Liontamer

ReMixer & real name: Eino Keskitalo e-mail: Names of games arranged: Wonder Boy III: The Dragon's Trap Name of Arrangement: Vastentahtoisia muodonmuutoksia Names of individual songs arranged: Vs. Dragon, The Dragon's Trap Sources: 1. https://www.youtube.com/watch?v=d5L4EIKljCM 2. https://www.youtube.com/watch?v=ScoAICcNJNY MP3 link: FLAC link: Hello dear panel! I'm continuing my journey of polishing up my old work in progress arrangements for submission. This one dates all the way back from 2009, from People's Remix Competition round 156! https://compo.thasauce.net/rounds/view/PRC156 It was always a fun track I was pretty pleased with. I recorded live bass, guitar and keyboard on top of a non-standard sequenced drum kit. The recording quality was bad, playing was out of time, and the keyboard sounded atrocious! Regardless, the result was a fun short jam, based on music from a game from my childhood, with lots of fond memories of friendship and family attached to it. And the game is still pretty great to play, and the music is still an example of eight bit gold. For the polishing work, I mostly replaced the synth jamming with a couple of synth presets that come with Renoise. I did leave the original playing as a quiet layer in there. As far as the guitar goes, I "reamped" it to give it a lot more brightness, then pushed it to the background in the mix as it was both hissy and lacking in high frequencies. I also doctored the timing quite a bit and completely dropped it for some parts. It's there for colour and a bit of rhythm - I don't have a guitar to re-record at the moment. The bass playing however I was reasonably happy with - I just EQ'd it, fixed some of the worst timing issues (but not all, so it's organic and garage-y) and added a bit of distortion here and there. I was actually pretty pleased and surprised I was able to "rescue" the track up to this level of quality! I hope it's good enough. I also hope you don't mind it being so short - to me, it doesn't need to be any longer. It's a good homage to a game I actually have played substantially! (That's the case for only less than half of my OCR tracks still.) Big thanks to the Workshop hero Hemophiliac for a couple of listens and good comments, which pushed me to do a couple of extra rounds of mixing tweaks.. for example, one of the synths got some chorus effect automation added, which was a very nice additional touch to the track overall and gave it some variety that makes the overall impression nicer. cheers --Eino

I watched through a pair of the most recent videos back in 2019, and it didn't sound like Kegy was using other OC ReMixes beyond "Gypsy Jazz". But I'm happy to look through any other specific Kegy videos that you offer up; if there are other OC ReMixes they used, we should be able to identify them, I'm just not sure if he any others.

I reached out to Je via email, but it was missed, so I forum PMed him yesterday wth the same comments and was able to then get a hold of him; sharing our convo: I hinge my decision-making the most on "identifiable and dominant," which is why I end up lovingly timestamping and stopwatching stuff. Part of it is showing the artists that we're actually paying attention to their tracks and understanding what they did. Part of it is to sanity check that they aren't just doing their own thing with a small amount of VGM usage in there. In my opinion, the VGM source material must always be the dominant/majority component of any arrangement. My personal guideline for this is identifying the source tunes in use somewhere within the arrangement for at least 50% of the track's duration. For this specific track, for example, consider sliding in the first two notes from the source melody (you use it from :35-:36) -- but more quietly or with a different sound -- as a background element underneath at 1:30 or 1:39 until 1:48 when the full melody returns at full volume. That would be enough to nudge the source usage over the 50% mark without making big changes. For the timing, the sound could trigger either at, say 1:39 at the same time as the lead sound, or at 1:40, almost like a call-and-response in between the two flourishes at 1:39 and 1:41). That's just one potential idea, with the intention being invoking the source just a bit longer. For me and sometimes other judges, if it's 49.99%, that's automatically a NO, but some judges will entertain stuff below 50% and go with their gut. It always safest to be at 50.01% or above. But artists can and do range all over the place in terms of how much of their arrangement is actively referencing the source tune at any given time, so as long as the VGM "dominates" the arrangement, invoking the VGM from anything from 50-100% of the track's duration is welcome and allowed. You don't have to necessarily have to add wholly original sections; as long as the presentation is personalized enough, people often do refer to the source during 70-80% of an arrangement. It's up to the artist! Hope to see you in the Discord for sure, Je, it's a great community there, and I always enjoy your work! -Larry To summarize: 1) 227 agreed that my timestamping was accurate and matched how he described things in his submission comments; 2) 227 is OK with whatever decision we reach and has a clearer understanding of the source usage expectations/guidelines; 3) Unless he changes his mind, since he changed DAWs, revisiting this track is effectively a no-go; and 4) A failure to more quickly resolve the decision -- or at least communicate the issues -- may result in our inability to obtain a revision, which we'll need to address.

