Liontamer

There are also 3 slightly different versions/mixes of the source tune in the Dreamcast game, so all 3 are included for reference just in case -LT Link Your ReMixer name : Dagger_G Real Name: Kyle Okamoto Email: okamotokyle@hotmail.com Website(s): https://twitter.com/Dagger_G https://www.twitch.tv/daggerg https://www.youtube.com/@Dagger_G UserID: 1369 Name of game(s) arranged: Street Fighter III: 3rd Strike: Fight for the Future Name of arrangement: Remy is a Rave Dad (feat. Don_Bozzi) Name of individual song(s) arranged: The Beep (Track.6 Stage of Remy) https://youtu.be/7VtgvJmwW44 Note: The guitarist on this arrangement, Don_Bozzi (https://twitter.com/Don_Bozzi83 , https://www.youtube.com/@DonBozzi ) does not have an OCRemix account. Please credit him in the submission if it gets accepted Hello! I’ve been a long-time fan of the site since I discovered it via an Rpgamer remix conteset back in the early 2000’s during my high school days. It had been a goal of mine to get a song on the site which is what kicked off my foray into music production. Those were simpler times. I had always been an arcade rat growing up, so it was only natural that I would get involved in the competitive fighting game community. Street Fighter III: 3rd Strike was my first serious competitive game. And over time I would work my way up to being the top Remy user in the USA. Imagine how many times I had to hear that Remy theme haha! A lot has happened since then. Fighting games and music have come in and out of my life over the last two decades. There was a point where I stopped “hearing the music” if that makes any sense…It was during COVID that I realized how unhappy I was due to silencing that creative part of my soul. Fighting games had always been a sort of anchor in my life to prove to myself that I had some kind of control. I felt like I could have gone much further in those endeavors. So long story short, I started playing again to see if I could reclaim that part of myself. I had forgotten how diverse and talented the fighting game community could be. A good amount of the new friends I had made online were musicians. One of the guys I met, Don_Bozzi (the guitarist on this arrangement), was working on a track for a Garou: Mark of the Wolves online tournament trailer. Being a part of the community Discord, and not really knowing what it was for, I booted up my trusty Acid Pro 7.0 (because I had lost my key for Ableton lol) and collaborated to help finish the track. And wouldn’t ya know? I started to hear the music again! I hit up Don_Bozzi to see if he could lay some guitar for this track which he was more than happy to do, with us being in the same boat when it came to keeping music in our lives. I’m sorry for the wall of text! Didn’t mean to give you my whole life story or anything, but I felt it was important. Anyway, enough about that stuff! I should be talking about the track! As I mentioned before, it was done on a very old and limited DAW (Acid 7.0!), which led me to rely a bit more on my hardware (especially for the sequencing). That being an Elektron Monomachine synth/sequencer/drum machine, and a Novation Ultranova. The Monomachine was used for the drum sequencing, digital sounding arps and voice generator sounds. The Ultranova was used for the pads, and more standard synth sounds. The original track itself is quite simple, so it took some time to figure out how to twist it without losing it’s soul. As a Street Fighter track, it morphs as the rounds progress, with three rounds being the max. I was inspired by the aesthetics of Remy’s stage, with those weird steampunk looking skulls and the bright lights which offer an air of mystery as to what exactly is going on inside that club. The arrangement is my interpretation of a sort of DJ set with the various electronic styles you might hear in that place. Keeping the idea of the three movements, it starts from a slower paced midrange bass heavy piece to warm up the crowd that you might hear when you first walk into the club (the first round). The second section moves to a higher energy psy-trance variation with heavy guitars inspired by the buttrock goa of the early-mid 2000’s like Infected Mushroom. Things could end here, as one does not always make it to the final round. The third round is always a true battle of wills, as each player must respect that their opponent has taken a round. For this last section, I started with a break and pad chords to portray that emotional release. The guitar starts to rebuild the tension, along with the digital arps. Finally, the square synth gives way for the rest of the guitars to come in to close the show with a climax (the final KO). And as everyone knows, police sirens can always be heard after a wild night! Here is the link to the flac https://drive.google.com/file/d/1DtKAy1SAmlAAGaws93nSWbCteVNMPll9/view?usp=sharing Thank you so much for your time! - Kyle (Dagger_G) LT EDIT (7/20/23): I reached out to Dagger_G for a source breakdown, and here's what he provided: One thing to keep in mind is that I took inspiration of both the original, and the official arranged version since it was different on arcade and on console. Oh yea and throughout the track, listen for that whistle sounding scratch as that is something that occurs throughout both versions of the original and now that I think about it, that must be what makes it sound.. BEEPY 1:06 - 1:55ish is kind of a transitionary section, but the flanged synth from 1:30 is the bass from the source (starting from 1:00 on the arranged ost, and 1:30 on the original ost on the videos I sent) 1:41 I used the reverse hat + portamento lead from the original to bring in the next section 1:55-2:00 also uses this as a backdrop to those techno stabs 2:00 - 2:13 again, the synth is the bass from the original From 2:13 - 2:37 is where I'd say the meat is. The guitar is playing a modified version of the main synth lead you'll hear in the original OST (:16 in the vid) 2:46 - 3:13 the glide synth is also playing a variation of that main lead and accents the guitars from above that come back in at 3:14 3:33 - end The guitars are playing a variation of the "singing" guitar from the arranged soundtrack (1:28 in the video), and the synthish guitar from the ost (1:30 in the video)

