience in than with music making haha. Or with artworks or anything requiring image or video editing, which I do a lot too even though not a pro on these subjects either.

Definitely like what you've got goin on here.

Hey there! Apologies for the delay -- I have been extremely busy as of late, sorting a lot of stuff in my head and dealing with the auditions for an OCR album that recently had a resurgence. ^_^; I'll get back to this in no time! Thank you! Welcome aboard! :D I'm a big fan of creepy stuff, too. :) It's not too late at all. ♥ But if you have a rough WIP you'd like to send me via PM, I'd love to hear it, especially if it's the Boss Theme from Terranigma inspired by Bloody Mary herself! :P And I didn't know that about Terranigma's anniversary, so that would even be more hype! I'm happy to take it for a spin, and you're welcome to go find people to collab with, for both/either performing something or mixing the track. It might be best to do it via OCR's Discord server and ask around, but I plan on trying to master the tracks myself, so if you can find someone to help you do the mixing, that'd be ace. Would you like me to add your track to the list? ^_^ Sure! That'd be great. You can send me a WIP of it, or the complete version of it that is akin to the one you submitted to the Judges' Panel via PM here. It's OK if you cannot do an unmastered WAV of it, tho -- we can work around that somehow. :) Would you like me to add your track to the list? :D @Troyificus@The Coop@Unknown Pseudoartist -- I did receive your individual PMs, and I will get to them and reply ASAP. Once I get my head above water and see the results for the audition tracks come past the 30th of June, I'll be in a better spot to focus-in on your work. :) TYSM for your patience in the meantime, and sending me the mail!

Congratulations! I missed an epochal event( I joined OCR sometime in 2010. It was an unexpected discovery! In fact, I got access to the Internet at the end of 2009 (I live in a village). The first thing I started looking for on the Internet was music.. I came across this place through tindeck when I was looking for something like covers for Contra Hard Corps. And Google gave me an artist like "Death by spoon" (AMT). My search led me here. What I found here blew my mind. I didn't even imagine that such a place was possible. Ironically, at that time I didn't find any CHC remixes on OCR, but I did find Sixto sounds, goat, Snappleman, lvl 99 and many others (sorry if I didn't mention you). I've learned a lot here. I'm thankful to this place and people who helped me in advice and direction(Rozovian is the best BOSS ever!) Of course, I had some complaints. Something I still don't understand here) But I liked this place and I hope to come back to this stream.. Thank YOU OCR PEOPLE!

This just popped up on this 8Track. I used to listen to this all the time, and 20 years later it's still one of the best on the site. Completely reactivated something in my brain, hearing those opening notes. Wow.

Watermelon Flava was on my shortlist!

We removed this entire Review system from the PYGR forum years ago. It was not really used, placed a lot of stress and pressure on a small number of staff members, and just added a second, completely extraneous layer of bureaucracy to OCR's pipeline. Overall we're de-emphasizing tags across the forum. Most people did not use them in any meaningful way.

