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

The vote's already closed, so I'll just tack on some brief comments. Rux Ton's a high bar to compare to, so forgive me for sounding as if I'm saying you have to sound as polished as him; OCR's bar isn't that high, so at least you don't have to reach his standard. :-) Levels appear to be insanely loud right at :13; had to turn my volume pretty far down. At :57, the beat-writing's underwhelming, and the synth briefly handling the melody also sounds generic. Very weak claps at 1:51, zero power and a flimsy sound, so your builds aren't paying off in terms of then delivering intensity (e.g. shifts into 1:51 & 3:09. Claps were thin at 1:29 as well and the kicks at 1:40 seemed to be lightly distorting or at least too punchy yet lacking any body behind them. I agreed with Chimpazilla that the limited number of parts leads to a samey sound over time that's also dragging the track out. Good potential here though, Matt; explore how you can vary up but also intensify the tone of your instrumentation. It's not all about volume. NO (resubmit)

Why am I being accused of calling the intro stilted in advance? :-PPPP It's fine, it's clearly stylized and well-produced; everything can work in context. Track definitely opens up more at :53 with that lead. Always love "Aquatic Ambiance" and DKC2 cameos. IMO, the mixing feels like it's missing some sharpness/clarity, though it's nothing dinging this. Loved the comping-style shift at 2:10, and of course dig the FM bassline. Really great treatment of "Amiss Abyss". Ooh, another great style change at 3:11 and HERE COME THE BIRBS for a cameo! More "Aquatic Ambiance" weave-ins as well for a classy outro, along with instrumentation and timing that felt reminiscent of the classic DKC instrumentation. Loads of good ideas here, Wake! :-) YES

Artist Name: AceVanWay This is a trance remix of the boss battle theme, The Darkness Nova. I referenced sheet music when creating the track, but came up with my own instrumentation. Once the music has been transposed to my DAW (FL Studios), I tweak EQs, mix and master the track. Thanks for listening. AceVanWay Games & Sources Track: The Darkness Nova Game: Legend of Mana Composer: Yoko Shimomura Source Track: Reference Track:

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.

Bah, I thought I voted on this thang! (Lazy./Busy./Not actually lazy.) Amazing source tune. Some pitchy slips, no doubt, yet well-performed on the whole and full of heart. PINK ENERGY, a.k.a. LOVE! :-) 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.

Artist Name: M. Bulteau This is an orchestral suite written and mixed in 2016, consisting of 4 themes from Donkey Kong Country 2 laid out as such: 00:00 - Jib Jig 01:11 - K. Rool Returns + Klubba's Reveille 02:21 - Boss Bossanova 03:27 - Jib Jig (reprised) When I noticed that K. Rool Returns directly quotes Klubba's Reveille with barely any transition material, it occurred to me that the same could be done with a couple of other themes sharing similar tempi in ternary time signatures: I opened with Jib Jig, establishing a theme on solo violin and introducing the full orchestra later on with K. Rool Returns in layers: the string ostinato first, the horns with the melody, and then the big brass and percussion drop with the thunder SFX. The Boss Bossanova ostinato functioned as a dip in intensity, sustaining the unresolved harmony of the tail end material that K. Rool Returns appends to Klubba's Reveille, and also as a gradual crescendo towards the arrival of its own theme. The closing motif of Boss Bossanova just so happens to be Jib Jig in minor, which is exactly why I chose to open with the latter: changing the mode of the melody offered a direct return to the main theme, back on violin, before being joined by the entire orchestra. LIVE VIOLIN: Tomás Costa ARRANGEMENT & ORCHESTRATION: M. Bulteau PRELIMINARY MIX: M. Bulteau FINAL MIX & MASTER: Miguel Jesus Games & Sources DONKEY KONG COUNTRY 2, composed by David Wise Jib Jig: K. Rool Returns: Klubba's Reveille: Boss Bossanova:

Artist Name: Mike Norvak This is my final submission from the Doom remixes of the album. The style is really different from the rest of the EP. The first half is more 90´s EDM oriented with a tripplets beat base whilst the second half is more 80's influenced with a regular 4x4 compass, both parts driven by nostalgia. I think this is my particular way of saying goodbye to the synthwave era, at least for now... Thanks for listening! Games & Sources Robert C. Prince Endgame Music 1994

Every OC ReMix that we currently know of on Spotify has a embedded Spotify link on its ReMix page. Thanks to DarkeSword for creating the new feature! If anyone knows of other OC ReMixes the artists put on Spotify that aren't shown on the ReMix page, add them here. We'll eventually figure out how to make a playlist.

