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Artist Name: CrazyGroupTrio I tried to capture the feel of the game Clock Tower and using the fairly simple song Cradle Under the Star, making the arrangement simultaneously upbeat and haunting by mixing orchestral sounds with synth, and using some samples from the original game. Games & Sources Cradle Under the Star from the Super Famicom game Clock Tower. Music is composed by Kōji Niikura.

Not the worst samples in the world for a quick mockup, Hupusu, but sending a 26-second ringtone isn't a fully developed arrangement by any stretch. :-D If interested, develop it into a full arrangement and see what you can do about improving the instrumentation quality. For being a quick hit of the theme, it's a nice genre transformation. Hit the Workshop forums and our Discord if you're genuinely curious at making complete songs. NO

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Artist Name: L.T.H It's intended to be a lo-fi Remix of Justice - Park Avenue. It was my favourite song for a while before moving to Sunset Heights. I'm happy to make the first Sonic Forces piece on this site – if it gets accepted, of course. Games & Sources Original arrangement by Tomoya Othani for the SEGA video game by the name of Sonic Forces.

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Artist Name: Lucas Guimaraes Arrangement, Production, Mix, Master - Lucas Guimaraes Vocals - colorado weeks Bass, Additional Drums, most Guitar - Sly Man The source is plastered like, all over this 0:16-End - The rhythm that's played in the background on the bells 0:32-1:35 - Section A 1:36 - 2:08 - Section B 2:08 - 2:40 - Section C 2:41 - End - Section A I don't have a whole lot to say about this track. I'd been in the mood for making Vaporwave for a while thanks to Ridley Snipes. I've already been doing Synthwave for a while (with mixed results... but hey, I'm learning!). I was listening to some Vaporwave, heard this: https://www.youtube.com/watch?v=LYb57fJzV7k and thought "Wow, Thwomp Volcano fits with that!" So I worked on it in October... and then it hit my draft folder. DoD came up with DS/3DS Month and I was like "I guess I could finally release some songs I've been working on." so I recruited colorado for vocal chops and sly for bass. Honestly, it was one of the most fun collabs we had. We were a bit deadline tight, but I had a blast. I don't have much else to say about this track. If requested, I'd be glad to talk about the process in-depth more for the post, or to anyone interested in listening. The biggest thing I focused on here is making sure I got a good mix/the best sounding vaporwave *while* remaining true to the aesthetic... so some of the stuff you hear that might not be the cleanest mix (e.g. drowned in verb) are intentional Enjoy! Games & Sources

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Thanks! I've found a current link for the project at https://archive.cavestory.org/csrp/, so I've replaced the link with that. It should correct itself on the site in the next few hours.

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Artist Name: maiorano84 Years ago I had written an arrangement of the Megaman 3 Intro and submitted it to Newgrounds under the handle "italian-dragon84" (a terrible name in hindsight). This was created and posted in 2004: I'd always liked some of the elements from the original piece, and occasionally revisited it over the years with many failed attempts at a new arrangement. I wanted to continue using a very piano-forward piece, and felt that it suited the introduction much better. Unlike the original arrangement I had done, I wanted to incorporate more instruments and began experimenting heavily with electric guitar sounds. The biggest hurdle was mainly me not knowing how to actually play guitar and not finding any suitable preexisting electric guitar sounds, so I relied pretty heavily on distortion effects, auto-tuning, and using my own voice to fill in a lot of the gaps. Games & Sources Megaman 3 Intro by Yasuaki Fujita:

Artist Name: drizzle rainwater Press Garden from Sonic Mania (act 1 specifically, I don't think it gets enough love), had been stuck in my head, so I decided to give myself a crack at it. My goal was to emphasize the funky elements and give it a more jazzy flair. I added in a piano and organ solo to switch things up a little bit, and I changed up the instrumentation to make it more groovy! I hope you enjoy! Games & Sources Sonic Mania - Press Garden Act 1 (Tabloid Jargon) Original Music by Tee Lopes

Cool instrumentation choices. If you can get it sounding more fluid/humanized, the concept has legs. :-)