Enhanced sound experiment with mono/stereo signal sources and mono/stereo reverb effects ------------------------------------------------------------------------------------------------------------------------------------------------------------------- I've probably taken my time with this, although this undesirable lobbyist government in my country is also producing a lot of problems these days (to cut a long story short: neoliberal bullshit politics >>> approval of a really hefty 500 billion euros primarily for arms companies, the military and war >>> in return, massive austerity measures for public and municipal budgets as well as a considerable reduction in public contracts mostly for critical infrastructure and the most existentially necessary things >>> mass redundancies at companies, including mine, which had primarily specialized in public construction, planting and vegetation maintenance contracts >>> I was also laid off after no major construction contracts had been recorded since the beginning of the year and my company had only been able to pay wages in chunks for the last few months >>> yeah, it radically sucks... once again). But apart from the not entirely voluntary job search, I can at least take all my remaining vacation these days and, after creating 4 different versions of my Crisis Core remix and doing the final checks of the audio samples on various audio playback systems, I was also able to complete my long-announced sound experiment and present it to you now. … With this sound experiment, I wanted to investigate the extent to which mono and stereo signal sources as well as mono and stereo reverb effects can be used in different combinations in order to primarily improve the clarity and spatiality in the mix and thus further increase the mixing quality. I have examined four main variants and compared them in detail: 1) A mix of stereo and mono signal sources + stereo aux reverb sends 2) Mono signal sources + stereo aux reverb sends 3) Mono signal sources + mono aux reverb sends 4) A mix of stereo and mono signal sources + mono aux reverb sends I tried to reproduce the four versions as faithfully as possible, taking particular care to ensure that the positioning of the signal sources (i.e. the instruments in this case) and aux reverb effects in the panorama were all correct and that the loudness ratios between the signal sources and the aux reverb effects were maintained without significant changes. This was quite time-consuming precision work with extremely fine, often multiple loudness measurements for each track within each of these four versions. The final listening tests of the audio samples (four full-length soundtrack versions + the soundtrack excerpts presented here, as well as further mono compatibility checks of the four complete soundtrack versions + mono compatibility checks of the four soundtrack excerpts) on a variety of tested audio playback systems (Yamaha MSP3 studio monitors, Beyerdynamic DT 880 Pro studio headphones, Presonus Eris E4.5 studio monitors, a somewhat larger stereo system as well as a somewhat smaller, kitchen-radio-like stereo system or my HD MP3 player, for example) also really took a lot of time. But these detailed comparisons, for which I also made a few notes on clarity and spatiality in the mix as well as on special things with regard to the overall sound impression, have provided me with some really important insights that I will take into account in the future application of my dynamic mixing concept “Life Force” and which have given me further certainty that I am probably on the right path in this respect. … And so let's start right away with the first version: 1) A mix of stereo and mono signal sources + stereo aux reverb sends ------------------------------------------------------------------------------------------------------------------------- The track mainly contains signal sources or instruments in the stereo version (playing only on the outermost sides without further center participation in the panorama). I reduced a few signal sources (electric bass and kick drum) to centered mono signal sources to further improve clarity in the mix, while some other signal sources (all other drum elements) are present with a stereo width reduced to approx. 50% (playing between the outermost sides and the center in the stereo panorama, so to speak). All aux reverb effects are stereo in this version (but they only play on the outer sides without center participation). In the following audio sample, you can also hear the third and final electric guitar track for the previously mentioned part for the first time, which I wanted to compose in addition as part of my prior considerations (new electric guitar begins around minute 0:39 and plays on the left side in the stereo panorama) and which has really enhanced the electric guitar part and the overall sound ambience at this point: CC - FF7 Remix (Excerpt) - Stereo And Mono Source Signals + Stereo Reverb Version.mp3 As I had already used an electric lead guitar and a clean electric guitar for the big guitar part, I also wanted to use another individual setting for the third electric guitar. I decided on a crunch setting, for which I first experimented a little with a “Funk Frog” wah-wah effect. However, as this sounded far too playful in the context of the serious background of the soundtrack, I later deactivated this effect and instead used some really nice chorus and flanger effects in combination with the crunch setting, which made this electric guitar sound a bit more out of this world and also blended in really well with the soundscape of the other electric guitars. Here is a screenshot of this new electric guitar setting in my Vandal guitar amp plugin: After careful consideration, I also decided to use this first version of my mix as the new version for my remix, as I still find it to be the best overall package in terms of clarity, spatiality and the general sound quality of the mix, even after my extensive listening tests on various audio playback systems. Nevertheless, the following versions also have a few outstanding features that could be useful in certain mixing situations. 2) Mono signal sources + stereo aux reverb sends -------------------------------------------------------------------------------------- In this version, I used only mono signal sources (with a comparable positioning in the panorama as the previous stereo signal sources) and added an individual stereo reverb to each of them via aux sends in order to achieve a corresponding spatial effect, while at the same time trying to significantly increase the clarity of the mix: CC - FF7 Remix (Excerpt) - Mono Source Signals + Stereo Reverb Version.mp3 When listening on some audio playback systems, I actually had the feeling that this mixing approach was able to slightly increase the clarity in the mix in comparison to the first version. But on the other hand, this seemed to be at the expense of the spatial effect in the mix, whereby the connection between the playing instruments also seemed to get lost a little. 