Ok! Thank you very much for the feedback, i will send my remix of the Asgore's theme of Undertale instead Contact information: Remixer name: Gabriel Busarello Remixer real name: Gabriel Dell'Agnolo Busarello Email: Website (Facebook page): https://www.facebook.com/BusarelloGabriel Submission information: Name of the game: Undertale Name of arrangement: The Spooky King Name of individual song arranged: Asgore's theme Composer: Toby Fox Link to the original soundtrack: https://www.youtube.com/watch?v=zKLxc2NsNcg Comments: This is an orchestral version of the Asgore's theme, with the intention to change the mood of the music for something more "halloween style", spooky, etc. Remix: Sincerely, Gabriel Busarello.

Cool vibe with fun sound design choices; I initially thought some additional elements earlier on wouldn't have been a bad idea, but the texture's actually filled in very nicely once you pay attention to and appreciate each individual part. Super clean stuff. Later you have the nice rhythmic change at 1:45, which was a nice idea to keep things moving, and you filled in the textures even more to altogether bring more intensity ahead of the crescendo-ing beats at 2:06. The arrangement certainly stands on its own, yet since it's from a Mickey Mouse game and I've heard the source, it somehow still feels kind of quaint. LOVE that another Master System game is getting some coverage; awesome choice, Eino! YES

Eventually, yes!

Love the opening with the lush sounds and water SFX; very cool feel to start. The beat comes in at :37 and it's surprisingly tame, one of those tracks where the beats have no meat and sound like a plastic bucket's being hit. Meanwhile, all of the other instrumentation and sound design is so strong, so the beats are an unfortunate quality disparity. Nice drop at 1:43, though this is full of amazing ear candy. By 2:04, I was also tired of the beats, so I'm genuinely glad they dropped out for something else by 2:13 (followed by the first usage of "Infinite Blue" at 2:19). Ah man, beats back at 2:29. Another great dropoff at 2:42. Don't let my focus on a weaker element take away from the fact that this arrangement kicks all sorts of ass. Look at those last creative arrangement ideas at 3:15 before referencing the verse at 3:28. Wow, awesome, Dean. Amazing energy and dynamics throughout. The beats needed more body & heft, but that doesn't take away from this being a super-fun thrill ride! YES

The track was 2:24-long, so I needed to make out the theme for at least 72 seconds. Since this is a gimmick arrangement, I just wanted to check that the source tune was in play enough. I found what I needed! :02.5-:10.5, :13-1:09, 1:30.5-1:35.5, 1:49-2:04.75 = 82.75 seconds or 57.46% overt source usage Also, 1:44-1:47 = Honnnnnnnnnnnnnnnnnnnnnnnnk One weird goose honk amidst an otherwise sound concept and performance. I... SEY YES P.S. Honnnnnnnnnnnnnnnnnnnnnnnnk! LT Edit (7/11): Sorry, guys, I'm listening again, and the sax control is indeed too unsteady. I was too nice, which I'll never be again! I'd love for you to try this again, if you're willing to re-record it.

A bunch of goofs goofin'. YES

The source tune feels like Ghosts'n Goblins with beats; I dig it. Track was on the crowded side for me. It's not muddy in terms of parts stepping over one another; the different parts actually seem fairly clean, but something about how they all form this texture makes the track seem cluttered and less sharp than it should. Maybe the grimier/crunchier sounds that start around :04 could have been saved for the repeat of the verse & chorus at :31 or later at 1:18, which could have made the middle seem like a subtle escalation of the energy instead of a retread. From 2:29-on, I would have liked to have heard something new with the textures and writing ideas to make for a stronger close, especially after the dropoff section at 2:00; right now, ideas (albeit creative ideas) are cut-and-pasted with the same sounds and intensity (e.g. verses at :03, 1:18 & 2:43); instead of feeling like a satisfying bookend, the lack of variation in places made the finish repetitive and disappointing. That said, maybe other Js won't mind the structure as much as I did. It's still a solid arrangement by Ernesto with driving energy! YES

I may have misinterpreted what I saw on Discord, but I thought I saw Ben saying something about how he wasn't sure about submitting this piece. There wasn't anything about this that threw me for a loop as far as our arrangement standards, nothing that would give me pause to pass this. The beats and sequenced electric guitar at 1:42 both had a stilted sound to them. Drums at 2:10 didn't fit; they're mixed in a way where you don't get any body to the snare hits, mostly just the snap; it's odd, but another judge likely can explain why all that doesn't click. It's serviceable enough, and I do like you branching out with your instrumentation, but I'd love some sort of improvement there, as it's the weakest link. Back to the ethereal soundscape afterward though, and it was smooth sailing from there. The lead and source counterelody at 3:13 were nice alongside the original writing, followed by the piano and shimmering percussion at 3:46, all great sound design stuff. What an amazing trailoff for the finish. Cool! YES

We've attempted to touch base twice but have never heard back, so let's just keep voting as is, please.

