Liontamer   Judges ⚖️

Shakuhachis always win with me. :-) Seriously though, glad to hear someone else in the community finally touch this underrated soundtrack. The mixing here sounds lossy, but it's serviceable. Cool call-and-response treatment of the melody at 1:20. Wish there were more differences in the presentation at 1:47, which was a cut-and-paste of :20's section. Same with :51 vs. 2:18. 2:32 slowed things down for the final rendition of the chorus before a quick finish. Much like your initial version of your Gremlins 2 mix, there's stong, creative arrangement ideas but then too much is copied wholesale. You could keep the track interesting & engaging throughout by varying up the instrumentation, textures, and/or writing after 1:47. If the mixing can also have more high-end clarity, that would be nice, though it's not necessary. Good potential here, Ernesto! :-) NO (resubmit)

Seeing as I trust in Timmie as the truth and the way, I'm here to rubber stamp this! Sounds murky, but I'll live. Nice job slowing down the melody at :40 (while retaining the speedy version underneath for a nice contrast). Very interesting approach in having those concurrent instances of the theme at different tempos. Loved the Mega-Man-esque stuff at 1:30 as well, which was a brief shot until going back to the previous treatment of the theme (with new instrumentation) at 1:50. Man, this is all frenetic but cool, and the sampled guzheng from ISW sounded good (of course). Really liked the tone of the slower version of the source at 3:11, everything sounds carefully chosen throughout. Nice to hear some industrial SFX at the beginning; wouldn't have minded that at the finish for a nice bookend, but it wasn't meant to be. Ending faded out too fast, but no big deal. The constant interplay of two versions of the source melody playing is the secret sauce here in terms of being a rendition that uniquely stands out from any other version of "Weapons Factory" before it. Fun stuff! YES

Cool, I actually didn't know until now that Breath of the Wild had any classic Zelda theme reprises, so welcome me to the party, as late as I am. :-D Pretty relaxing mix, and I liked hearing this theme have more of a bassline presense (even though it's subtle). Nice lil' escalation in the energy at 2:51 with those weird vocals or whatever that sound was. Yeah, this is quite a cool treatment with lots of lush sounds, and the final minute only continues adding to that cool factor with the guitar and lots of acoustic sounds. :-) Nice job, y'all! YES

Opens up with a very similar tone to the original "Twoson", but then some sustained synths join in and then some 80s-sounding beats. Backing at :50 sounds off-key for a second, but no big deal. Loved the transition at 1:20 to just the melody, then some cool countermelodic wackiness over the top of it. Beats joined in at 1:53, then there was a different accentuating effect at 2:01 for a different sound. Not gonna play-by-play this, but I appreciated the different sound design and instrumentation changes for a constant paying around with the textures. Mixing felt cohesive the whole way through. Nice work, tibone! :-) YES

Ha! This is pretty chipper to start. Big volume per B-laze's usual, so that may put some folks off, but things are fine to me. Pretty intense at :46, this is a cool approach. Love the warbling, chippy sounds in the foreground from 1:14-1:25. The stutters from 1:28-1:42 were a good variation on the chorus, then the soundscape opened WAY up, which was cool. Alright, the rhythm and tempo changed at 2:11, then went more intense at 2:25, just tons of creative arrangement ideas to never stop developing this, even towards the very end. It's like Banjo-Kazooie meets DDR in some ways. :-) YES

The source tune's already pretty ornate (for PS1), but I love hearing Rebecca's orchestration, replete with her usual beautiful ornamentations and chromatic percussion. Her textures always evolve so effortlessly. The delicateness of 2:18's reprise of the intro was a personal highlight. The addition of the tambourine from 3:40-4:02 was a subtle but effective way to add some forcefulness to things before winding it down afterward. Excellent treatment of the theme; love Tripp's style, she's in the zone here. :-) YES