3) Mono signal sources + mono aux reverb sends ------------------------------------------------------------------------------------- After the seemingly minor improvements in clarity to the detriment of the spatial effect in the mix with the previous mono signal sources + stereo aux reverb send version, I naturally wanted to find out whether the clarity in the mix could be increased even further if you combine the existing mono signal sources with mono aux reverb instead of stereo aux reverb sends: CC - FF7 Remix (Excerpt) - Mono Source Signals + Mono Reverb Version.mp3 And indeed, I had the impression that at some points in the remix (especially in the large part with the three electric guitars) this increased the clarity in the mix a little bit and you could hear the individual instruments even more clearly. But on the flip side, the whole thing seemed to worsen the spatial effect of the mix even further, while the individual instruments seemed even more detached from each other and somehow disjointed. On some audio playback systems, the spatiality and reverb in the mix even seemed downright strange. I sometimes even had the impression that this mixing approach tore some holes in the stereo panorama and that the mix sounded very thin at some points (especially at the beginning of the audio sample, when there weren't quite as many instruments playing). Nevertheless, such a mixing approach with well-placed mono signal sources and mono aux effects could perhaps come into play if you are confronted with such a complex and extremely extensive mix, whose stereo panorama is already fully utilized or even radically overstuffed, for example in such a remix here, in which a large number of instruments and other signal sources play simultaneously at various points in the soundtrack: 4) A mix of stereo and mono signal sources + mono aux reverb sends ------------------------------------------------------------------------------------------------------------------------ For the sake of completeness, I still wanted to find out how the mix behaves if I simply combine stereo and mono signal sources with mono aux reverb sends, which then sounds like this: CC - FF7 Remix (Excerpt) - Stereo And Mono Source Signals + Mono Reverb Version.mp3 This doesn't sound bad either, but here too the spatial effect seems to suffer considerable losses, while the reverb also seems to sound somehow strange and to be downright dominated and drowned out in the interplay with the predominant stereo signal sources of the instruments. … So much for that. However, as promised, I also wanted to carry out a further mono compatibility check for these four different mixing versions as part of a more detailed examination. This can be done quite easily with a DAW by simply switching the master track (this contains all the individual tracks in the music project) to mono in the mixer view at the touch of a button in this master track, of course only temporarily for control purposes. This not only sets all tracks in the mix to mono sources, they are also centered in the stereo panorama, which means that a stereo width is non-existent, so to say. And this also means that all signal sources and effects are virtually superimposed and squashed in a centered point in the panorama. On the one hand, some sound engineers do this test to get a vague idea of how well the mix translates or reproduces on a mono audio playback device. On the other hand, by centering all available signal sources and tracks with the master track mono button, you can find out whether there are any gross frequency overlaps between the various signal sources and effects (can be fixed by the precise use of EQ plug-ins, for example) or even serious phase cancellations (which can cause some sound elements to literally drown out in the mix). But let's start right away with the mono compatibility control tests of the four tracks. M1) Mono compatibility check - a mix of stereo and mono signal sources + stereo aux reverb sends ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Stereo And Mono Source Signals + Stereo Reverb Version.mp3 M2) Mono compatibility check - mono signal sources + stereo aux reverb sends ------------------------------------------------------------------------------------------------------------------------------------------ CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Mono Source Signals + Stereo Reverb Version.mp3 M3) Mono compatibility check - mono signal sources + mono aux reverb sends ----------------------------------------------------------------------------------------------------------------------------------------- CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Mono Source Signals + Mono Reverb Version.mp3 M4) Mono compatibility check - a mix of stereo and mono signal sources + mono aux reverb sends ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Stereo And Mono Source Signals + Mono Reverb Version.mp3 … To summarize, I would say that even in the mono compatibility checks of the 4 versions, the first version with the well thought-out mix of stereo and mono signal sources and the stereo reverb aux sends performs best as an overall package. The first version not only convinces with a really good clarity and perceptibility of all instruments and effects in the mix, but also with a really good representation of the spatial depth and the spatial coherence of the sound sources. Once again, the second version with the mono signal sources and stereo aux reverb sends as well as the third version with the mono signal sources and mono aux reverb sends seem to perform slightly better in terms of clarity in the mix. Nevertheless, the instruments in these versions sound a little more static, a little less spatial and less coherent than in the first version, while the reverb also sounds a little strange in some places or even seems to overlay and dominate some instruments. The fourth version with the combined stereo and mono signal sources and mono reverb aux sends comes off worst here in my opinion, because this somehow strange and sometimes stalled-sounding reverb does least justice to my actual intention as a composer and sound designer. … Certainly, the differences between the four versions here are more in the range of nuances, since I was able to achieve the far more resounding improvements in the mix with some of the previous mixing approaches and sound experiments. But I believe that with this second major stereo and mono sound experiment and with the previous first stereo width sound experiment from December 20, 2024 (with the title: "Using specific stereo widths for instrument and direct signal tracks for more clarity and assertiveness in the mix and for a more impressive representation of panorama and spatiality in the soundtrack"), I was able to demonstrate quite well that you can not only clean up a mix in terms of frequency. You can also clean up a mix by making more efficient use of the panorama or by using different stereo widths for signal sources and aux effect sends in the mix, whether you turn critical stereo sources completely into mono sources or simply reduce the stereo width of some stereo sources so that other signal sources have more space in the stereo panorama in order to be better perceived in the mix. … But I'm still curious to hear your opinions on the subject and very interested to hear your listening impressions of the four different mixing approaches. )) … In my next and possibly last post on this topic within this thread for now (I want to throw myself back into the passion of composing), I will show you the full version of my new Crisis Core remix and, as a comparison, upload the previous version of this remix from about 8 years ago as an audio streaming file. Because that was about the time when I started to deal much more profoundly with the topics of composition, mixing and sound design in many smaller and larger steps, while about 12 years ago (around 2013), through a few lucky coincidences (one of which was the OCRemix community) and without any previous musical knowledge, I stumbled into the topic of DAWs & remixes and some time later took the first awkward but joyful and curious steps in this direction with my first version of a DAW. ))