In a vacuum, this is definitely a strong Game Boy track. It could definitely use more going on with the stereo field, so I agree with Hemo saying it would be better as chiptune+. Right now, the potential dynamics of the track aren't fully realized. The intro's really spartan, and I realize there's a build; that said, this could start at :16 and not lose anything. The percussive crash-style sounds brought in at :47 are too sizzly, IMO; I'd pull the volume of those back. The CV source usage seems very limited as mainly a countermelody/call-and-response underneath the SM arrangement, but that's not inherently a problem, it just means it's not a huge focus. The :48-1:38 & 2:08-2:40 sections should be shortened. When the channels are so limited and you have long runs of writing where the dynamics don't change, it makes these sections feel overlong and dragging out. As prophetik noted, there's too much cut-and-paste and too many areas that don't feel dynamic because of retreading. Winddown into a transition at 2:59 and then arranging the Super Metroid theme again with different sounds. The faux-string stabs have pop sounds from 3:21-3:28 & 4:02-4:09 that should be eliminated. Cool stuff, but the structuring should be tightened up and more varied up. Well in the right direction, and the transformation to Game Boy chiptune's very creative. NO (resubmit)

Artist Name: MET∆TRON Originally called "Link and the Wind Fish Go Clubbing," this ended up becoming more of a piece about Link having a nightmare about battles past, and the looming threat of Ganon's return. I had the drums done first and wasn't sure what to do with them, and I had just played through Link's Awakening again, so I dreamed up this little ditty. Games & Sources Legend of Zelda - game over Legend of Zelda: A Link to the Past - light world dungeon, ganon's message, final battle Legend of Zelda: Link's Awakening - Final Boss, Miniboss, Ballad of the Wind Fish

Would suggest listening to the source theme more so that you're absolutely sure you've substantially invoking it enough instead of going for just vibes, but of course that's just keeping OCR's arrangement standards in mind rather than dictating what creative path you ultimately choose to go down, which can obviously be whatever you want it to be. At :25 it moved over into this bassline being the most prominent aspect, and it's not musical. Same with the electric guitar-like lead at :49, which is not melodious. There's the source melody at 1:04, and the notes have been changed in a way where this all sounds flat and isn't melodious. Another flat lead at 1:36 then back to that bassline. Agreed with proph that it's unfortunately all tedious and difficult to enjoy because it's not musical. There's definitely some creative SFX usage, but it's all pretty scattershot, and none of that could make up for an arrangement that isn't musical. Abrasive messiness at 4:47 that just comes off like randomness without direction. There's always latent potential, but you'll need to put the time in asking questions in music communities on where you're going wrong. In short, far from musically coherent, so you need to spend more time arranging or crafting something that sounds melodious and THEN working on all the sound design stuff would be worthwhile. NO

Listened in my car yesterday, but that's not my ideal set-up, so I didn't want to lay down a vote until I could hear it on headphones and better appreciate the soundscape. I'll firstly say though, fun source tune choice, which has a Mega Man X vibe for me in some ways with this sound palette. If this was old-school OCR, this would have been a shoo-in and looked back on fondly. As is, the breakbeats all feel very stapled in and some of the synths feel generic. But the energy's solid and the interpretation's creative; if it were 20 years ago, this would have likely made it (I was on the panel back then, so I'm pretty confident in saying so.) Good Game Boy sounds, then a nice synth at :10 and again at :21 as more elements came in for the build. Kind of murky, but no problem. More warbly at :43 with a changeup of sounds. Breakbeats start fading in around :54. Yeah, at 1:01, the breakbeats come in and the mixing choices definitely don't make any sense. The melody barely sounds out over the pad-like sounds and breakbeats until 1:22. The breakbeats sound very lo-fi like you grabbed a very low bitrate sample; the contrast between how lacking in highs & clarity the first set of breakbeats is compared to the next set at 1:42 feels very sloppy and disjointed; and I get that this is purposefully jumping around the place with different textures and big intensity, but there's ways to have other sounds and effects create logical transitions to where sudden major changes in the sound quality/clarity makes sense, but there shouldn't be quality disparities in the mixing (Speedball "Speedy Guitar" is a good example of pulling this off). The bassline from 1:22-1:33 has decent presence, but doesn't have a firm shape, so the notes it hits adds some textural body, but otherwise aren’t audible and don't register much, if that makes sense. I did like the brief chiptune transition at 2:02 before going back to the fuller texture at 2:12, which was better handled, even though again the full soundscape at 2:12's muddy until 2:34. Since I'm not a musician, and the musician Js have tried to hone in on how you can improve the production side of this, all I can say is that this has a ton of potential and doesn't need to be mucked with in terms of the writing and structure. Again, super creative approach, cosmo, and I'm fully on board with the arrangement side. To sum up the production side, look into reducing the overall muddiness and imbalance amongst the parts, ensuring you don't have such quality disparities from section to section. No more clean, then muddy, then clean, then muddy, at least not without more intentionality and transitions. Varying the breakbeat loops would be cool, and the way they don't vary much does undermine the dynamics of the piece some, but it wasn't a huge deal for me; that would be a nice-to-have, but just addressing the mixing would be enough to nudge it over the line for me. That's about it, and I hope you're willing to revisit this one! NO (resubmit)

