Liontamer   Judges ⚖️

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What did you think? Post your opinion of this ReMix.

Artist Name: Genesis 83 I wanted to do a 90s House style version of Dreamer from Streets Of Rage 2 as an experiment and to test my own musical capabilities having been self taught and having zero musical knowledge. This Track was composed in FL studio. Yuzo Koshiro the original composer is a legend to many of us on OC Remix and his music has stuck with me from me childhood to adulthood. I hope i have done the track justice. Games & Sources Streets Of Rage 2 - Dreamer and Various SFX

Pokémon TCG Pocket came out 2 months ago (Oct 2024), and people were recommending that I try it out. Uh, well, I ended up getting hooked (my favorite decks are Greninja Starmie water control and Celebi Serperior grass aggro), but I also decided to write a ReMix for it! The OST had such a coherent style, and some incredibly intelligent music theory behind it as well. I ended up combining the Title theme with the theme you hear during a Wonder Pick ("Feed Challenge Menu"), making sort of a Jazz Fusion arrangement with some 80s sound design. For the writing process, I actually tried playing out chord progressions with my MIDI keyboard instead of trying to visualize and mouse them in, and that led to more explorative results! :-) I also must shout out that a recent FL Studio revision let me put unique fades/volume adjustments on audio clips, which really helped my workflow; I finished this in less than 18 hours across a month. This actually had quite the overhaul at the beginning - the first version used acoustic drums, but it was just too dull (I think I've gotten spoiled by electronic drums :-P). I also had a few moments where I pulled a Mike Portnoy and said, 'yeah, you know what, I'll break some rules and just ADD or SUBTRACT a beat because it sounds right' (you'd hear him talk about messing with a time signature formula he had established, during his Drumeo video learning 'Pneuma' by Tool). I added a 4/4 measure at 0:33, added a beat at the end of 1:24 and 2:23 (making it 7/8, 7/8, 7/8, 8/8), and took off a beat during 1:41 - 1:55 on each measure (making it 7/8, 7/8, 7/8, 7/8). Other than that, I think this pretty much wrote itself. The instruments were mainly Zebra2 (E. Piano layer, Bells, Lead, Bass layer), Neo-Soul Suitcase (E. Piano layer), Shreddage 3 Precision (Bass), and Juggernaut (impacts, sweeps). And with that, I hope you enjoy, and... since heads has always been a good result in this game, may your coin flips always be heads! Extra Info: Source Breakdown: 0:00.00 - 0:36.13 ~= 0:00.00 - 0:34.76 (Title, loosely-similar chords) 0:36.13 - 0:52.50 = 0:34.76 - 0:53.08 (Title) 0:54.44 - 1:10.70 = 0:53.08 - 1:09.35 (Title) 1:10.70 - 1:23.68 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu in 7/8) 1:25.45 - 1:41.73 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu, different bass) 1:41.73 - 1:55.98 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu chords) + 0:53.08 - 1:09.35 (Title melody in 7/8) 1:55.98 - 2:06.60 = 0:03.87 - 0:11.60 (Feed Challenge Menu; straightforward) 2:10.20 - 2:17.32 = 0:03.87 - 0:11.60 (Feed Challenge Menu; straightforward) 2:24.94 - 2:57.49 = 0:53.08 - 1:09.35 (Title; melodic variation + new bassline) 2:57.49 - 3:10.45 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu in 7/8) 36.13 + 16.37 + 16.36 + 12.98 + 16.28 + 14.25 + 10.62 + 7.12 + 32.55 + 12.96 = 175.62/197.43 = 88.95% source 36.13 + 16.37 + 16.36 + 14.25 + 32.55 = 115.66/197.43 = 58.58% Title 12.98 + 16.28 + 14.25 + 10.62 + 7.12 + 12.96 = 74.21/197.43 = 37.59% Feed Challenge Menu Games & Sources --- From what I could find, the in-game credits have these people on the sound team: Axumi Ito, dattxua, Harumi Yamaguchi, Takuto Kitsuta --- Title: Feed Challenge Menu (if you've played the game, it's actually the Wonder Pick screen.):

