DragonAvenger

LOVE how you approached this! The original always came off as a really stiff and blocky piece, but you really added a ton of style to it. Kudos on an amazing approach here. I had to listen to this one a few times myself and decide how I felt about the rhythms. I do agree that I don't think it's the best choice out there but I also agree with Larry that it's more of a personal taste thing over it' being a major issue in the track. The ending leaves things a bit flat, and Larry's right on the money for that one. The synth just isn't doing it, and I think the transition into the open chest theme is a bit non-sequiter as-is. I don't think it draws this below the bar considering how creative and catchy the rest of the track is, but it's definitely a chip in the block. Nice work overall! YES

I'm pretty much on the same page as Andrew is here. The approach to the sources works well, and the transitions between the two themes is pretty seamless. The big issue here is that the track does feel repetitive due to a lot of the same lines being used and because the soundscape remains fairly unchanged. I think this does squeak past here, but it's pretty close. Definitely something to consider for the future, gentlemen! YES (borderline)

Some time away from this helped, I'm hearing the connections better. Love how emotional the end of this is, nice work! YES

I'm on the fence on this one. I feel like the first half is way too much of a cover, and the rest kinda loses focus of the source. Maybe I'm not hearing the connections as clearly as I should be, and another judge can give me a better idea of what I'm missing. Aside from that I'm down with the production, although I don't think the synths entirely fit into the soundscapes as well as they could at times. They feel a bit like they're sitting on top. By itself I'm not seeing it being enough of an issue to affect the decision in the end, so it's down to arrangement to me. Vote later

Larry's a bit harsh, but his crits are all solid. You've got some really good arrangement ideas here, but the soundscape isn't following through and it's taking the edge off how good this could be. I'd definitely like to hear you work more with the drums (the drumming near the end is an improvement, more of that!), and see if you can adjust the balance of the guitars and sounds to get your leads more up front and kickin'! Good luck, definitely want to hear this again. NO (resubmit)

ReMixer: Pyro Paper Planes Real Name: Christopher Foss Email Address: http://www.pyropaperplanes.com User ID: 25144 Link: Game: Metroid Fusion Title: Slipstream Artist: Pyro Paper Planes Origin: Vs. Serris Cameo: Sector 4 (AQA) Composers: Minako Hamano, Akira Fujiwara System: Nintendo Game Boy Advance Album: Harmony of a Hunter: 101% Run (http://www.shinesparkers.net/harmonyofahunter/download/) Track Comments: If there's a particular genre of music that I have a soft spot for, it's trance. One artist in particular, bLiNd, was a huge inspiration to this track (I've always loved Jade Catacombs and G-Storm). So, when it came to arranging a track that's out of my style, I decided to take on Samus vs. Serris, which is a fast-paced track of itself. It's somewhat uncommon to hear the music of Metroid in a trance style. I really wanted to intertwine the atmospheric soundscape of the Metroid series with a contrasting genre. Admittedly, this was a very challenging track for me to mix. Slipstream also marks my first foray into trance. To replicate the incredibly complex line, I slowed down the original source tune by 50%, and picked out every individual note that was played. The piece is layered with a wide variety of Omnisphere patches. Their textures and instruments are incredibly organic, and the pallet of sounds were perfectly suited for Slipstream. During the breakdown, I decided to cameo Sector 4 AQA, an ominous track that plays throughout the environment that the monster Serris resides in. Slipstream was a very fun piece to work on. The fact that the source track is only 47 seconds long gave me a lot of creative freedom and difficulty. The track was a great exercise on buildups and playing on the anticipations of the listener, while keeping a consistent overall energy that the genre requires. Whether Slipstream will live up to the expectations of trance enthusiasts remains to be seen, but I like to think that the amalgamation of ambience and trance has resulted in a unique and enjoyable piece. ----------------------