Download link: Contact Information ReMixer name: T.O. Bassett Real name: Teo Bassett E-mail address: Website: https://www.youtube.com/@TOBassett Submission Information Name of game(s) arranged: Undertale Name of arrangement: Everyone Craves (Death By Glamour) Name of individual song(s) arranged: Last Episode!, Death By Glamour Link to the original soundtrack: https://www.youtube.com/watch?v=2TgO-tN5wAM Your own comments about the mix: This is part of a full orchestral/progressive rock reimagining of the Undertale soundtrack that I wrote over the course of five years. For Death by Glamour, I wanted to write a version that fit Mettaton's character as well as I could manage, and settled on making it a love letter to some of my favourite kinds of music: extremely flambouyant progressive rock, glam rock, and those incredibly skilled, showboaty solo guitarists who never play a song the same way twice when they play it live. Specific influences include The Night Flight Orchestra, Gov't Mule, An Endless Sporadic, Jim Steinman, Santana, and Joe Satriani. Note about the arrangement title: The title is intended to be read as a coherent sentence (as in "death by glamour is something that everyone craves"), rather than tacking the original song's title on the end of mine to get views. It was intended to deliberately sound like a pseudophilisophical statement while actually being meaningless. ❤️

Arrangement Link (WAV): 16 BIts, 44,1 KHz Contact Information Your ReMixer name: VGMasters Your real name: Dark Hunter Your email address: Your website(s): https://www.instagram.com/darkhunterc7/ Your userid: 37166-dark-hunter Submission Information: Name of game(s) arranged: Black Belt Name of arrangement: Black Belt Destruction Name of individual song(s) arranged: Boss Theme Original Composer: Katsuhiro Hayashi System: Master System Link to the original soundtrack: https://www.youtube.com/watch?v=MkBzUJgPE2o "Black Belt Destruction" is a re-arrangement performed by the band VGMasters. The band is notorious from doing VGMusic covers since 2010. They're still on the road, improving their sound quality and looking forward for new projects! Here's a link showing the band performing Black Belt Destruction:

Hello, this is Audiomancer, and this is my attempt to remix one of the tunes from Top Gear for the NES. As far as I can tell, I don't see an official name for the original tune, but my remix is titled "Speed Demon". I created it on FL studio mobile. Thanks for the consideration ahead of time! Remix Link Original Top Gear - Track 1 (Super Nintendo)

ReMixer name: jnWake. Name of game(s) arranged: Pikmin 2. Name of arrangement: It Kills You With Fire... And More. Name of individual song(s) arranged: "Fighting the Titan Dweevil" (from here: , I'm pretty sure I'm using all variations of the theme but I figure listing just one of them is enough). I've always liked the Pikmin 2 soundtrack, which features a ton of really chill themes. However, for this remix I focused on the final boss battle theme, which is a pretty weird and dissonant song, which I turned into a still pretty and dissonant weird prog. metal track. In the actual game, the song is "dynamic" and changes according to the battle conditions and what the boss is doing. In the remix I tried to incorporate most of the elements introduced in the dynamic variations, which was pretty challenging! I won't list everything but, for example, the organ introduced at 0:28 is inspired by one of the variations, and the entire section from 1:07 to 1:40 are interpretations of the themes that play for each of the boss' attacks. This was a somewhat hard remix to arrange due to the weirdness of the original track but I think it came up nicely in the end. Mixing isn't perfect but it is what it is I suppose. Hope you enjoy! It's here: . It's downloadable.