The little accenting sounds brought in at :13 are too piercing, IMO. Actually, the sweep from :53-:58 was grating too. It's not pleasant on headphones; the highs should be cut. More of the same issue from 1:17-1:38. Love the brief dropoff at 1:38, then some beats return at 1:49 to give it more direction & drive. At 2:10, the change in the melody was briefly meandering, but no big deal. Nice lil' transition sound at 2:20 to the sustained synth line; love the subtle dynamic here. The highs should really be pulled back so this doesn't sound so piercing on headphones, but that's no reason to hold it back as is. The adjustments have made this sound much more cohesive; I didn't have any reservations of this sounding like a WIP this go-around, and the subtle dynamic curve works very well here now. Nice work channelling a mysterious and delicate approach to the source, Brad! :-) YES Edit (3/26/25): From 1:07, the accenting sounds are still piercing, moreso from 1:17-1:38 when the pattern's more active, but less so than before. :-) It's slightly less of an issue from 1:49-2:20, but still going on there as well. I'm still at a point where, ideally, they'd still be adjusted, but still not at a point where my vote's conditional.

Hell of a throwback palette; awesome sound design for the intro. Ramp up at :34 was very muddy but thankfully only lasted until :42 (again from :50-:57); still, I had to throw on a control track to make sure my headphones setup wasn't jacked up. Arrangement-wise, it has huge energy and good textural evolution to keep things dynamic. The drop at 1:59 followed by the tension right afterward until 2:29 was tremendous. Wasn't expecting the instrumentation shift around 2:27, but it still works. More old disk drive action to transition into glitching, intensity, and density for the final minute. We definitely appreciate you sending in some old gold, Jack, and thanks for being a part of the exemplary, creative arrangements that have made OCR what it is. :-) YES

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It took a while for the theme to overtly kick in, but it was there in full force at 1:30 (earlier around :45 during the buildup). Moody, snowy, lo-fi, sleigh bells... I'm digging it. Sets quite a nice scene. Not sure why proph thought other Js may ding it for not having forward momentum; it's lo-fi. Not that the genre particularly matters for me; there's lots of ways to approach an arrangement and this has enough dynamic contrast, so I don't mind the mellower approach and more low-key energy. :-) Glad you sent this in, David! YES

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What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

The mixdown still isn't ideal in that some of the backing bass elements are quietly mixed, but the overall presentation's stronger. Lead at :17 is better, and the dropoff at :33 was nice contrast, where the texture became clear and you also threw in some accenting SFX. Nice transition sound at :57 as well. The dynamics and sound design are feeling a lot more cohesive this time around. Good pulsating/warbling sounds at 1:22 that were changing volume and moving around the stereo field to add flavor to the presentation during the break section until 2:01. The lil' SFX at 2:03 was too loud as well as the glassier sounds starting at 2:04, which were shrill; nothing dealbreaking, but should be adjusted. Lead at 2:35 was a little bland, but had some modulation on it to spice it up, and the final section had good subtractiveness to the instrumentation for the finish. You should be proud of the progress you've made, and it shows that pushing through and learning by doing has brought you farther faster than overanalyzing things and being caught in analysis paralysis. You've also made OCR history; no one's ever had this many resubmissions of a track to finally make it through, yet the proof's in the pudding of your persistence paying dividends. Wanted to check this out in case I was going to dispute it, as I hadn't been a YES yet throughout all these revisions, but here we are! YES

HAPPY BIRTHDAY TO US! OC ReMix = 25 YEARS OLD! 4,500 ReMixes later, video game music is STILL an art form! We've got a celebratory Zeal mix by JSABlixer from the upcoming anniversary album TimeShift, and we'll be doing lots more over the course of the next year to celebrate the creativity and impact of this powerful community! Thank you to everyone -- past, present, and future -- who have made OverClocked ReMix what it is. Please share some positive memories on how you discovered OCR, artists and tracks you love (original VGM OR ReMixes), let's go! :-D

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Not sure why it's an audio match in Vimeo; maybe @jnWake also published their track on paid music services? We're fine with it being used as long as it's credited to both the artists & https://ocremix.org (per our Content Policy, so that anyone who likes what they hear can then find it). :-)

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

Resub 8 (previous decision) Resub 7 Resub 6 Resub 5 Resub 4 Resub 3 Resub 2 Resub 1 (after Direct Rejection of original 2012 submission) Artist Name: Audiomancer, Aka Eric I added some drum fills, and brought out the highs some, I think I fixed the "behind a pillow" problem mentioned by judges the last time around:) I also added a slight boost to the 200 to 300 hz range, as suggested. Games & Sources Dragon Warrior 4, Chapter 4, Mara and Nara's walkabout theme, with a little bit of the battle theme.