Artist Name: Zanezooked It’s the first day of fall, and nothing quite captures that fall-ish feeling for me like Matt Uelmen’s shimmering opening chords for the Tristram theme from Diablo. I’ve swapped the 12-string for a cimbalom, which is a Hungarian hammered dulcimer. The cimbalom was the instrument used for Gollum’s theme in The Lord of the Rings, and its reverberant sweetness has an edge of menace that works well for the Tristram theme. You can’t strum a cimbalom — it’s hammered — so the chords are opened to work with the arpeggiated playing style, and the fingering is often reinterpreted. I spent a lot of time tuning the notes and dynamics as the cimbalom plays throughout and I wanted it to sound as natural and listenable as possible. The horns at the beginning and very end are a down-pitched kangling, which is a Tibetan horn traditionally made from human bone (though it can also be made of wood). I thought this would be appropriate for a town that has miles of crypts and catacombs beneath it! (I played the opening for my wife and she immediately went “Ugh, that gives me the creeps” before she even knew what was playing it. She was even more creeped out after I told her what she was hearing!) In the original track the most energetic part is the guitar-only bit at 3:18, and then at 4:00 it calms down into a moodier melody before ending in a way that lends itself well to looping back to the opening chords. In my version I wanted to work up to the high energy and finish with a bang, but I also didn’t want to lose the beautifully melancholy ending section of the original, so I moved my version of that section to 1:44 and worked it into the calmer, moodier parts at their tempo. Then I built up to my interpretation of the energetic section, beginning at 3:24. I tried to evoke the guitar rhythm in the drums. The cimbalom bangs out the melody, sometimes doubled by violins. Violas add more rhythm, and horns and low strings add punch. The kangling gets the last word, before fading away. Libraries used: Strix Instruments Kangling Spitfire Originals Cimbalom East West Hollywood Choirs, Hollywood Strings, Hollywood Brass Aaron Venture Infinite Brass Aaron Venture Infinite Woodwinds UJAM Drums I hope this is an enjoyable remix! Games & Sources "Tristram" from Diablo 1

Oh shit, at 1:19, you definitely hear how the rhythm of "Damage, Inc." MIGHT have inspired that final battle theme. :-) The mixing sounds kind of lossy, then the vocals at :57 sound distant, but it's meant to be mixed like "Damage, Inc."; IMO, Hetfield's vocals there are distant but sharper than what's here. Not a big deal. Great performances throughout! This homage is a ton of fun, but it's too much Metallica, i.e. too much Metallica arrangement to fall within the Submission Standards, IMO. (:46-1:19, 1:36.5-1:59 & 4:07.5-4:29.5 [1:55 of "Damage, Inc."]) = 77.5/285 or 27.19% non-VGM arrangement Y'all seem more than capable to rework the "Damage, Inc." cover sections, but that doesn't need to be done if it compromises the vision. Sometimes, great stuff falls outside the Standards, and that's OK. It's a great mashup! NO (resubmit)

I see what proph means about the opening feeling too bright; it's fine for me, but his point's not invalid. Good drive behind the beats and bass kicks, even if the bass kick feels hollow. Noticeably murky to me around 1:06 for the chorus section, though I can make out the part-writing alright, so no big deal. From 1:33-1:46, good idea getting subtractive with the melody; changing the lead sound and filling the melody back out then provided a nice contrast. Seamless change to a slow 6/4 at 1:59, that was awesome, then we hit another rendition of the chorus at 2:38 with the new time sig, which kept the presentation nicely varied. Finally moved back to 4/4 at 3:19. A cramped soundscape but, again, nothing where I couldn't make out the texture's components, so I'll live. I appreciated the presentation feeling darker, moodier, and more beat-driven than Toby Fox's original, so it definitely stood apart. :-) YES

Very murky to start, IMO too much so, but we'll see how the overall soundscape shakes out. I do like Brad's 6/8 time sig change. I do wish the melodic line cut through more, though that's a personal preference. I liked the beats dropping out at 1:31, allowing for some sustained synth lines to add a different feel to the texture. Some distant drums came in at 2:24. I wished the bass cut through more, then I was immediately wondering why everything sounded so lossy; feels like I got the 64kbps version. The blended "Frog's Theme" & "600 A.D." cameos at 3:40 for the close-out were a cool touch. None of the mixing was how I would have approached it, but if the source files were gone, I'd say we ride, so it's a YES. Even if the mixing/production choices weren't to my liking, it's a great transformation. :-) YES

