Liontamer

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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

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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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). :-)

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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.

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.

Original Decision Artist Name: Zanezooked Howdy judges! Here’s a resubmission of my Marathon 2 and Marathon Infinity remix. I put my original mix up on Youtube at the same time I submitted it here. It was well-received in the Marathon community. Hamish Sinclair even featured it on the Marathon’s Story site! That was surreal as I’ve been reading that site since my first forays onto the internet as a teen in the 90s. Your feedback here was largely positive about the arrangement but negative about the production and mixdown, especially the balance of sounds and general muddiness. I tried posting this revision to the workshop for feedback but got no replies. :( So I did my best on my own. I do think it sounds much crisper than the original. Changes I made in response your feedback: Re-mixed pretty much everything, and changed a lot of the EQs. Added more sidechain compression on the kick (there was some originally, but not enough) Took treble off the bass, especially when the guitar is present. Added a de-resonance step on the master chain Swapped the bass in the opening sequence for cello and bass strings. Prophetik found the synth bass there out of place, but I still wanted something in the low end to provide variety from the wall of pads and environmental sound. I really like the result! Changed some of the drum rhythms Fixed the wrong note pointed out by Prophetik Other changes: Shortened the song by cutting out the reprise of the M2 theme after the middle string section. It now ramps into the guitar rendition of the M∞ theme. Restored a high cosmic echo trail effect after the guitar parts which was supposed to be in the original mix but got lost when the plugin’s license reset I should mention that the goal of this remix is to capture a certain Marathon “feel.” It’s not meant to improve on or sound like the source Marathon songs, which are amazing as-is. It’s intended to take those themes and give them another showing, in a setting that’s different but still evokes what Marathon feels like as a whole — which for me includes not just the original Power of Seven (Psykosonik) music but also Craig Mullins concept art and the philosophical rantings of a rampant artificial intelligence intent on escaping the closure of the universe. I’m not going for a pristine sound, but a dense sound awash in spaciousness, layers, and grittiness that evokes cosmic vastness, ancient mystery, and aggression. Judging by the reception of my original version in the Marathon community, I think I did manage to capture the vibes! So I tried to retain that in this revision, while working to remove muddiness and improve balance. I hope this new version is up to OCRemix’s standards! Source Breakdown: The title of this remix is Lh’owon, after the planet on which most of the action in Marathon 2 and Marathon Infinity takes place. It’s ancient homeworld of the S’pht, though it’s currently populated by a garrison of the Pfhor, who enslaved the S’pht a millennium ago. Its extensive ruins hide clues to the fate of a tribe of S’pht lost thousands of years before the Pfhor arrived. Oh, and the planet’s sun currently imprisons a Lovecraftian elder god of chaos which will devour the universe if freed. The first minute of the remix is about soaking in the ambience on this unspeakably ancient, largely ruinous planet. It starts with some literal ambience recorded directly from the game (and drenched in reverb, as if heard from within one of the rock-like structures you run around in). Pads and strings play the theme that the background synths play at 0:30 in the Marathon 2 source song. The strings fade away with an irregular loss of signal. Into this planet’s system comes the rampant and only possibly insane artificial intelligence Durandal in a captured Pfhor dreadnought; he sets about bombarding the Pfhor garrison from orbit and teleporting his pet cyborg security officer (the player) around, flooding an outpost with lava over here, saving enslaved humans over there, and then going on an extended archeological dig into the ancient S’pht ruins in search of a weapon that can give Durandal the dominance and universe-outliving immortality he hungers for. At :55 we start to hear the encroaching orbital bombardment, and at 1:25 the security officer arrives and starts kicking alien appendages. A synth grinds out the guitar progression from the beginning of the Marathon 2 title music, then a recessed guitar takes up the melody. After this, a synth bass plays the bass from :30 in the source song, before the cycle repeats. At 2:39 the strings return to provide a pause in the Total Carnage, playing the theme from Marathon Infinity. The security officer is discovering the oldest remnants of the S’pht civilization, far older than humankind—and some of it is still sentient. Though he doesn’t yet know it, the fate of the cosmos is at stake. At 3:45 carnage returns as the guitar plunges into the Marathon Infinity theme, while high strings and a buried choir provide a sense of spaciousness and age. Games & Sources Marathon 2: Durandal Marathon Infinity

Love this source, always glad for an excuse to listen to it! Right from the jump, I’m liking the genre transformation. During the chorus from :32-:46, the lead comes off very flat. The sound design and balance isn’t ideal, but it’s not awful. 1:20 would have been a great place to change the lead sound for more variety there. Dropoff at 1:36 that was super-barren but gradually built back up starting at 1:50; this needed something else to fill the texture out more without being too much. A bunch of cacophonous supporting writing from 2:00-2:08 and 2:24-2:32 that needs to be reworked; has no melodiousness to it plus the synth choices already feel old by this point, so, surprisingly, there's fatigue for me with this sound design even though a lot of time hasn't passed. At 2:08, the sound design and intensity are similar to around :56; it’s not really going anywhere new or dynamic. 2:32 messed around more with getting subtractive and varied with the presence of the melody. 3:04 revisited the style of the opening to bookend the piece, then did a little bit more original writing at 3:20 that wasn’t melodious and felt like a flat finish. I’m in the same camp as proph; there’s transformative ideas, but the track relatively too flat and repetitive in how it sounds despite effort given to varying some textures. Needs different leads, more filling (some gentle padding of SFX here or there), and smoothing out some non-melodious moments. The core of it is promising, so definitely worth revisiting to see what more could be done, provided the interest was there. You can have arrangements with a steady energy, but the dynamism has to come in other ways, and that’s not been pulled off here despite some tactics going in that direction. NO (resubmit)

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You can pretty much take a Bluelighter arrangement timestamp to the bank, not that this was a complex source tune or melodically liberal piano arrangement. The piano sound was in the uncanny valley, a common issue with Bluelighter's solo piano pieces, but an issue that stands out more due to this performance style. The piano sample sounds noticeably stiff here. If the sound were more humanized instead of very much in the uncanny valley, this would land better. A drawback of the particular keyboard being used? If someone knows what to call this piano playing style and can link an example of one on a real piano, maybe it could help uncover ways to produce somthing like this -- for example, adding effects to mitigate the realism issues. The run from 3:24-3:51 with some flowing notes in the background sounds comparatively much better. This performance style and the dynamics of the arrangement aren't benefitted by the sample/articulation limitations. The bar doesn't need to be so high as to disqualify this, but the sample's very exposed, and the end result just doesn't hit the way it should or could. It sounds like I'm saying I hated this, when really I'm lamenting for what it *could* have been, richer-sounding and more humanized, to better do justice to Guillame's solid arrangement. YES (borderline)