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At :18, the overall style and mood of this felt so close to the original. Though it sounds enjoyable to start, I was wondering where the differences would come from. Looks like it's original writing from the oboe at :48 that's meant to be the key; its sequencing's alright to me but it's definitely a stiff-sounding sample, so it could get dinged by others more for that reason. (Also, I see what you did there at 1:39). Vocals brought in at 2:14 to add another dimension to things. At 2:34, the vocals should have taken longer to fade out; same at 2:47, 2:55, 3:08, 3:21, 3:28, 3:36. The way the vocals drop out each time makes them sound very raw/untreated in that final second; forgive me for not being able to better articulate what's going on there. First three notes of the bowed strings at 3:52 were super-exposed, though that was very brief. Arrangement-wise, when you side-by-side this with the original, this can sometimes feel like a more stripped down take; I was wanting this to stand apart more from the original song in terms of the mood, but this is more about textural changes instead of major energy shifts. The percussion here's more simple and subdued, and while proph's not wrong in any of his critiques (samey percussion, oboe realism, vocal treatment taking some of the humanity out of it), I think what's here is effective enough to get by as a more subdued but different enough take. We'll see what the others say. YES

Artist Name: Matt Frequencies Hey, I've been a follower of OCReMix for many years, play a lot of the music found here in my DJ sets, and wanted to give something back to the community :) The first big inspiration here is Rux Ton's Lavender Town remix "Club Lavender" which has had a lot of airtime at local nerd raves to a lot of headbanging success, he was actually the first mix that really got me thinking about OCReMix as a source for dance music! The second inspiration is a lovely downtempo mix of Lavender Town by Emdasche, from the Yesterday's Journey album. While listening to it I couldn't help beatboxing a little dnb break. I've been listening to a LOT of Sub Focus and Dimension recently, and "Timewarp" enters as the third major inspiration here, and the source of the idea for those nasty slamming bass bites that come in at 2:35. Structurally this is pretty similar to the Dimension remix, but sticks to its own vibe mostly. Also a big shoutout to PrototypeRaptor's Chaos Nightmares, which gets a HUGE amount of airtime in my shows, which led the way to video game DnB for me. Hope you catch this message, you rock! Composition wise, this was all made in Reason 13 from scratch elements, no samples. I chose a few strong synths I liked plus a string chorus element, with some atmospheric risers and did a lot of nonsense with reversing samples, one of my favourite things to drop in a track to help progress it along. I had timewarp open as a reference track to help get the structure and timing right, and though it could *probably* use a bit more in the high end to keep the energy up I also kind of like the darkness of it, I find a lot of dance music feels like getting your head sawn off in the club these days. Games & Sources Lavender Town - Pokemon Red

Artist Name: Yorgishmorgi VGM Title is work in progress, by the way. I was inspired by the Yukihiro Jindo (and outsourced composer for Falcom, who does arrangement albums) arrangements of other Ys tracks and wanted to sort of apply that to Overcome the Rocky Path as it is one of my favorites. The overall DNA of my arrangement is about the same to the original, except I included a prog-influenced extended solo section, and a second extended "chorus." I tried to give the track a proggier edge to it, even using "Alex Lifeson" chord on the rhythm guitar right before the second chorus kicks in. Anyway, hope you enjoy it and I'll happily be awaiting a response! Games & Sources The original piece is a field exploration theme from Ys VIII, an Action RPG developed by Nihon Falcom. It was composed by Takahiro Unisuga of the Nihon Falcom Sound Team.