I've never heard the previous two versions, so I'm visiting this sub with fresh ears. I also voted on the revised version Seth included in his comments after he said he noticed the mixing was wrong. Opens up with a rise in volume of a pad, followed by some basic synths and claps at :13. The theme arrives at :25 and there's some decent density to start. The theme's there, but this is texturally scant despite all this volume. Volume doesn't equal fullness in terms of the writing; right now, the beats sound really barebones. Hits the chorus at :55 and there's countermelodic supporting writing until 1:22 that sounds off-key, though it's relatively quiet. The melody's quietly brought in from 1:36-1:47 in a way that also sounds sluggish and off-key, like it's being chorused or delayed; not sure what's going on there. Once it hit the chorus from :54-1:22, the interpretation of the source melody itself felt very minimal and straightforward. This combination of sounds doesn't make sense when the percussion, beats, and bass are so minimalist and basic, yet it's surrounded by this busy-sounding yet off-key ornamentation underneath the melody. 1:49 transitions into what's seemingly an all-original composition section where the volume's loud while the texture feels very basic. More off-key supporting writing underneath the melody from 2:18-2:46 that sounds pretty bad on headphones but might not stand out as much on monitors; this writing sounds like it's meant to be doubling the lead, but it sounds clashing the whole way through. I grew up on this theme, but I'm sorry if I'm not recognizing something taken directly from the theme from 1:49-2:18; I couldn't make out any connection. From 2:18-on, I don't recognize that stuff from the source tune either, but it's possible it's taken from some sort of quitter supporting writing in the source or I'm just ignorant in recognizing some sort of interpretation. The source melody could bear more interpretation and/or variation, the beat-writing is too simplistic, the beats do have some weight to the sound, yet they don't fill the soundscape enough to not let the overall track seem thin, and the densest section are filled with off-key writing adding noise instead of substance. The less dense sections work better on account of the lack of clashing background writing and are, arguably, the track's best feature, yet those sections *still* feel texturally empty, so it's a tough approach to get this to a place where it could rise above the bar here. (I see you in the community, so the links are more for posterity and for others who may see this feedback and want to take part). That said, Seth, Audiomancer tried 10 separate times with one track before his debut mixpost, so if you have the sticktuitiveness to regularly use the community resources on the Workshop forums and on the Discord server for more feedback and guidance, maybe you can be another success story. NO

It'll seem like I disliked the piece when I mainly hear lots of unrealized potential. This was texturally empty, just way too thin and simplistic, which was unfortunate after a very promising intro with a cool sound. The volume of the elements in play doesn't make up for the relative lack of complexity here. Finally some beats come in at 1:26 to thicken things up more, but the part-writing is very straightforward and lacks that next level of sophistication. prophetik said maybe there's not enough arrangement, and I get where he's coming from, but he's mistaken in how he attempted to articulate the issue. This is presented in a melodically straightforward manner, and that's fine. What was missing here was more complexity in the accompanying parts and more creativity in the sound design. This is already going in the right direction in terms of different instrumentation and different sound design, the combination of which does help this stand apart from the feel of the original, but clearly not enough yet based on prophetik's reaction. But this sounds like a work-in-progress, not a fully developed and finished piece. Something like Charlie Atom's "Toriel's Pain" isn't where our bar has to be, but it's a great example of a melodically straightforward rendition with way more attention paid to the detail work of supporting writing that adequately fills in the textures, and killer sound design. That's not the bar, but it's a genuine North Star. This is a solid start, Noga, but it still needs more writing complexity behind the melody and other sound design ideas to further personalize your take. Even if you don't end up reworking this one, you can definitely be proud of how far you've come with this. There's a lot of untapped potential though, so hopefully you keep developing your craft. If you haven't already, consider joining our Discord for more feedback and/or using our Workshop forum resources. NO (resubmit)

Oh wow, all the years I've heard EarthBound's music, I don't think I've ever listened to this one. Didn't recognize it, but it's a nice piece! This arrangement in an of itself feels like original game music when it comes to the overall sound quality and fidelity, like late-stage SNES soundtrack music from a different palette than EarthBound. By going this route though, lots of humanization, expressiveness, and production options were sacrificed. SNES vibes aside, the opening sounds still feel super basic and vanilla, but it's potentially all in how you use these sounds, so we'll see how that plays out. The timing of beats feels very locked to grid with a plodding core pattern (:01-:57, 1:38-2:17). The first verse at :17 the leads felt relatively lively despite being programmed in, but the overall sound is very silted, there's not really any getting around that. Organ at 1:06 was very flimsy-sounding, but it's meant to sound more stylized. I don't know music theory, and my ears aren't primed to pick out wrong notes, but, unlike prophetik, I didn't a single thing that stood out as bad/wrong notes, I just heard supporting writing lacking direction and synergy (e.g. :34-:49, 1:54-2:09). Machine gun drum kicks from 2:24-2:25 that are fleeting but do sound low-quality. The arrangement does go for a more upbeat feel but when prophetik said "what most of the instruments are saying is bland or looped a lot - like the drum patterns and backing organ", that's correct to me, and I'll go back to the stilted timing and plodding beats. It's cool for a chiptune aesthetic, but it also feels very limited instrumentally. I've heard fan-made 8- and 16-bit-style chiptunes and MIDIs all sound more fluid and expressive than this, so I'd have to see something like that done here. The goal seems to be to stick to SNES soundtrack-level sophistication, which is fine, it just falls outside of our production standards, IMO. There's good potential in your music-making as long as you keep at it, Rhino. NO