Wow, blink and you'll miss it, this was pretty short. A brief arrangement, but well developed. I didn't have any problem with the samples; OCR's bar hasn't been above what pro composers would consider mock-ups. proph's right that this was a bit cluttered during the densest parts, but the part-writing was reasonably discernable, so no issues there. Dynamically, this was well done, which was why it felt so substantive despite the short runtime. I was expecting a cover of Harry Murrell's guitar arrangement and was pleasantly surprised that that wasn't the case; cool to be inspired by Murrell's performance while still standing very far apart from that structure. YES

Opens up super conservative to start. Nothing amazing or dealbreaking with the sound design. :32's chorus section then took some liberties with the sound design, and then some cool bass stuff at :49. Dug the sound design of the verse at 1:08. Alright, sounds like we're gonna color within the lines here with some solid sound design fundamentals to provide the arrangement's contrast, which is never a problem. Yeah, this is solid. Loved the bass-centric finish at 2:31 too, that was something you really don't hear often. Short and sweet! :-) YES

Artist Name: cosmoptera It's pretty cool to have an opportunity to submit a track for OCR! I was invited to participate by fellow composer gravitygauntlet, thinking that I'd be young enough to remix a pre-1999 track. Turns out I'm juuuuust barely too old - so, I compromised and decided to find a track from a game that released pretty soon after OCRemix was founded. It took an unreasonably long time to figure out which game to pull from, though... I have very fond memories of exploring the world of Amazing Mirror on my Gameboy Advance SP as a kid. As far as I can tell, it's one of the first games I ever played, and once I realized the opportunity there, it seemed obvious that I should remix one of the coolest tracks from the game. I hope my old memories of how exciting this fight was comes through in this arrangement! Also, shoutouts to Musescore user AnonymousRandomPerson, whose transcription of the original track was invaluable for figuring out some of the trickier harmonies. You're a real one. Games & Sources Source game: Kirby & the Amazing Mirror (GBA, 2004) Track: Last Boss / Second Form (Hironobu Inagaki or Atsuyoshi Isemura),

Artist Name: 744 Rad Racer (Highway Star, in Japan) was the first video game I ever played. It's kind of mediocre these days, but I remember sitting on the floor playing it at my grandparents' house on the NES there, hooked up to a massive projection TV (this would have been in 1990 or 1991 when I wasn't even old enough to have started attending school) and "the car game" was my favorite one of the games that were there. Essentially Rad Racer started my lifelong passion for video games, and especially video game music! The three toggle-able tracks in this game have been ear worms throughout my entire life. Gameplaywise, it doesn't hold up all that well anymore, but it's incredibly important to me. It was important to Squaresoft, too, because it was in dire financial straits at the time, and throwing things at the wall to see what stuck; I believe the next game they made after Rad Racer was a little-known RPG called Final Fantasy... About twelve years later, I was introduced to Homestar Runner. I was obsessed. I sent no less than 30 emails to Strong Bad. I played all the games, I watched all the toons, it was a great time. The sheer amount of one-liners my family, friends and I still use today, that originated from Strong Bad emails... Anyway, it all still holds up tremendously well, and is still funny while being generally wholesome. In particular there was a Strong Bad email titled japanese cartoon in which Strong Bad envisions an anime version of himself, named "Stinkoman" (the name having originated in a prior SBemail called "island") essentially fusing himself with the concept of Mega Man, with a hint of Astro Boy, living in future year 20X6. At the end of the cartoon are fake credits (ripped from The Legend of Zelda) over top of a Roland GS MIDI version of the first track theme from Rad Racer, Sunset Coastline. The Bros. Chaps even added lyrics, which are "Challenge and fighting and fighting the challenge tonight" repeating. So now this personally important video game to me was inextricably associated in my mind with Stinkoman. A lot of people never realized the song was from anything else. Also, this remix gave me a reason to once again peruse the Homestar Runner wiki (which is reportedly the best wiki on the Internet, according to Cybershell.) I spent a few hours getting lost there instead of doing important things I should have been doing instead. I am not Clever Dan. I deleted like 14 separate other references to Homestar Runner that were taking up space in this description. It was a bit problematic. Do you know the times? Eh, Steve! Obvious exits are NORTH, SOUTH, and DENNIS. You jumped over some of my buses! Hot diggity danish. Fhqwhgads. I freakin' hate Sibbie. Pfargtl. Steve Duncan. A book of matches. Everything is fine, nothing is ruined. Ebil flindas. Douglas. I remember learning that in school. No loafing. I hope Larry doesn't have to look those all up. Thanks once again for your consideration. See you later nice time, - Ben Games & Sources Rad Racer (Highway Star in Japan) - "Sunset Coastline" by Nobuo Uematsu I have used voice grabs from the following homestarrunner.com Strong Bad email cartoons: "cheat talk," "japanese cartoon," "monument," rampage," "time capsule," "techno," and "your friends" (most SBemails have all-lowercase titles, officially.) If you're not familiar, Mike and Matt Chapman (aka The Brothers Chaps) created h*r and did most of the voicing and animation. https://www.youtube.com/watch?v=T8nXy7e3yNI "cheat talk" https://www.youtube.com/watch?v=8KqF9G_DQls "japanese cartoon" https://www.youtube.com/watch?v=zsdo4JjisAA "monument" https://www.youtube.com/watch?v=v3DpZ7bDNIA "rampage" https://www.youtube.com/watch?v=sSn4e1lLVpA "time capsule" https://www.youtube.com/watch?v=JwZwkk7q25I "techno" https://www.youtube.com/watch?v=_NNztP5H97s "your friends"