Artist Name: Audiomancer, Aka Eric This is a ReMix I put together with a few solo instruments. It's an arrangement consisting of trumpet, violin, and flute. I had trumpet carrying the melody throughout, but paradiddlesjosh said something about switching the lead instrument in the WIP forums, so I had the violin take the lead for the B section. As always, thanks for the time taken to review this submission!:) Games & Sources Final Fantasy 6, Terra's theme. Nobuo Uematsu,

Artist Name: WhoAmI? My goal for this remix was to create something inspired by 90s happy hardcore music, which was a favorite back in my teens. For the overall structure, I wanted contrasting sections, starting off harder and darker, before transitioning to a more uplifting midsection. The source track begins with some catchy major chords, which I molded into a sinister rave stab. To fill out the track I added another stab that bounces nicely off the first one, and a galloping bassline. And of course, genre-typical drums. The next two sections are all about upbeat pianos and sweet synth choirs. My friend @fataloror helped me create the choir patch. She provided a bunch of breathy vocal recordings that were perfect for achieving that retro choir sound that I love. I didn't have a plan for the final section, but I did want to include a droning acid line somewhere and found that the chord progression there lent itself perfectly to that. As usual, it was a ton of fun to work on and I learned many new things, including: Volume automation is important and something I need to practice. Time stretched samples can become cool transition effects. Hope you like it! Games & Sources The track is called "See You Again" from the game Ys I. To my knowledge it is included in all versions of the game.

Artist Name: jnWake Another month, another DoD track! This one's from december though, as I didn't enter on january (breaking a 25 month streak... everything ends eventually!). Anyway, this is my first DoD related submission that's an ALT track, which are submissions that aren't sent to the competition. Many of them are jokes but some people send alts because they have too many musical ideas! In my case, this particular track was created as the background music for Naop's (another DoD member) interview of evilsonic (yet another DoD member, who's now the site's director). Some time ago, Naop (who hosts a podcast) started doing interviews of DoD members and since july has been submitting snippets of interviews (with background music) as ALT entries to DoD. The first one was from my own interview and had evilsonic doing background music, so for december we turned it around! As evilsonic's name comes from Shadow (the character), I thought it'd be fun to cover something from his titular game. After listening to the entire OST, I settled on "Event - Flying with Tornado", a 20 second track with one fun melody... extending that to a full cover was fun but I'm not 100% how the judges will feel about it! The source is basically one guitar melody over a G# -> F# chord progression and then some descending chromatic arpeggios to end (as Tails' ship Tornado falls to its doom). Lemme now do a quick breakdown: 0:00-0:05: Descending arpeggio from the source. 0:05-0:29: G# to F# (over G# bass but still) and some variations. 0:30-0:53: More direct cover of the source material over a chill backing. 0:53-1:17: I don't think I can pretend there's any source here, but the melodies I wrote feel fitting for the source's style! 1:17-1:30: A bridge, also "original". 1:30-2:22: Source melody on piano as we do a key change for a synth solo that begins with melodies taken directly from the source. 2:22-end: Variations over the descending arpeggio riff to end the track. Hope you enjoy! In my mind there's over 50% source but you'll be the judges (literally)! Games & Sources Game: Shadow the Hedgehog Source: Event - Flying with Tornado

Artist Name: 7DD9 As usual synthesizers taken over the arrangement and gave it a dark and cold mood exposing the dark chronicles of war and perhaps something beyond... Once again i couldn't upload the track through your upload system, i will post the track below. Games & Sources Game : Command & Conquer (1995) OST Track 13 : Rain in the Night Composer : Frank Klepacki Command & Conquer (also known by the retronym Command & Conquer: Tiberian Dawn) is a real-time strategy video game developed and published by Westwood Studios in 1995. Set in an alternate history, the game tells the story of a world war between two globalized factions: the Global Defense Initiative of the United Nations and a revolutionary militant organization called the Brotherhood of Nod, led by the mysterious Kane.