Shield of Legend Contact Info: Remixer name - Phonetic Hero, Omni-Psyence Real name - Pete Lepley, Cory Richards Site: http://phonetichero.bandcamp.com/ User ID - 44763, 22194 Submission Info: Name of game - Mega Man X6, Mega Man X3 Name of arrangement - Shield of Legend Source names (and links) - Shield Sheldon, Volt Catfish Been a while, I've been meaning to sub this for a while and I just released this track on a solo remix album through my bandcamp (and also my first original album!). First of all, I'll try to keep things as short as I can, though I've got quite a bit to say about this remix. Secondly, very proud of this one. Thirdly, to summarize a few things, Omni's an awesome guy, love his music, and I'm excited to work with him again sometime. Got started on the arrangement at work on the first day of the round, wrote that neato music box progression and a bit more (orchestrations, chips, etc.), and then stagnated till about Thursday... was FINALLY able to finish it up and send it to Cory on Friday, leaving him all of 2 days to work. I had what I thought was a pretty decent arrangement (I did the music box thingy, all the chippy stuff and melodic synth work, and pretty basic horns and strings as far as sequencing is concerned), and was only expecting the massive, badass cinematic percussion that Cory has a way with, though I told him he could add in whatever he wanted to (and was secretly hoping he'd do... well, exactly what he did). The guy went above and fucking beyond; added a LOAD of additional orchestration that the arrangement was begging for, including amazing horn work, lots more strings, all the effects. The best part is the complexity it all adds; my progressions weren't very simple to begin with (at least I'd like to think ), but all the extra tonality, personalization, and expression it all adds blew me away (was literally giggling at work when I got the first MP3). Had to convince him after getting the first MP3 from him to write a groove for my weird-ass synth solo at 3:07, but I'm glad I said something, because the gritty, proggy groove he added really tied it together and made my strange syncopations into something with some firm complexity instead of just an odd meandering lead synth. Overall, I'm really, really pleased with the way this turned out, and I hope y'all guys are too. And keep your eyes peeled for Omni-Psyence's album "The Great Divide" when it drops (and it probably will already be out by the time this gets posted)! Source breakdown: -0:00 to 0:51 - Sheldon intro progression. Additional pieces of melody and arpeggiations from the source come in at 0:37 -At 0:51, there's a chippy arp that kicks things off with the Catfish intro progression. I guess in the source this isn't really a progression, but 3 notes of the same chord arpeggiated over one chord FOR A LONG FUCKING TIME. So I turned it into a progression, with a bar for each note instead of just 2 beats. Then filled out the chords how I saw fit, added suspensions etc. -At 0:54 - 1:24, the chords are all Catfish (it's all in my horns, the poopy Kontakt Factory ones). The progression is dolled up a bit and a little longer, but it's still there (although the phrasing in the source is AABA, whereas in this it's just ABAB). The arpeggios and piano harmony just play to the progression; there's no source there, just original frill to fill things out -At 1:24 to 2:23 is all Sheldon, should be pretty apparent in the melodies (and though the bassline is slightly interpreted from the source, it's still pretty similar) -At 2:23, the same thing happens with the Catfish chords. The chords are in the horns, with the piano harmony over top, although this time it's harder to pick out (gets easier at 2:46, with my poohorns again) and uses the same progression all the way to about 3:23. (3:07 - WHOOOO PROG AHOY!! herd u liek asymmetrical syncopations) -At 3:23, the Sheldon progression comes back. And then at about 3:36 to the end is that Catfish arp part interpreted a bit, with the Sheldon progression now spread every 2 beats rather than on 1 and 4, with a more minor interpretation to finish things out. -------------- -Sheldon - catfish

I disagree with Larry on the arrangement. I think everything presented was very smartly written with good direction, and the dissonance works very well with the source. My only qualm is the ending feels a bit lackluster compared to the rest. I agree with the Lion that this is coming down to the production. The strings at the beginning are running over each other in what sounds like should be more of a staccato run, and the end half does feel a bit too cluttered/muddy. Would love to see you clean this up though, definitely a lot of great ideas here and a great take on a not-so-stellar source! NO (resubmit)

I think there's pretty good balance here between your parts, something that's decidedly not easy to do with thrash/metal. Nice use of panning, good arrangement overall. I'm down. YES

Remixer Name: k-wix Real Name: Dustin Kulwicki Website: http://www.kwixmusic.com userid: 2166 Game Arranged: Guild Wars 2 Arrangement Title: Flurry of Snow Song Arranged: Fear not this night by Jeremy Soule (ft. Asja Kadric) ( )Comments: A more electronic take on the Iconic 'Fear not this night' theme by Jeremy Soule. One of my absolute favorite tracks from Guild Wars 2. I thought the chord progression and lead would lend itself really well to this sort've an arrangement, and I had a *lot* of fun playing around with the lead in the 2nd portion of the song. It's also worth noting that the introduction is pretty orchestral, and I keep a lot of those elements throughout for a pretty interesting soundscape. In the end, it kinda reminded me of snow for some reason; thus the title.