The lineup: * Biggoron - organ, keys; solos at 2:31, 2:58, 3:58 * newmajoe - alto saxophone, bari saxophone, auxiliary percussion, additional saxophone arrangement; solos at 3:18, 3:44, 3:58 * minusworld - guitars, bass, drumkit programming, arrangement, production My entry from "Franchise Fusion" month at Dwelling of Duels in June 2024. I was originally going to take a break from this competition because none of my fusion ideas really jumped out at me... until I was on an 11-hour drive without an audiobook to listen to. Left alone with my own thoughts (scary!), I had a revelation: Death by Glamour and Fight Against Smithy both used orchestra hits as a pseudo-melody and had basslines that would mesh well together. The part I kept hearing in my head ended up being 1:26-1:39 in this track. This kind of music isn't my bread and butter; I knew I would need Biggoron's help at a minimum. Even though it was the middle of the month and halfway through the competition, I reached out and surprisingly, he was willing! Biggoron suggested I contact newmajoe, who also came aboard! Biggoron and newmajoe are DoD's dance and funk legends and often come as a pair, so much to my surprise I was able to work with them both for the first time on this track. They were both awesome to work with (and just in general, awesome) and added a ton to the arrangement. Joe did extra aux percussion that I never planned for, and did all the bari lines as well as additional alto lines. He threw like 200% at this and it's better for it! Thanks again, Joe! A cleverer arranger than me (or one without twin toddlers 🥴) might have been able to weave the themes together in a more natural way, like jnWake's "Ambience of the Forest" from the same DoD month. I am neither, so to sketch an arrangement quickly I decided to make the arrangement a "versus", where one theme is featured, then the second, and finally a solo battle into a conclusion. In practice, this ended up being Mettaton with Smithy cameos, Smithy with Mettaton cameos, and then an all-out brawl until the end. :) I had to draw on the Armed Boss theme as well, since Smithy itself doesn't have much melodic content. Though simple, I'm happy with the arrangement outcome because I feel it celebrates these beloved VGM OSTs without straying too far from their identity. Here's the detailed outline: * Smithy organ intro * Mettaton intro, trimmed (I never realized how long the intro is in the OST!) * Mettaton A with Armed Boss cameo * Mettaton B into Armed Boss melody * Mettaton C * Mettaton loop point into Smithy bassline, Smithy orchestra hits * Smithy intro on bari sax * Smithy A * Smithy B with Mettaton B cameo * Smithy C with Mettaton A piano line on other instruments * Smithy D into organ solo * Smithy bassline vamp * Smithy bassline ramp with Mettaton A arpeggios into synth solo * Guitar solo over Armed Boss bassline (Smithy strikes!) * Alto sax solo over Mettaton A bassline (Mettaton strikes back!) * Guitar solo 2 (Smithy retaliates!) * Alto sax solo 2 (Mettaton counterattacks!) * Solo trades - (this was a freeform section for each musician, rather than something themed) * Mettaton C * Mettaton loop point into Smithy bassline Some notes on the solos. While working on the arrangement, we kept calling this track the "Walkoff" in reference to the scene in Zoolander where Zoolander and Handel have their "walkoff" modeling competition. Smithy and Mettaton are goofy villains and the idea of them competing invoked Zoolander imagery for all of us. I felt like Smithy might have been that kid who enters a high school talent show with nothing but an electric guitar and no backing band, which reminded me of the scene from Back to the Future where Marty McFly imitates Van Halen... so Van Halen ended up being my inspiration for the solo. I also tried to imitate the sound effects of Smithy's attacks in Guitar solo 2: Sledge at 3:36 and Meteor Swarm at 3:40. Joe wrote in the DoD discord that he used two references in his solos: The first solo references Hot House by Dizzy Gillespie, and the second solo uses a pattern of chromatically descending third borrowed from David Sanborn. And... why yes, you did hear MEGALOVANIA at 4:03 courtesy of Biggoron! :) Anyway, I hope you enjoy our take on these treasured VGM tunes! Games & Sources Undertale - Death by Glamour (https://www.youtube.com/watch?v=aMDFhjpMTEY&list=OLAK5uy_l6pEkEJgy577R-aDlJ3Gkp5rmlgIOu8bc&index=68) SMRPG - Fight Against an Armed Boss - (https://www.youtube.com/watch?v=v9XiSaJbgVA&list=PLNvQcJ1tQe2RIkds3WWsOQ7LyKzMlewba&index=19) SMRPG - Fight Against Smithy - (https://www.youtube.com/watch?v=-O9Hcy8SVs4&list=PLNvQcJ1tQe2RIkds3WWsOQ7LyKzMlewba&index=57)