Much better! About the arrangement, could you give the source? What I can say now. I really like the first half and the end after transition. About transition at 2'02-2'30, I find it sounds empty. Only the synthe and the bass drum before the rhythm really start. Even if I like the idea of a break before restart. I think it needs more development, by adding of some details. Maybe some minor rhythm variations, or adding of some note of high piano to remind other parts of the mix. You conclude by a fade-out, I’m not sure it’s appropriate for this kind of music. * About mixing, I can tell you what I feel, but I’m not familiarized with this kind of music. I think intro with synthe need humanisation. And also for other parts where this same synthe is in the foreground. At 2’35, I feel the snare is too a little too loud. Maybe it’s the same level as in the first half. But I feel this at this part. Good luck !

Nah, no worries. ;) I'm glad to see the representation here, as is! ^_^ These guys are fire, and it's well-deserved.

Thank you! If I were allowed more than 8 tracks, I would have included Chozodynamic in this list, for sure ♥

I'm surprised how few tracks we have tagged with "lang-latin". Great track overall, this is now my preferred way to hear this theme.

Mario Kart 64 Winner 2025-06-17 2248.mp3 You guys motivated me to update... Not very polished but here's a rough arrangement. Fleshed it out adding the "secret ending" bit for the second chorus, and an all new straight ahead groove that I want to flesh out the solos to more. A little reminiscent of Luigi's Raceway...

Thanks for the input to both. I am actually making this in 11/4. Use the ride cymbal in introduction (right ear) as a metronome marker. You might notice when you do this, it sounds like the off beat once we reach beat 6. This is because on beat 6, the kick drum (and bass following it) becomes the off beat, syncopating the side chain effect until the top of the next measure. This occurs on every measure. So the original rhythm is (mostly) intact, but when you count it this way, you get interesting syncopation, or off beats... it's all an illusion! But anyways, I will take the sound design and eight note rhythms into consideration. I do believe the kick and bass pattern (and obviously the time signature) is the main culprit for it straying from the traditional synthwave feel. Let me play with it, and most importantly complete the arrangement, and we will see how it sounds then. I appreciate the input.😁 EDIT: and the chords during the melody section follow the syncopation, because I have them bouncing onto the beats that the kick and bass are playing. Maybe I should try placing them on the on beats and see how it sounds... as it stands though it's an even 11 chords through beat 5, and another 11 through beat 11, so it is currently even in the measure, just syncopated because it's an odd measure... interesting dilemma, especially to Steele's point because synthwave isn't typically syncopated like this.

I haven't seen the 11/8 time sig, proof that it's well done and fluidity. Hope we'll hear a new version:) Sounds good!