final fantasy 2, overworld theme this is just a last minute addition to the ff2 project. i had the idea for this remix a few years ago and then i kind of forgot about it. found it recently and shared it with a few people when brandon asked me to finish it for his project. this really isn't the kind of remix i typically make but i have some really fun new sounds courtesy of the chipsounds vst and the refx nexus 2 sid expansion as well as the electronic library for superior 2. i plan on learning these tools and using them more often to change things up a little. you are witnesses at the new birth of sixto sounds mk ii. hope you enjoy my new direction -------------------

Contact Information Username: timaeus222 Name: Truong-Son Nguyen timaeus222@yahoo.com http://mpcr.site88.net/ http://soundcloud.com/timaeus222 ID: 39971 Username: AngelCityOutlaw Name: Chris Schmidt http://soundcloud.com/angelcityoutlaw ID: 45057 Submission Information Game 1: Street Fighter X Tekken Game 2: Tenchu: Shadow Assassins Remix Title: It's Raining Zen Console/Platform of Game 1: PS3, PS Vita, XBox 360, PC, OSX Console/Platform of Game 2: Nintendo Wii, PSP Sources: Rain (Tenchu), Credits (Street Fighter X Tekken) Composed in FL Studio. Remix: https://www.box.com/s/gymoroj5qwaq7a13poh7 Comments: I've wanted to do a serious collaboration with Timaeus for quite awhile. Initially, I had suggested remixing Nina Williams' theme from Tekken 3, but that never went through. One day, I started jamming along to "Rain" from Tenchu: Shadow Assassins and the Street Fighter X Tekken end credits. I noticed some similarities in melody from the songs and realized I could do something of my own with it. After working on some rough MIDI composition and arrangement, I just had to show Timaeus. We kept sending the file back and forth for several weeks, expanding and improving upon the song. I always love collaboration because it's just too much fun to see what the other person is going to add to your ideas and what you can add to their's! "ACO took the reins on the source interweaving here, and he did the majority of the arrangement and some of the mixing. I fleshed out the soundscape and did the sound design, mixing, and mastering. First time I satisfactorily finished a mix under a hard knee limiter, as I normally opt for the other kind. - Timaeus, AngelCityOutlaw" ----------------------------

Definitely a different and pretty fun take on the source. A few things that I notice right away is that the didgeridoos and the chanting (and later the countermelody) are a bit overpowering to the melody in the marimba (which also could come up in general). The marimba's feel a bit distant as well, turning down the reverb a touch will help with that. I''m not totally feeling some of the note choices in the countermelody at 2:38, I think a few adjustments there would be beneficial. Arrangementally I feel like this stalls a bit once it gets going because the structure of the piece remains constant throughout. I think switching up the sections would give you some solid variation. Maybe an original section would help as well. I think you're on the right track, but you need to make some adjustments as-is. I'd like to hear this again. NO (resubmit)

Andrew's got some great suggestions here. I agree with him that once this gets going it plateaus for the rest of the mix. I'd love to see you do something a bit more drastic for the second half so that there is a real change-up. Your sounds are great though, and the mood you set is very good. Definitely a super fun listen, but it's just shy of fitting the OCR standards. NO (resubmit, please)

Contact info: Your ReMixer name: Matt R & S Battle Your real name: Mattias Rasmussen & Sean Battle Your website: facebook.com/mattiasras Your userid (number, not name) on our forums, found by viewing your forum profile: 46911 Submission info: Name of game(s) arranged: Golden Sun Name of arrangement: Rebirth of Mars Name of individual song(s) arranged: Mars Lighthouse (also contains phrases from "Battle! [Jenna]" and "The Final Beacon", also from Golden Sun) Additional information about game including composer, system, etc. (if it has not yet been added to the site): Gameboy Advance. Composed by Motoi Sakuraba. Link to the original soundtrack (if it is not one of the sound archives already available on the site): Your own comments about the mix, for example the inspiration behind it, how it was made, etc: After having overwhelmingly positive feedback from our previous Golden Sun arrange of Venus Lighthouse (also submitted to OCR), we wanted to make a follow up with better production and arrangement! ----------------