Would need a new title if approved. - LT Artist Name: Jeremy Johnson I wrote this over the last few days, having posted my iterations @ the workshop. I feel more could be done, such as varying up the beat more than just during the break, but yeah. dig it. vague specifics of the production process: instrumentation - acoustic guitar, everything else is Roland XV-5080 patches played on a keyboard (drums are Addictive Drums being played on a cheap e-kit). Engineering done in Live! I excluded some parts of the original song, keeping just the lead parts from those sections, the rest is improv. I hope the amount of liberty I took will fall in the "he's cool" range Inspiration - the original song. it's phenomenal. ocremix. enjoy. also, I moved the locators in Live before my last render, just ignore the last 1:17, it's silent. I definitely used this great song as an excuse to make an even better one. I hope the break moves ya'll as much as it did me (and I'm quite impartial to myself) :) I almost forgot - ZANGIEF BASS!! it's a Roland XV-5080 party. Games & Sources Blaster Master 2 - Stage 7 (by Tony Williams, 1992, Sega Genesis)

Artist Name: Chimpazilla & Treyt Glorious Exercise Of Freedom - Helldivers 2 Main Theme ReMix -------------------------------------------------------------- Chimpazilla's comments: Treyt and I began collaborating when we started chatting after I mastered two of his (excellent) Star Fox tracks. I had an unfinished psytrance arrangement (Hyrulian Helminths) and I handed those stems over to Trevor (and he finished that track up, to perfection), and he had a new arrangement he had just begun writing, for the Helldivers 2 Main Theme "A Cup of Liber-Tea." He sent me the initial wip and it sounded amazing. I have not played Helldivers 2 (and honestly I had not heard of it, gimme a break, I'm a Zelda purist!) but the Main Theme that he was remixing is incredibly epic, and that theme means a lot to Trevor, having played and enjoyed the game. There are currently zero remixes from Helldivers 1 or 2 on OCR, which surprised me. Wilbert Roget II, the composer for Helldivers 2, is an OG OCReMixer, and it only makes sense that his amazing theme should be getting a remix. As much as I am surprised that no one has remixed Helldivers 2 yet, I am honored that ours will be the first one. Trevor's wip was a combination of psytrance and synthwave which sounded great. He passed me the stems (about 2 minutes of material) and I took off expanding it. Trevor's guitar additions sound so great in the mix, and he added more guitar stems as the arrangement developed. The star of the arrangement is the vocals Trevor did. My initial idea was for him to record a soft spoken vocal of something philosophical, to appear during the breakdown, but I had no idea what that would be so I left it to him to conceptualize and perform. He re-created the intense dystopian loudspeaker announcements from the game, perfectly processed, and they gave me chills. I used more of what he sent me than he expected; very little was left on the cutting room floor. The final finishing touch is the storytelling dystopian sfx in the outro. We hope you enjoy this Glorious Exercise Of Freedom. Stay calm, stay vigilant, stay free. Treyt's comments: This track started off as just a together-but-separate jam session I had with a producer I was mentoring at the time. I’ve been exploring Synthwave/80’s inspired music lately, and my experimentation eventually evolved into a 1-2 minute idea for a psytrance/synthwave remix of Cup of Liber-Tea from Helldivers 2. Apparently that was all Chimpazilla needed to finish out a nearly 5 minute remix that spreads democracy like it’s warm butter on bread. I love her take on the source material, and how her writing and production complimented the bit of atmosphere I’d written. It’s been an incredible pleasure trading ideas and collaborating with Chimpa, and I can’t wait to hear what’s next 😉 ----------------------------------------------------------------- Source: Helldivers 2 Main Theme https://www.youtube.com/watch?v=R5hCkh2AH58 Sections of source song used: Melody A 0:16-0:31 Melody B 0:32-0:45 Melody C 1:56-2:34 Remix source-use timestamps: 0:00-0:02, 0:07-0:09, 0:14-0:16, 0:22-0:24 First four notes of Melody A repeated 0:29-0:56 Melody A & B 0:58-1:26 Melody A & B 1:28-1:31, 1:35-1:37, 1:43-1:45, 1:50-1:52, 1:58-2:00 2:05-2:07 First four notes of Melody A repeated 2:31-3:00 Melody A twice 3:00-3:28 Melody C with variation in last part of the phrase 3:28-3:58 Melody B twice 3:59-4:27 Melody A twice 190 seconds source use, remix is 284 seconds long, 67% source use Games & Sources Helldivers 2 - Main Theme - "A Cup of Liber-Tea" by Wilbert Roget II