Hey there! So I never submitted this track for some reason. Also, the project file got lost in the house fire I had in 2018 but luckily I still have the exports. I loved making this one because I used the actual loop that Yasunori used in his Chronopolis song (from a Spectrasonics library) The one with an ambient metallic hit and hi-hats panning back and forth. This track was originally made for the Chronopolis project here on Ocremix and it's easily my favorite source tune from the game. The remix is a jazzy downtempo take on the original. The live instrumentation is provided by Big Fish Audio (some of their jazz libraries) I can't say which one because I don't remember honestly. Anyway, it turned out great and I am proud of it. I hope you enjoy it. Jordan bLiNd

ReMixer name: Astral Tales Real name: Ernesto Bernal Website: astraltales.bandcamp.com Submission Information Name of game arranged: Blue Shadow/Shadow of the Ninja Name of arrangement: Astral Ninjas Name of individual song arranged: Stage 2 Own comments about the mix: I loved this game when I was a child and this song comes to my head from time to time, so I had to pay tribute to it in some way. Creating this remix was a fun journey. Since the OST of this game has an epic feel to it, I decided to add some thrashy guitars and a progression of strings to make it big and epic. I also wanted to add some Japanese instruments, and ended up including the classic flute we all have listened to in these ancient ninja movies. As for the lead melody, I decided to add a synth to pay tribute to the 8-bit sound of the NES. It's a quite crunchy saw that worked pretty well and cut the mix in a cool way. Regarding the structure, I modified it quite a bit, as the original is pretty short, so I added and changed some parts to give it more coherence in a non-looped song. I hope you enjoy it! Cheers! Ernesto Bernal

Hello, dont know if this previous mail was opened yet, but im submitting another song. First song was Apr 11, so i should be good considering its 3 sept now haha :') Here is my new remix: -Remixer Name: B-laze (aka Fungist) -Real name: Kenneth Nordsveen -Email address: -Userid: 29885 Submission Information -Name of game(s) arranged: Banjo Kazooie -Name of arrangement Fungist - Witchcraft -Name of individual song(s) arranged Gruntildas lair -Additional information about game including composer, system, etc. (if it has not yet been added to the site) Grant Kirkhope -Link to the original soundtrack (if it is not one of the sound archives already available on the site) https://www.youtube.com/watch?v=lO78gtoZDF4 -Your own comments about the mix, for example the inspiration behind it, how it was made, etc. This is my latest addition to my "huge" videogame music collection. And of course, again it's one of Kirkhope's masterpieces. i'm sure this is a nostalgia thing... This melody stick with me since the day banjo kazooie was released, and i mean that is a very long time ago. I think i first remixed this track in 2007 in a "Dance/Handsup" style. Now redone here, in a very unique dubstep/electro style that ends up as Happy hardcore at the end. I wanted some power/loudness in this track and with all the samples used, i had to do some "cheating" with the mix, but hope it turned alright. again, because of copyright stuff, the track i have on my spotify will be without FX from the game, but OCRemix will have theese added for extra "OC" :') Sending Mp3 along with a high quality wav file. Kenneth