Definitely curious to see what others think of this one. I think the arrangement is very nice, but the synths are all pretty chippy. That being said, I personally feel it is strong enough as-is and still has a variety of good sounds. If it comes down to a NO, I would like to see some of the balance shifted, as there are some areas that it's harder to hear the lead instruments. Good luck on the rest of the vote. YES

Hey all. (: here's a streaming link to my track: And a 192kbps download link: Contact Information Your ReMixer name: Cxnma Your real name: Kirby Walls Your email address: Your website: http://www.soundcloud.com/cxnma Your userid: 51288 Submission Information Name of game(s) arranged: Super Metroid Name of arrangement: You Are (Not) Alone Name of individual song(s) arranged: Opening (Destroyed Science Academy Research Station) Link to the original soundtrack: Your own comments about the mix: A modern version of that haunting, six-note theme from the Super Metroid title screen. I feel like people miss the soul of this song a lot when they re-do it - so I tried to keep the eery shiver of the original and give it a sense of epic, almost cinematic chill-factor. The second drop kind of embodies that. Not too fancy, no new melodies - but I tried to get at the essence, and amplify it. Those bodies on the floor, and the Metroid floating in the center... --------------- www.youtube.com/watch?v=E9hq4_d0t9M

Definitely a super fun source, I've always loved Gogo's theme. You have some good variations going on in the theme (0:36 in particular stood out), but at the core a lot of it is still really close to the source. That combined with some areas that feel like they aren't contributing to the build of the piece (0:57-1:48 for example) pulls back on the overall picture. I'd look into finding ways to rework those sections or maybe shorten them. Some more dynamic builds will also help in that regard as well as adding more motion to the piece. It's coming down mostly to the samples for me. The strings are the biggest issue, and I'd want those fixed up the most. Low brass is also an issue due to the overall muddiness. Aside from that I'd like to see you work on some velocity changes in the attacks to add more realism overall. You've got a good start here, but I think this has a ways to go. Definitely keep working on it, Alex. NO (resubmit)

also, mp3 attached Remixers: Chimpazilla - 45254 Kristina Scheps http://soundcloud.com/chimpazilla Anterroir -45718 David Enterlein http://soundcloud.com/anterroir Timaeus222 - 39971 Truong-Son Nguyen http://timaeusproductions.bandcamp.com Game arranged: Legend of Zelda, Ocarina of Time Name of arrangement: "They See Me Rolling" Name of song arranged: Goron City theme Composer: Koji Kondo Link to wip forum thread: http://ocremix.org/forums/showthread.php?t=43324 Full song lyrics here: https://soundcloud.com/chimpazilla/they-see-me-rolling-goron-city Comments (by chimpazilla): Hi there! This fun little song started out as an audition wip I did for the OoT album project. Emunator and Theophany both liked it a lot, but they told me that others had already claimed the Goron track, so I just kept my wip on hold for awhile. Quite a long while, actually. Eventually, many months later (and after relentless nagging by me), anterroir acquired the two elements I had used when I wrote it: Omnisphere and Damage. So I sent him the file, just for fun, and luckily it inspired him. Together we rearranged it and added some great new elements (much better drumming, those cool horns, fun new synth work, the trademark Goron melodic-metallic barking), and of course he recorded the hilarious vocals. (Those vocal effects were fun to do!) Then timaeus offered to add some additional glitching, extra drum effects and a few reverb tricks, which finished off the track to perfection. So enjoy this silly little track, it was super fun to write. Who knew the big Gorons could be so groovy? Well.... yeeeaaahhh.... ;-D ReMix Source 0:00 - 0:08 8 seconds 0:27 - 0:35 0:08 - 0:15 7 seconds 1:02 - 1:10 0:15 - 0:23 8 seconds 0:27 - 0:35 0:23 - 0:30 7 seconds 1:02 - 1:10 0:30 - 0:35 5 seconds 0:09 - 0:17 (melodic metallic barking) 0:35 - 1:36 original writing and lyrics 1:36 - 1:44 8 seconds 0:27 - 0:35 1:44 - 1:52 8 seconds 1:02 - 1:10 1:55 - 2:26 31 seconds 0:27 - 0:43 2:26 - 3:12 original writing and lyrics 3:12 - 3:20 8 seconds 0:27 - 0:35 3:20 - 3:27 7 seconds 1:02 - 1:10 3:27 - 3:35 8 seconds 0:27 - 0:35 3:35 - 3:43 8 seconds 1:02 - 1:10 3:43 - 3:51 8 seconds 0:27 - 0:35 3:51 - 3:58 7 seconds 1:02 - 1:10 3:58 - 4:08 10 seconds 0:09 - 0:17 (melodic metallic barking) total source usage is 138 seconds - song is 4:08 or 248 seconds 138/248 = 55.65% source usage Lyrics: All my brothers, they see me rolling All my brothers, they see me rolling The guy in green, he sees me rolling The guy in green, he sees me rolling And I'm watching him, watching them, watching me Rolling round, and round... And they're watching him taking out his bombs, To blow me off the ground! It may be a small place, so many of us in it, Yeah we're pretty big guys, with tutus and shit you name it Still we're easy going, smooth, everyone it's alright... Let's roll around the town tonight. Hi there! You see me floating... well... yeah... Come on man, do it again, bomb me, BOMB ME yeeeaaahhhh... All my brothers, they see me floating The guy in green, he sent me floating And I'm watching him, watching them, watching me Floating round, and round... And they're watching him taking out his hook, To pull me to the ground! It may be a small place, so many of us in it, Yeah we're pretty big guys, with tutus and shit you name it Still we're easy going, smooth, everyone it's alright... Let's roll around the town tonight.