1. I like the different feel that you're going for. Makes it seems pretty different and original sounding. What distracts me a bit is how it sounds a little muddy. The song is already in a complex 11/8 which is already quite strange but what I noticed about the original is has really obvious chords that play on the first beat of the bar. This really holds it together in my opinion so maybe trying something similar to that might help give it clarity, unless you're wanting to make it quite ambiguous where the beat starts and ends. 2. If you're going for a synthwave sound, feel free to disagree with me here. My understand of the core aspects of synthwave come from the kinds of sounds used (80's or 80's inspired, which you already have some in there) but also, most synthwave songs usually have a drone bass playing, it often sounds really model and just keeps playing, usually semiquavers (8th notes). That being said, you don't need to actually include this, but if you want to sound synthwave, that's a really fast way to give it that sound. Now that might not work too well with it being 11/8, I'm not too sure but right now because of the pulsing feel. It feels almost like Synthetic Djent. Which I like the idea of but Djent is quite punchy and powerful, synthwave is more mellow and constant usually. It feels somewhere in the middle and that's not bad, maybe it needs to be worked on a bit more. You could be onto something quite original sounding 3. I agree with @bluelighter That it is a little short. Maybe consider adding a new section into the piece that has a different feel. Hell if you're feeling crazy, the idea of a synthwave version of this with singing involved and a piano solo like you've already got might slap really hard but I'm getting carried away. Another section you could consider is a really slow ethereal break where it's mostly slow pads and ambient. Here is the singing example I was reminded of. Love what you have so far. I'm just some rando so take or leave the advice. Good luck with developing the idea further :)

I second mmpneosync, all three mirrors have this strange skip.

Fantastic remix, but something's up with the MP3 download - at 0:50 it skips ahead a few seconds.

I was introduced to the site in 2002 by DarkCecil13 (the younger brother of a high school classmate) and loved the idea immediately. Two favorite memories of many: 1) Years before I met her IRL, I was in touch with Jillian Aversa via the OC ReMix mIRC server, who swooped in at the last possible minute and scrambled to make gifts out of her debut album for all my groomsmen when my original idea fell through -- the first of many times she's been an incredibly gracious friend for almost half our lives. 2) I tell all my musician students that the ideal client is someone who you'd be happy to record for in exchange for tacos and vodka, but they insist on paying you a little bit of money as they hand you a drink. That person is OA, who is a delight both as a musician and as a fellow consumer of excellent Mexican food.

The O in Of probably shouldn't be capitalized. It looks weird to me, and it's against what wikipedia's referenced style guides recommend. Dealbreaker? No. Bugs me? Yes. eval: The drums are strangely weak. The whole mix is a bit too soft. Not much. Find some remixes from here with a similar sound or style, and compare how loud they are. Try to put yours on roughly the same level. Err on the soft side, but make it louder than it is now. I'm not a fan of the choice of snare sound. It's too short and snappy, and too same-y when it feels like it should be more dynamic. I don't like the guitar sound either. There's a weird tapping sound at 2:30, probably part of the cymbal rise. I don't particularly like the piano-reverb sound. There's a sound probably from the piano's mechanisms that becomes rather prominent on the higher notes, and bleeds into the reverb as well. It might be possible to filter it out of the sound. If it's recorded audio, and includes the room sound, it might be difficult to get rid of it, but you can experiment with eq to try to reduce how prominent it is. The sound choices overall are good imo, but there's those little things that stand out. The arrangement is quite conservative, but the instrument choices are in part different, and the sound and elements like your piano intro set it apart. Can't say if it's sufficient, but I know I've been needlessly critical of this stuff in the past. Tough call. It sounds like a nice arrangement for a real band, and many of its shortcomings are because it's not played by a real band. There's a lack of detail to many of the sound choices and performances that I think a real performer would have done something about. Drums and acoustic guitar in particular. Dulcimer (or whatever) too. Electric guitar is well handled and shouldn't need more work imo. I think it's a mediocre remix. I don't mean that in a bad way. In many ways, it's neither notably good nor notably bad. It'd be nice to hear a higher level of performance (or illusion of performance) here, because I think the arrangement is worth it. Whether it's suited for ocremix is difficult to say. I'd definitely sub this, I'm just not sure how much work I'd put into it before subbing. Definitely raising the levels, looking into the piano eq thing, and trying to get more performance into some of the instruments. Just not sure how much. Nice work.