Contact Info: ReMixer name: Jett Swole Real name: Nikki [prefer not to post my last name for privacy reasons] E-Mail: Website: https://jettswole.bandcamp.com/ UserID: 36756 Submission Info: Games arranged: -Guilty Gear (Year: 1998, Console: Playstation, Developer: Arc System Works, Composer: Daisuke Ishiwatari) -Tales of Symphonia -Teenage Mutant Ninja Turtles IV: Turtles in Time -Mystical Ninja Starring Goemon (Year: 1997, Console: Nintendo 64, Developer: Konami, Composers: Shigeru Araki, Kato Yusuke, Saiko Miki, Yasumasa Kitagawa) -Ninja Gaiden [NES] -The Ninja Warriors (Year: 1987, Console: Arcade, Developer: Taito, Composer: Hisayoshi Ogura) Name of Arrangement: "Run Like a Ninja" Individual songs arranged: -"Shihna" (from Tales of Symphonia) -"Suck a Sage (Chipp's Theme)" (from Guilty Gear) -"Going Up" (from Teenage Mutant Ninja Turtles IV: Turtles in Time) -"Star Base: Where No Turtle Has Gone Before" (from Teenage Mutant Ninja Turtles IV: Turtles in Time) -"I Am Impact" (from Mystical Ninja Starring Goemon) -"Ryu's Determination" (from Ninja Gaiden) -"Daddy Mulk" (from The Ninja Warriors) -"Requiem" (from Ninja Gaiden) OST Listings (for games new to OCR listings): -Guilty Gear: https://vgmdb.net/album/117454 -The Ninja Warriors: https://vgmdb.net/album/36566 -Mystical Ninja Starring Goemon: https://vgmdb.net/album/2779 Song Download Link (Google Drive): Comments: This was something I originally made in August 2021 as a Dwelling of Duels Free Month entry, but I was particularly proud of this one, so I thought I'd submit it to OCR as well. The idea started out as just some guitar noodling on "Suck a Sage" from Guilty Gear, but I ended up building on it with parts from other ninja-themed vgm, and before I knew it, I had this big, epic tribute to everything I find inherently cool about video games with ninjas. Also, I had just got done binge watching Naruto at the time, and it had me extra hyped to work on this (to the point I threw in some small cameos of the anime OST). That's all I have to say about this, I guess, but I hope you enjoy hearing it as much as I enjoyed making it!

ReMixer & real name: Eino Keskitalo e-mail: Names of games arranged: Castle of Illusion Starring Mickey Mouse (Master System) Name of Arrangement: Bitter Sweets Names of individual songs arranged: Dessert Factory Source: https://www.youtube.com/watch?v=8EOrkDm1xdc MP3 link: Another old compo tune of mine that I've finally finished to submission state. This one debuted in People's Remixing Competition round 210 - over 10 years ago! How amazing is it that PRC is still going? I've thrown in some jazz samples since then and like to think I've channeled some early spirit of the Finnish ambient/jazz classic Rinneradio into the tune ... Castle of Illusion for Master System (or Game Gear) is a pretty cool game. It's not a downgraded version of the Mega Drive original, but a well thought-out 8-bit reimagining, ending up a very polished and playable platformer. Great animation - and great music. The 8-bit version has some bespoke tunes, though this one is not one of them, appearing also in the 16-bit version. I had all sorts of thoughts of extending this one with additional source tunes and whatnot, until I finally decided it was actually already ok, just needing a little bit of polish. So it's short but hopefully sweet. While I was balancing the mix I got some nice feedback from Sega-fan djp on the forums, nice! I worked most of that in, for example I turned down an arp figure in the mix quite a bit, which in my mind had a big impact on the whole. Funny how that works. I got some more nice feedback on the Workshop channel in Discord, but I decided it's now time to let this go or I'll keep working on it for another 10 years.. Thanks to Pleiade who helped with mixing for the compo version back in the day; also shout out to Dj Mokram, another Castle of Illusion fan! Perhaps we will collab on some Castle of Illusion stuff one day. cheers --Eino