There's some intonation issues I hear occasionally. It's just enough that it's noticeably and a little detracting from the mix, but I don't think it's to the point that it brings it below the bar. Aside from that the mix is well played and has a lot of emotion in it. I'd say the mix gets a touch repetitive as well. Good interpretation as well. YES

Right away I am noticing your first note is overpowered by that cymbal hit. It's a small detail, but it really does effect your entrance. Vinnie is right that the arrangement has a lot of good things going for it, but there are some details that need to be worked out. I would have liked some sort of breakdown to give the listeners a bit of a rest. Along those same lines, maybe some sound changes would have also been an option to add some more variation. The bass is definitely a bit too strong here, so backing that off would be good. The sounds overall are a bit generic, which is another one of those little details that I think hurt the overall picture. Maybe consider getting some different sounds, or work on your processing to see what new life you can breathe into them. I do think its a fantastic start, but you have some work to go yet before this is ready. Hit up our WIP forums so you can get some more advice! NO (resubmit)

Vinnie's got this down. The arrangement is pretty short overall, which doesn't allow for a lot of development. The melody's there, and you've got some interpretation, but I think you can take this further. The second half of the mix feels a little disconnected to the first half at times as well, having a few more connections in the solo might help that. Production-wise I agree the drums sound a bit weak. A little more crack on the snare and bass drum would definitely help, and the cymbals feel kind of distant overall as well. Good start here, but it needs a bit more work to go. NO (resubmit)

Great stuff, Greg. Really love the energy you put into this mix, and the overall approach you have here fits both pieces well. That being said, it seems like the Blaze Heatnix melodies are really downplayed here. I'm guessing Slash Beast was your guy as he is definitely the star of the show. My couple nitpicks are pretty small. Aside from the background Heatnix, I felt like some of the lead sound choices you made are very similar to one another, so the change-ups weren't as strong as they could have been. Nice work. YES

Agreed with Vinnie here, overall this needs a lot more in terms of arrangement. I think you're on the right track with the second half, though I think even then you could go further. Definitely consider doing some more with the harmonies and maybe splicing up the main melody a bit. I'd also definitely like to hear some sound upgrades. Piano is the biggest issue, but a lot of the synths felt pretty generic to me as well. Hit up our WIP forums to get some more advice! NO (resubmit)

While I'm not quite as on board as Vinnie is with this, I do think it's still pretty close to passing. The style change is pretty fun, and I think the quality of the sax is actually charming in its own way. The big problem I'm hearing right now is that there's a lot of clipping on the attacks of the background chords in some of the busier sections, and it's something that absolutely needs to be fixed. I'd definitely like to hear more in terms of dynamics and build throughout the song, and a change-up in the soundscape would provide a good change of pace to keep the variation fresh. Otherwise this is a pretty fun groove. NO (resbumit)