Liontamer

Artist Name: 7DD9 This was made exclusive for the Halloween and it haves a dark and spooky mood with a VHS feeling as Horror movies totally belong in the 80's and early 90's Era. Synthesizers used for all covers. The covers flow as a all together to create the necessary atmosphere. In case you don't want to upload the full audio file with the tracks and you want a specific track please let me know. You can download the file from private soundcloud link as i couldn't upload it directly to your site. Edited 5 hours ago by 7DD9 Games & Sources Game : Blood (1997) Blood is a 3D first-person shooter video game developed by Monolith Productions and published by GT Interactive and developed using Ken Silverman’s Build engine. Music Soundtrack written by Daniel Bernstein and Guy Whitmore. The following tracks were used for the covers and it's their alternative versions not the versions that actually used in the game. Blood Night (Halloween Special) 01.Infuscomus 0:00 02.Dark Carnival 2:53 03.Fate of the Dammed 5:35 04.The Lair Of Shial 8:30 05.Overlooked Hotel 11:16 06.Unholy Voices 13:36 Original Soundtrack : YT timestamps: 1. Cryptic Passage - 00:00 2. Pestis Cruento - 00:45 3. Unholy Voices - 05:56 4. Dark Carnival - 13:04 5. Infuscomus - 15:58 6. Father Time - 20:36 7. Waiting for the End - 25:30 8. Fate of the Damned - 28:41 9. Double, Double, toil and trouble - 31:34

Oh wow, I immediately like that genre transformation of the theme, giving it a darker edge. Something about the texture after the ramp-up at :53 didn't feel quite right. Also felt like one of the guitars was briefly panned too far to the right, but maybe it's just me. Very subtle vocals at 1:21 for more of an ominous undertone as opposed to an overt message; cool placement. Loved the double guitar leads at 2:00, another cool iteration of the theme. The strings at 2:25 were too exposed, but conceptually were cool; the strings sounded less exposed later on when they were a supporting part. A wild TSori appears at 2:38. Loved that original mallet-like countermelody underneath the lead, what a unique addition to the texture. 3:17 felt like the final big build gradually filling in the soundscape; great interplay of the part-writing throughout. Structurally, I dug the format of just riffing on the core theme and exploring the instrumentation permutations. Textbook creative arranging! YES

Artist Name: Mike Norvak I made this remix for my "Redoomed" album. I think this track or others from the album would really fit the halloween season. I went with a "Reduked" (a previous album by my self) style for this remix while adding elements from Darksynth and a base from Midtempo. I also reused some of the original song Roland SC-55 sounds and other 90's sounds to keep the essence of Bobby's soundtrack while adding some retro-futurism to it. I hope you'll enjoy it! Games & Sources DOOM - Dark Halls by Robert C. Prince

Artist Name: Gabriel Tripp, Rebecca Tripp This was a joint composition between my brother and I (Gabriel and Rebecca Tripp). It's from this Respawned Records album: https://respawnedrecords.com/products/phazon-mutations-vinyl-metroid-series Each song on the album was co-arranged, but I think Gabe's composition shines in this one. I'm hoping to submit some more of these over time! Games & Sources "Menu Music" from Metroid Prime 2: Echoes

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.

Love being introduced to this source because it definitely sounds like something about:blank would take on. Lots o' pumpin' here. The textures feel thinner than some of about:blank's previous pieces, in part due to the snare drums brought in at :04 feeling relatively tame and lacking body (IMO, the sample's too exposed). The subtle SFX from 1:56-2:12, as one example, were small details that added so much character to the presentation; same for the quiet electric-esque sounds introduced at :20, where the SFX as an additive element really first started. The keyboard line from 1:00-1:15 & 1:55-2:15's one of the track's brighter, more serene elements, with the technique nicely used again with the woodwind from 3:19-3:35 as an optomistic-sounding close. It's a spirited, dynamic fleshing out of the source tune, and I really dig the subtly yet persistently uneasy feeling to all of the warbly synths. With about:blank, the devil's in the sonic details. Always a pleasure to hear what he's got cooking. :-) YES

Would need a unique title if approved -LT Artist Name: StrapCoopMore Composed, Rearranged By Aleksander Parker Gates From Wikipedia ATF: Advanced Tactical Fighter is a video game for the ZX Spectrum, Commodore 64, and Amstrad CPC in 1988 by Digital Integration. The player takes control of Lockheed's YF-22A Advanced Tactical Fighter (the aircraft which later became the F-22 Raptor) in a fictional war between two rival factions. The world is a collection of islands randomly generated for each game. The fighter can be armed with a combination of cannon rounds (used to destroy enemy aircraft), ASRAAM missiles, and Maverick missiles for destroying ground targets, even those out of visual range. Games & Sources ATF: Advanced Tactical Fighter

OK, opening sounded a lil' funkier than I was expecting, like you're trying to smoove the ladies. Alright, the main melody kicks in at :43 and the laid-back groove behind it is nice. The sound design isn't the same, to be clear, yet I can't help but say the overall sound design and dynamics feel reminiscent of Quinn Fox's stuff, which is a wonderful comparison, IMO. (Check out the cadence and tone of the beats of his old VGMix, "Slick Uniforms".) By 1:45, I was expecting a ramp up of some sort and we got it at 1:49 with some beats. 2:18-2:20 was an odd moment that IMO should have been tweaked to sound major key throughout, but I'll live, it's a there-and-gone transition (and the notes aren't wrong, just odd). It felt like there was a potential build for a brighter or more forceful concluding section starting at 2:54 or 3:16 instead of what we got, which'll sound like I minded the direction timaeus took here. Nothing at all wrong with setting a mood here, and I was still getting Quinn Fox-esque vibes from this when it was all said and done. Cool approach! :-) YES

Source writing that I recognized arrived at :53.5. The orchestration definitely feels last-minute in the sense that its way in the uncanny valley (the attacks and sustains), but it's at least more of a supportive element to add color than sound realistic. A swelling transition leads to impactful beats joining in at 2:54 as things ramp up with the strings also filling a stronger, more critical role before things finally rock out at 3:41. Now the mixing feels too cluttered and messy, and the sequenced strings are swallowed up, while the guitar chugs also sound relatively indistinct. The bassline is also mostly obscured too, but when it pushes through enough, the writing is good. Unlike prophetik, I couldn't hear the individual elements well. Lots of splashy noise until the soundscape opened back up at 5:19 for the last few moments, nicely bookending the finish with a similar texture to the start. The performances are strong, love the arrangement, can look past the exposed strings, can't countenance the extended muck & murk for a minute and a half. Wish I could make an exception for Wes, but I'm mean, old, and (most importantly) even-handed. :-D NO (resubmit)

Starts out super-quiet, but purposefully boosts up at :27. Gets denser at 1:08 with some bouncier piano writing. Good transition into the chorus at 1:21. I'm appreciating the textures and sound design; nothing too flashy or sophisticated, yet everything combines very effectively. Strong dynamics as well. The track was 4:46-long, so I needed to identify the theme for at least 143 seconds for the source material to dominate the arrangement :52-2:10, 3:15.5-3:58.75, 4:00-4:12.5, 4:13.5-4:46 = 166.25 seconds or 58.12% overt source usage I could be overlooking smaller references from a lack of source familiarity, but all I was concerned about was confirming that the vibes I had that the source usage was fine weren't just because I enjoyed the track. Fun stuff, VQ! :-) YES

Did I hate it? YES ;-P

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

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),