I'm super biased because I love the source tune so much, so I just wanna hear it like this. I'm liking the opening sound design, and the delay effects to give the first section a differnt feels, then fun phasing stuff at :45. The sequencing can feel stilted but there's charm and intention in the overall sound. At 1:06, we get a basic core DnB beat pattern; Roch, I think there's way to spice this up provided you talk to the right people, but we need to take the plodding training wheels off of this beat-writing, because it's a weak link. Good variations of the leads to keep the theme treatment fresh throughout! YES

The track opened up very similar to the original track, but it's near-7 minutes, so there's lots of runway to play with in terms of getting more interpretive, and it was evident it did that not too far along. Not the best samples in terms of realism, but llots of fun instrumentation changes, additive supporting writing, and fun embellishments and soloing elements here and there throughout to give this a distinct character from the original. Making this last without dragging out would be a challenge, but it's asked and answered by T.O.! YES

The source usage is basically the whole track, referencing some sustained lines from the original until :53 and going on from there with the actual melody afterward. The source tune itself has some unpleasant dissonance/clashing that's carried over here, so I guess I can't ding it that bad, but I'll have to live with it. This sounded flooded in the zone, so to speak, where the soundscape was getting muddy until 1:42, but it wasn't anything dealbreaking. Around 1:55, the lack of percussion or something driving this forward made the piece feel like it was dragging, and the rigid timing on everything didn't help things not feel plodding. The driving beat finally was brought in at 2:36. Weird effects on the lead at 3:02 that were messing with my ears in a very unpleasant way; the relative volume of the leads didn't make sense and seemed to be pushed way under the underwater-sounding countermelody. More piercing sounds at 3:52. Arrangement-wise, this does get it done in terms of transforming the theme. Even if the mixing isn't ideal as is, I'd rather post this than not, and would be glad to see if Tyler could give this another mixing pass. YES

I’ll say that this could evolve more, so I could see someone else feeling that the track was ultimately too repetitive or at least droning. That said, I dug it. It’s indeed a great source tune, and Peter’s treatment was very lush with subtle textural changes, and a crystalline sound that demands your attention. It’s a great piece to veg out to. YES

Cohesive combination of the themes. I’ve heard it with so many arrangements in the community, but when the sound is so lush, you almost think “Dayum, this is almost too good for such a simple composition”, but that underscores how catchy VGM can be and how much it deserves the glow-up. Loved the rhythmic change at 1:16 the most, which provided a nice feeling of movement here. Peter’s stuff is rubber stamp good to me. YES

Fun journey! Strong sound design, nice vocal moments. Matt always delivers, and it’s a genuinely meaningful milestone to have our first father-daughter collaboration too! YES

Cool! Some of the initial original writing was too noodly, but no big deal. Good variations of the sounds and textures to provide the distinction compared to the source. Clean sound, with fun use of the sample club vocals and in-game voices as well. Was initially worried it might not feel interpretive enough, but I’ve also heard enough of your work now to feel confident that it wasn’t going to be a problem, so I’m glad that was the case. I enjoyed! YES