ReMixer & real name: Eino Keskitalo e-mail: Names of games arranged: The Legend of Zelda: Spirit Tracks (Nintendo DS) Name of Arrangement: Sieluraiteet Names of individual songs arranged: Realm Overworld Source: https://www.youtube.com/watch?v=5W_bFLwB0WY MP3 link: I'm continuing my journey through my old compo tunes and polishing them up for submission. This one comes from People's Remixing Competition round 247 (https://compo.thasauce.net/rounds/view/PRC247), from 2013, so this track is soon 10 years old originally! The overly busy compo piece has been chiseled out to have some dynamics in it. Also I've replaced some of the high-pitched instrumentation with a bit more middle-focused stuff. I'm pretty pleased with the outcome! Big thanks to few people for feedback, which helped tremendously with the final 5% of polish: * HenkkaStorm on the OCR forums * Hemophiliac and adrian (gravitygauntlet) and possibly others on #workshop in OCR Discord * Drai (https://www.youtube.com/user/jnalanko/videos) and kraphik3d (https://www.youtube.com/@digitalbeat666/featured) on Skrolli magazine's Discord It was a really fun feedback loop over a few days where people suggested small, easily actionable improvements to mixing etc that made the end result that much better. Thanks to everyone! cheers --Eino

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: The Secret of Monkey Island Name of arrangement: The Pixels of Monkey Island Name of individual song(s) arranged: Main Theme

Link: Contact Information Your ReMixer name: Hy Bound Your real name: Tyler Carson Your email address: Your website(s): https://soundcloud.com/hybound Your userid (number, not name) on our forums, found by viewing your forum profile: 8646 Submission Information Name of game(s) arranged: Final Fantasy 7 Name of arrangement: A Secret, Submerged Name of individual song(s) arranged: A Secret Under the Sea Additional information about game including composer, system, etc. (if it has not yet been added to the site): This game is a lovely game and is on the PS1. Nobuo Uematsu is a master. Link to the original soundtrack (if it is not one of the sound archives already available on the site): 'Tis Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Long time no see! Excited to finally get a chance to send in a song again. This is a love letter to Vangelis and (ironically) my OB-6 which makes up about 80% of the synth sounds. While I haven't released much lately, I'm hoping to change that; starting with this chill, evolving take on A Secret Under the Sea. Hope y'all enjoy it!

You're correct on both counts. We do have stuff that extensively uses sampled lyrics from original songs, but those are grandfathered in and wouldn't be allowed these days. Let's find you a vocalist, Robbie!

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I appreciated the concept here. Slowing down the original a bit and giving it an orchestral sound was a great idea. The drumwork that came in around 1:41 was a mistake, kind of like putting a hat on a hat; it wasn't necessary and didn't make sense with the initial arrangement concept. More subdued percussion could have achieved something more intriguing and complimentary with the orchestration.

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Some quick source usage timestamping for myself showed me the source tune was in play for well over half the duration of the arrangement, so we're in business there. 2:44-3:39 & 3:53-4:07 was just a bunch of noise; the machine gun drums steamrolled all of the other parts, and nearly everything sounded distant and lossy. Even from 4:07-4:27 without the busy drums, the guitar chugs just created white noise until 4:34. 5:22-6:23 was crowded as well, but tolerable. The soundscape at 6:23 for a brief time was a nice exception, and most of the final few minutes was a lot less difficult to distinguish the various parts. Maybe the wall of noise is supposed to make the semi-wall of noise stuff sound better by comparison. 2:44-3:39 & 3:53-4:07 were dealbreakers for me; it's just too much when it comes to mixing that hampers the track, intentional or not. I appreciate the track otherwise, even if the mixing hinders the listening experience for too long. If it could be adjusted, great. NO (resubmit)