Contact Info: ReMixer name: about:blank Real name: Chris Bouchard Email address: ReMix info: Name of game ReMixed: Metal Gear 2 Name of individual song ReMixed: Nightfall (Holly's Theme) ReMix title: The Darkening Sky Here's a link to the WAV file: This was 99% finished in 2022. But I wasn't happy with the mix and decided to come back to it later. Two years went by as I totally forgot about it. Thankfully, I stumbled on the project file a couple days ago, spent a few more hours on it, and I'm pretty happy with it now. I won't be able to provide an incredibly detailed description since this was made a while ago, but here goes. I can definitely say that I was trying to do an homage to the arpeggio at the beginning of the "Stranger Things" theme, but in this song's key. I spent way too long on that part. Structurally, the first part of the song is primarily based on the arpeggio in the first part of the original. The lead melody is brought in later during the ending sections. I riff on the "chorus" section, which starts at 0:35 in the original and at around 1:00 in this remix, quite a bit. I'm pretty sure I made the decision to approach the arrangement more conservatively from 2:16 onward to make up for the bigger liberties taken during the earlier sections. This was made shortly after I purchased a flute and started relearning the instrument. My original intent was for this to heavily incorporate the flute, but I ended up just using it in the ending.

Download Link (VBR1 mp3): FLAC: Alt mirrors: Contact Information =================== *Your ReMixer name: DDRKirby(ISQ) *Your real name: Timothy Wong *Your email address: *Your website: http://ddrkirby.com *Your userid (number, not name) on our forums, found by viewing your forum profile: 8933 Submission Information ====================== *Name of game(s) arranged: Super Mario RPG: Legend of the Seven Stars *Name of arrangement: Remachination *Name of individual song(s) arranged: Weapons Factory *Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This is a remix of Super Mario RPG's "Weapons Factory" theme requested by Agnes Stelmach through my Patreon (https://www.patreon.com/ddrkirbyisq) -- Agnes told me in their request that this is one of their favorite songs in the soundtrack. My normal approach to rearrangements is to look at what basic elements of the source material (time signature, tempo, feel) I can drastically change from the get-go to differentiate my take on it from the original. Agnes, however, explicitly put me up to the challenge of keeping the original 13/8 time signature from this track, so I knew that was going to be staying constant. The main idea I had for this one was to up the tempo and see if the two main riffs in the source track would work when overlaid on top of some DnB-style drum patterns. After some drum sequencing, I found that the 13/8 structure didn't actually feel too awkward in that context, so I ran ahead with the idea. Along the way I decided to lean into a sort of "liquid drum and bass" feel, with the tight drum sounds contrasting against synth elements with really lush reverb. The original source track only has two real melodic motifs and doesn't have any sort of strong chordal progression, so it was a bit of a challenge to find ways to present the source in different ways. I tried my best to change up the rhythms here and there as well as change up the soundscape to provide some variety. The penultimate section of the song features some soloing work where I finally take a little more melodic liberty (while keeping some nods toward the source riffs). That section also includes a cameo appearance of the Guzheng sample library I used in my last remix (https://impactsoundworks.com/product/plectra-series-5-guzheng). Enjoy! --DDRKirby(ISQ)

RebeccaETripp Rebecca Tripp https://www.youtube.com/@RebeccaETripp/videos ID: 48262 Game(s): FF9 Song Title: Terra Calls Songs Remixed: Terra Here’s a link:

Your ReMixer name: ThePlasmas Your real name: Mauricio Castro Your website(s): https://linktr.ee/theplasmasvgm Your userid: 30081 Name of game(s) arranged: Alien Storm Name of arrangement: Alien Slime-Gut Splat Name of individual song(s) arranged: Cybernate-P Additional information about the game: Keisuke Tsukahara, Arcade/Genesis. Link to the original soundtrack: https://data-discs.com/products/alienstorm?variant=32442195279957 Your own comments about the mix: This is one of my favorite Beat 'em ups when I was a kid, I spent tons of coins playing it, it was really fun to play with friends. This song was recorded to participate in the "Summer of Sega" event produced by GameGrooves, available soon.

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RebeccaETripp Rebecca Tripp, Gabriel Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Shovel Knight Song Title: DJ Mole Mix Songs Remixed: The Underlying Problem This song was co-arranged between my brother and I! It's for the Shovel Knight album, Champions that's about to go live.

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