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Link to submission: MP3: WAV: Remixer Name: Veni Mortem Real Name: Venicia Jenifreya Email: Website: https://venimortem.carrd.co/ User ID: 38540 Name of Games Arranged: Mega Man X Series (Primarily X5, but including X-X7) Name of Arrangement: Zero Alternatives Name of Songs Arranged: "X vs Zero" (Mega Man X5) "Zero" (Mega Man X) "Zero" (Mega Man X2) "Zero" (Mega Man X3) "Opening Stage Zero (Sky Lagoon)" (Mega Man X4) "Opening Stage Zero" (Mega Man X5) "Awake Road Again (Highway Stage / Zero's Theme)" (Mega Man X7) "Demo (Zero's Speaks, Variable X)" (Mega Man X) "X vs Zero" (Marvel vs. Capcom: Infinite Version) You can find a YouTube upload here, which is fully timestamped, including visual cues, to follow along with each part of the medley! Comments: This was a huge project for me, having worked on it off and on for a few years. This was requested by my good friend and long time Patreon supporter Zorky, who is a huge fan of Zero. Initially he asked me to cover X vs Zero from X5, but as I started working with it, my ideas for it continued to grow. I first noticed that the rhythm of the strings section in the first segment of X vs Zero past the intro, had a similar rhythm to Zero's theme from Mega Man X, so I started by recreating the Zero theme melody with the same violins I was using, and beat the BPM with a hammer until it sounded right haha. Once I had that in, I just kept finding little ways to fit the other themes in here and there, wrapping them all around the tempo and rhythms of X vs Zero, to finally result in a sort of celebration of the character, and the series as a whole! X vs Zero is one of those tracks that just always stuck with me, and I've always considered it one of the greatest action compositions in gaming. As a music composer/producer myself, it just spoke to all of my composition sensibilities and was one of the few instances where a track made me think "Wow, I so wish I had made that one!" hahaha. So when the opportunity came to arrange it, I just had to give it my all and show my love for everything involved! Closing: If there are any issues with the files or any of the information, please let me know and I'll correct it as soon as possible! This is my first submission to OC Remix after many many years of listening, so I hope I got everything right! Thank you all so much for everything you do! Timestamped video of submission with source breakdown:

Remixer name: The Coop Real name: M.T. Yankovich E-mail address: Website: N/A UserID: 4510 Game arranged: Thunder Force V Arrangement name: "Guardian Unknown" Song arranged: "The Justice Ray Part 2" Song composers: Hyakutaro Tsukumo, Tek Tek, Tomomi Otani Game system: SEGA Saturn Thunder Force V OST: https://www.youtube.com/watch?v=0yPWibjhBWo Comments: Greetings folks. Yeah, it's been many, many years since I submitted something, but I figured I'd throw caution to the wind and... here I am. This is a piano-arrangement of the song "The Justice Ray Part 2" from the Tecno Soft game, Thunder Force V on the SEGA Saturn (it's on the PS1 as well, but I grew up with the Saturn version, so...). Besides the drastic change in terms of musical instruments used and tempo, I also did a little shuffling to the original song's structure, moving some sections of it around to fit with the more somber-at-times tone of my arrangement. I still tried to capture the energy of the original tune at times as well, giving the song a chance to swell, fall back, and whatnot. It this remix was inspired a loooog time ago, when I was trying to do an orchestral remix of the same TFV song. That remix was basically finished, but it fizzled out in the end. A little while later, I tried to do a piano-solo version, but that too fizzled out after it got pretty far along. That piano-solo remix sat dormant for about 13 years, and I eventually found it and decided it was time to get it done. I sat down, reworked what I'd written, and finally finished it. The song title is inspired by the glitchy speech that comes up as the game warns you of the approaching final boss, and the on-screen text that reads, "Area Guard Name: Unknown." I've attached a 192kb/s MP3 of the remix to this email, and here's a link to the same file on my Dropbox account. I've had this account for years, so it's not going anywhere (I hope)... Thanks for taking the time to listen to it, and... well, here's hoping! -TC

Link Greetings! It's been a long time since I've submitted a new track. I hope you like it Requested info below. CONTACT: Remixer name: OverShield Real name: Dean Kontos Email address: overshieldmusic@gmail.com Website: I don't have one, but here is my YouTube and Soundcloud: https://www.youtube.com/@overshield9729 https://soundcloud.com/overshield_official User ID: 33724 SUBMISSION: Game Arranged: F-Zero Name of Arrangement: Project Blue Name of Song Arranged: Big Blue Inspiration: The main inspiration for me is always nostalgia. F-Zero has been one of my most beloved game franchises ever since I was a child. It has incredible music that always matched the fast paced energy of its racetracks. Big Blue is no doubt one of the best songs within the entire franchise and it has always been high on my list to put my own twist to it. This remix mainly focuses on the classic original theme of Big Blue that we know and love. However, big F-Zero fans may notice some parts of the song taking direct inspiration from some of the lesser known alternate versions of the Big Blue theme within F-Zero GX (e.g. Infinite Blue and Arrange versions). I hope you enjoy it, as I tried to tell a story throughout the different sections of the track (pun not intended). Thanks for your time. Best, Dean

Your ReMixer name: Pixel Pirates Your real name: Tobaunta Torkelsson & Fredrik Vinterstjärna Your email address: Your website: pixelpirates.nu Your userid: 37469 Name of game(s) arranged: Castle Crashers Name of arrangement: Four Brave Heroes Name of individual song(s) arranged: Four Brave Champions