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The track was 3:03-long, so I needed to make out the source tune being invoked for at least 91.5 seconds in the arrangement for the source material to be dominant. Mostly voice references (:00-37 of source) - :18.5-:24, :25.5-:35.5, :36.5-:42.5, :43.75-:55.75, 1:29.75-1:57.5, 1:58.5-2:02, 2:06.5-2:15 = 75.25 seconds 4-note harp pattern (:18-:22 of source), .75 sec per instance - :07 6-note harp pattern (:01-:08 of source), .75 sec per instance - :09, :13, :15, :17 = 3.75 seconds 6-note pattern (:36-:44 of source), but different rhythm - 1:14.75-1:18.5, 1:22.5-1:24, 1:25.25-1:26, 2:29.5-2:33.5, 2:37.5-2:39, 2:44.75-2:48.5, 2:52.5-2:54, 2:55.25-2:56 = 17.5 seconds Total: 96.5 seconds or 53.72% overt source usage This was more liberal that I liked, at least in terms of me being able to readily ID the connections, but I broke the summamabitch down enough to where adding up all these tiny bits and pieces of recognizable source tune added up to more than 50% overt source usage, so I stoppppppped. Love all the sound design here. Creative stuff, but liberal AF. YES

Heavy kicks at :40; interesting combination there along with the arranged melody. Boom-tss arrived at 1:06, and in my opinion, it was mixed too loud over the arranged melody. To some extent, I can live it with a personal issue, but then more original techno writing was added over the to at 2:01, and the balance wasn't making sense. I also felt the textures were too basic, so when elements finally started dropping out at 2:41, 2:47, and 2:53, it was a very welcome change in terms of the dynamics. More overly loud kicks at 3:08; I'm put off by how simplistic and empty these textures are, for example from 3:07-3:34, where it just feels like whole parts of the "real" track have mysteriously been muted out, if anyone gets what I mean there. Texturally, this didn't feel sophisticated enough. From 2:55-on, the next 3 minutes were iterations of a liberal treatment of :57's section of the source, varying up the leads every so often. Then good dynamic contrast in changing the mood, as 5:53-on was inspired by the drum writing from the very start of the source, partially employing the same rhythms, then changing others. I'm not enjoying all of the choices here, because, while this piece was loud and attempting to fill out the soundscape, I felt the sections with thinner textures still sounded too empty (especially 3:07-3:34), and I was never of a fan of the kicks and trance groove being louder than the arranged melody. I would love this being given another mixing/producton pass, but I'll not make the perfect the enemy of the good. The arrangement's interpretive, and production's decent enough. Though this did drag out sometimes, in the big picture there's enough variation in the writing that it wasn't a huge problem. Nice to have you back, WhoAmI? WhoAreYou though? YES (borderline)

Bizarre in a good way. Rather than just going in a linear fashion, I really enjoyed how different segments of the source tune would drop in and out with different instrumentation styles. Very creative approach! YES

Maybe it's just me failing to wrap my head around this theme, so I was coming up source-light. :11-:35, :43-1:03, 1:54.5-2:26, 2:41.75-3:01, 3:05.5-3:11 = 100.25 seconds Can someone point out other areas of the source usage I'm overlooking? ? EDIT (8/16): MW changed his vote on account of my initial timestamps, but I went "?" rather than "NO"; I wasn't saying my counts were definitive, just that I had questions. This is a very long source tune, so I really needed more time to get familiar with it or hear other perspectives on what I could have missed. I was overlooking some connective tissue segments of the source that Peter was clearly using; for example, 2:34-2:41.75 was from 3:37-3:44 of the source and 3:01-3:05.5 was from :27-:30 of the source. I've got a better handle on it now, so I'm sorry that my inability to make all of the connections held this up. The track was 4:01-long, so I needed to make out the source tune being invoked for at least 120.5 seconds of the arrangement for the source tune to be considered dominant. :07.5-:08.5, :10.5-:35, :39-1:03, 1:54.5-3:13.5 = 128.5 seconds or 53.31% overt source usage Good to go! Loved the arrangement. Strong instrumentation with loads of dynamics. A very spirited fleshing out of this theme, Peter, welcome aboard! YES