Great source tune choice, ripe for expansion. Vanilla-sounding synth to open things up, but obviously a stylized approach, so let's see where it goes. Melody arrives at :17, and the overall textures are basic but reasonably full, with the caveat being that it ought to further flesh out, IMO. Sampled amen break drums are brought in at :58 and those seem like a square peg in a round hole, but I'll live. Some added beats come in at 1:27 and this is definitely fuller, though melodically this is already very repetitive. 1:59 dropped out the lead and just had the countermelody with beat accompaniment, which was a good direction to create some contrast. Then 2:32 continues with a skeletal progression plus beats before finally getting back to the source melody on lead at 3:04, which feels like a cut-and-paste once the beats returned at 3:12. An addition to the beats at 3:32 for some more movement underneath. At 4:01, there was another countermelodic line added to the melody, but despite that I still literally said out loud "Enough already!" with this lead. If you're not going to vary up the melodic presentation, that's OK, but I'd argue at least vary up the instrumentation of the lead and/or countermelody lines more often to keep the overall feel from sounding too static. Even though the textural changes are a good idea, I'm still fatigued from the leading elements sounding the same practically the whole way and a relatively slower pace. This is a great start, Bionic! I'm interested to hear what the other Js think; I think from a genre transformation perspective, this is a pretty solid result, but it needs more sophistication and variation with the leads and sound design to really be strong and not drag out over time. NO (resubmit)

Artist Name: Azina As far as arrangements go, this begins with only small shifts. Fae-like playful piano accents electric guitar performing the harmonic structure typically played on piano. This continues until the second loop where a heartbeat rhythm is established in the low end, and choir-esk vocals underpin the now gently distorted main melody. The piece ends with a demure "victory theme" of my own making. Games & Sources The Legend of Zelda: Twilight Princess https://en.wikipedia.org/wiki/Toru_Minegishi Link to the composer; apparently he's the one who composed the gamecube startup sound. Oh, it just embeds here, I didn't think it would do that

Pretty crunchy original dnb writing to start. Oh, bummer, at :57, it's the beginning of snippets of the source audio itself being used, then it's fully brought in on top of the beats from 1:29-2:14. It'll sound like I'm saying we dislike the track when it's a fun remix (proph means it's not an arrangement). We're called OverClocked ReMix (capital R, capital M) as more of a brand name that sounded cooler than "arrangements", so people interchangably call things "remixes" here when that's not what we're actually doing. I'm sorry to say in this case here though, Stavrin, we're *not* a traditional remixing site, we're an arrangement site, as in the source material is played back or performed on different instrumentation, not directly sampled and not just note-for-note. This falls outside of our Submission Standards, but it's still an enjoyable remix for sure! If you'd want to learn more about making VGM arrangements, join our Discord and/or use our Workshop forum resources. NO Override

Cool cover, Jonathon, and thank you for sending it our way. :-) I appreciate you running down the various instrumentation aspects involved, which was very creative to use here. prophetik's right that, although this is a brilliant cover, this is essentially a find-replace of the source's part-writing with your (strong) sounds there's no structural difference with this version vs. the original, including just hitting the loop point at :53 and repeating the same stuff for 2 more loops. We're looking for substantial interpretive and transformative aspects of arrangement, even if an arrangement is otherwise melodically conservative. In the writeup for this ReMix, I link 10 other examples of melodically conservative yet overall transformative arrangements we've posted https://ocremix.org/remix/OCR04414. If you're ever interested in fleshing out a more developed, evolving arrangement, your instrumentation and mixing already sounded very solid! Join our Discord and/or use our Workshop forum resources if you're not against taking that kind of journey. NO

The claps in the intro were wearing thin, so I'm glad they bowed out. JSABlixer's take in the NO Show chat was accurate for me; the first half was interesting, yet the second half didn't keep me hooked and ran out of steam. proph felt the sampled vocal integrations were solid, though they felt more stapled on top for me. The drums, which were solid samples, eventually felt like they were mostly on auto-pilot of just changing every few measures at cutoffs that just seem too squeaky clean; nothing feels organic/human about the part-writing, it's feel very gridded out, like OK a few bars of this, then change the entire patten a few bars later; I wish I could better articulate that, but I do hope you'll ask around about it. The second iteration of the melody could use more distinct variation or difference from the first besides the lead sound. The piece's overall tone doesn't distinctly stand apart from the original enough; it's not non-existent, but it's not enough. Right now, this is more about the additive part-writing, which isn't a comparatively distinct enough presentation from the original. There's definitely a place for an approach like this, as H36T has shown several times with other ReMixes; this needs more something/anything substantive/different. I'm open to whatever direction you might be willing to take this in, if interested. NO (resubmit)